Kristen Wiig has spent the years since the mega-success of “Bridesmaids” not exclusively churning out more blockbusters. Instead, she’s mostly been involved in smaller, challenging, even dramatic independent films. Her latest, after “Girl Most Likely,” “Hateship, Loveship” and “The Skeleton Twins,” is “Nasty Baby,” the latest from Chilean filmmaker Sebastian Silva, who previously did “Crystal Fairy” and “Magic Magic” — two films with another American star known for comedy, Michael Cera. In the film, Silva himself stars with Wiig as Freddy and Polly, two friends who, along with Freddy’s boyfriend (TV on the Radio’s Tunde Adebimpe), are trying to conceive a child together. It plays like a nice drama — until a bothersome neighbor (Reg E. Cathey), who’s till then skulked about the sidelines, forces the third act in a frightening and shocking direction.
How did you two meet?
Sebastian Silva: We met on OK Cupid. I saw her on a floater in a really beautiful pool. She was holding a drink, and I was like, “Who is she?” No, we were introduced by Alia Shawkat [who’s in the movie]. She knew I was looking for someone to play Polly and she just saw this connection.
You two have really lived-in chemistry in the movie. How long did it take for you two to click?
Kristen Wiig: It was pretty quick. We all sat around Sebastian’s kitchen table on day, and it was just easy the way conversation flowed.
Silva: And we just became more used to each other as we were shooting the film. It was 21 days. You spend so much time with people shooting movies; either you get closer or farther part. We just got closer. Every day we were more comfortable around each other and the friendship solidified.
That’s important for the way the scenes play out, which seem to be partly improvised, or at least loose. What was the script like?
Silva: There was a 20 page outline where every action is fleshed out and we knew exactly what needs to happen in every scenes. It was not one of those “mumblecore” movies, where it’s like, “OK, guys, action!” There were specific directions for each character in each scene. But no dialogue was written. We knew what information each of us had to convey in each scene, and we talked about how we were going to convey that.
Kristen, you have a long history of improv comedy. How was doing it for a naturalistic drama?
Wiig: I’d never improvised a dramatic scene, really, let alone a whole film. It really forces you to figure out who your character is and what they think about every possible thing. Everything you say has to come from that perspective. It’s very different from improvising comedy. With comedy you have to say in the realm of the scene and the character you’re playing, while looking for jokes.