The most memorable scene in ROMAN POLANSKI’S new film CARNAGE belongs to OSCAR winner KATE WINSLET.

Just ask her kids. KATE said they haven’t forgotten about the day she had to projectile vomit on set.

“My kids came to work for the vomit day and I am so thrilled that they were there because they literally have not stopped talking about it since. It was hysterical.”

Based on the play by YASMINA REZA, THE GOD OF CARNAGE, the film is a sort of LORD OF THE FLIES for the adult set — where civilized intentions go horribly awry as each character reveals their baser sides.

The satire packed with comic moments stars KATE WINSLET and CHRISTOPH WALTZ as husband and wife NANCY and ALAN, appearing opposite JODIE FOSTER and JOHN C. REILLY as PENELOPE and MICHAEL — two sets of parents who meet to sort out the details of a playground fight that left one of the boys with swollen lips and broken teeth.

The parents manage to maintain the appearance of decorum as they niggle over whether NANCY and ALAN’S son was armed with a stick or just holding one. But rigid PENELOPE’S assertion that the parents of the alleged bully lack interest in their son’s behaviour was more than KATE’S NANCY could stomach.


Fittingly, NANCY projectile vomits the cobbler they have been eating — all over PENELOPE’S cherished and rare art books. Though the stunt required KATE to operate a complex apparatus, JOHN disputed that KATE had the toughest job.

“While Kate was the one who threw up, Jody and I had to clean up the vomit. So we had the more disgusting involvement with the vomit.”

The all star cast said they got on famously and were united in praise of ROMAN POLANSKI, who skipped the premiere.

“If Roman Polanski invites you to join in any project, you really don’t say no,” KATE remarked.

“I had seen the play in New York so I was all ready very much a fan of the piece. I just felt extremely fortunate to be included.”

CARNAGE is set in Brooklyn, but shot on a soundstage near Paris over six weeks. Most of the action takes place inside an apartment, which was constructed to allow the actors to move seamlessly through the space. Brief exterior shots show the boys fighting at a riverside park — and later give the film a bittersweet postscript.

“The use of space was actually a very precise and confined and minimal and detailed affair,” CHRISTOPH said.

“But that is exactly Roman’s forte. The precision, the detail, the exactitude. The microscopic way of working.”

The director had the actors rehearse the script like a play, memorizing the entire screenplay and then doing run through after run through. While the screenplay was similar to the script, KATE said the tone and rhythm were different — creating a unique piece.

“The whole thing was actually shot in story order from start to finish, which I don’t think any of us have ever experienced in film before.”

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