Do you find yourself choosing small films because they give you the freedom to tell more interesting stories? This feels like the kind of film that might've been in theaters 30 years ago, but this sort of intimate story doesn't get distributed that often anymore.
Well, that is the problem. They get made, but the distribution is a problem since there are hardly any independent theaters anymore. Back in the old days, there were a lot of these little houses that you could count on.
But I like to do it all. I loved doing "Speed Racer" because it was surrendering to a completely different kind of thing. Certainly I've done a lot of being the emotional core of the movie -- meaning you're the least interesting person that holds the film together -- in my career, so it's fun to do something where you're really out there and you're proactive and you can make mistakes. Those parts seem to be in smaller films. And also, the amount of interference is proportionate to the budget. There definitely is a correlation between how many people are at the monitor and how many hundreds of thousands of dollars you have.
Speaking of monitors, how do you feel about the writers' strike, and how is that affecting your work?
There are a lot of issues. This strike is not whimsical. I'm hoping, since the directors found a way around it, that maybe their example will have some suggestions for the writers, but I completely support them and I think it's been confusing because there have been so many different ways to slice participation in the strike for so many people. It's been a little muddy. And I think it's done a lot of damage and it's been really, really hard. But I think there was no other choice. You just cannot give away future participation in all the technology that's coming. That's a really, really important thing, and it's going to be important for the actors, too, so of course actors are watching with great interest, because our [contract negotiations] come up in June.
It's nuts how many films are trying to go ahead, and they're all very shaky. They have to finish by mid-June, so everybody's dates are crazy.
Are you swearing off the Academy Awards?
I've used up a lot of those coupons. [Laughs] Certainly if the writers' strike isn't finished, I don't think anybody can go, unless they do some kind of a deal.
Do you seek out tough, self-possessed female characters? Because you seem to play them a lot. Or do these roles just find you?
You know, that's funny, because I have that reputation, but I have to say that it's only in hindsight that these women are strong. Even "Thelma and Louise" -- she was literally on the edge of the abyss. She's having a nervous breakdown in that film. What's interesting to me are people who move forward through their fear. You know, the gal in "White Palace," even though she's going to lose everything, she wants her dignity and she ends up leaving the guy. But she's not a strong person; she's fragile.
Most of the characters I've played are pretty fragile. In "Romance and Cigarettes," she [the lead character] is tough with him, but she's a mess. I just did "Lovely Bones" and she's really tough. But underneath all that, when you're doing them [these characters], they feel very fragile. It's only by the end of the movie that you say, OK, well, she managed to do this, but they don't feel like strong women.
But women are like that too, you know? You do what you have to do because you have to do it, but it doesn't feel so strong when you're making those choices, and when you're showing up, or going without sleep, or getting a second job, or leaving the abusive guy. These are strong things to do, but it doesn't feel strong when you're doing it.
About the writer
Heather Havrilesky is Salon's TV critic. She also maintains the rabbit blog. You can find more of her columns in the I Like To Watch directory.
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