PopEntertainment.com

It's all the entertainment you need!

 

FEATURE STORIES MOVIE REVIEWS MUSIC REVIEWS BOX SET REVIEWS TV SHOWS ON DVD CONTESTS CONCERT PHOTOS

 

  FEATURE STORIES
  INTERVIEWS A TO E
  INTERVIEWS F TO J
  INTERVIEWS K TO O
  INTERVIEWS P TO T
  INTERVIEWS U TO Z
  INTERVIEWS ACTORS
  INTERVIEWS ACTRESSES
  INTERVIEWS BOOKS
  INTERVIEWS DIRECTORS AND SCREENWRITERS
  INTERVIEWS MUSIC
  INTERVIEWS OSCAR NOMINEES
  INTERVIEWS THEATER
  IN MEMORIAM
  REVIEWS
  MOVIE REVIEWS
  MUSIC REVIEWS
  CONCERT REVIEWS
  BOX SET REPORT CARD
  TV SHOWS ON DVD
  MISCELLANEOUS STUFF & NONSENSE
  CONCERT PHOTOGRAPHY
  LETTERS TO THE EDITOR
  CONTESTS
  LINKS
  MASTHEAD
  EMAIL US

"WILD YEARS-THE MUSIC & MYTH OF TOM WAITS" BY JAY S. JACOBS

AVAILABLE IN BOOK STORES EVERYWHERE!

 

IMVU

PopEntertainment.com > Feature Interviews - Actresses > Feature Interviews U to Z > Sigourney Weaver

SIGOURNEY WEAVER

GETTING REAL

by Brad Balfour

Copyright ©2005 PopEntertainment.com.  All rights reserved.  Posted: April 6, 2005.

Actress Sigourney Weaver has been an action film hero since the days when she first appeared as the avenging survivor in the film Alien. But besides her blockbusters such as Ghostbusters, sheís performed in a string of critically acclaimed films of emotional depth such as The Ice Storm, Gorillas in the Mist and The Year of Living Dangerously. Now the 50-something former Oscar nominee may not be tackling blockbusters but she is wrestling with smaller indies grappling with difficult subjects as she does in her latest, Imaginary Heroes ó the story of family falling after the oldest son commits suicide.

Youíve done small movies before Ė like A Map of the World and The Guys ó and have been heart-broken because they werenít widely seen. Do you worry as film such as Imaginary Heroes go into the marketplace?

I always worry. Iíve managed to be in these films that open for a week right at the end of the year [for Oscar consideration] and then have them reopen once youíve lost some of the momentum. So Iím very aware of trying to get the word out, especially in this case, to the younger generation, because I think this is a young personís film. It would be great if it could play long enough for a lot of college kids to see this, because itís really worth seeing. It was hard on Death and the Maiden. It got harder on A Map of the World. It was weird on The Guys. By this time, I try to keep my expectations very minimal. The work is there. If it doesnít reach its audience it will be on DVD. Iím confident that this film is so good that eventually itís going to find its audience and be acknowledged. But the rest of it, itís just a total crapshoot, which is too bad. But Iíd rather do the work and suffer all that than not get those films.

Imaginary Heroes goes to emotional depths not seen in a lot of American films lately. Are American movies gaining more depth and quality?

Thatís a good question. I donít know what the next four years are going to bring, frankly. All I know is, having done some theater in the last year; people are very, very in need of the arts. I feel that when people come to the theater now things are so confusing that theyíre really looking for some kind of illumination and bonding experience with other people. So I do think that the audience is going to make more demands on movies because we need to be helped through this. You can tell Iím a Democrat. I just think that we need to be useful to people. I canít think of many good things that are happening now, but one of the good things that might happen is that the work is going to change. How itís going to change I donít know how to predict but I do think somethingís going to happen.

In this movie you and co-star Emile [Hirsch] have a wonderful mother/son relationship. Did you discuss it much?

We both wanted to meet a little before we started. So we had dinner with Dan [Harris, the director,] maybe the night before rehearsals started. Though I donít know Emile that well, my impression is that heís very close to his parents, and Iím kind of close to my daughter. So I think a lot of that was there, but it was really easy to find that with Emile. Heís very available. Itís a really special relationship, this sort of weird situation which may be common, where one child ends up belonging to one parent and another child ends up belonging to the other parent. It was really interesting to me, psychologically, that that would happen and that the parents would allow that to happen in such an obvious way, with pretty devastating results.

Emile is a fast-rising star. What do you think about him as an up-and-coming star?

Well, itís funny, I think heís wonderful as Tim, and Emile himself is very entertaining. Heís very smart, very fast on his feet. Heís got a lot of presence, works very hard, is very devoted and heís very nice. I think he can do comedy. I think he can do drama because it was an independent filmówe shot it in 35 dayĖyouíre almost always working with someone. Thereís no time, really, to get to know them outside the film but I really felt he gave it his all, as we all did. I loved seeing all those scenes that Sandyís not in, all those parties that are a parentís nightmare [where kids go hereÖ] ďTake this. I donít know what it is,í and they take it anyhow.Ē

Did you talk with other parents to get another perspective on that dynamic?

NoÖI think of films as like a little surprise box. I talked to my husband about it. I wouldnít have known how to present the Travises to other parents because I think theyíd go, ďWhat? The oldest son commits suicide and they then realize theyíre doing something wrong?Ē If you couldnít read the script and [realize] how compassionately the script approaches all these people and their spiraling out of control [lives], it would be very hard to find a map through it. Iím always very leery of mentioning what Iím doing to other people because I feel like part of the power comes from the secrecy, in a way, of this world.

At this point in your long career, do you make suggestions when youíre doing a film being made by people with far less experience than you?

Actually, I did open my big mouth on this film a couple of times because when you have no money and have no time people want to hurry you, hurry the lighting, hurry some of the other aspects of filmmaking. So, in the beginning, the one thing I did do was had a little chat with the A.D., who was always screaming at us. It just wasnít working. People werenít being lit and everyone was really tense. You may not have much money, but you donít have to to make a good film. So I just wanted to say, having been on lots of high-pressure pictures, this was not going to solve the problem. It was going to make it harder for us to do what we needed to do. And I got that message through. In the old days I donít think I would have had the confidence to speak out like that. 

Youíre New York-based and have had an amazing career but some New York actors say they had to move out to LA to pursue film careers.

I really havenít heard that but itís worth it to be here. There are as many filmmakers in New York as there are in LA. I think the actors are here, too, especially the younger ones, because they are still trying to do theater. The only thing thatís not here are the studios, and thatís sometimes an advantage; the fact that weíre not in an industry town [is great]. Youíre surrounded by so many people who think that what theyíre doing is the most important thing, and it has nothing to do with the industry. That helps you keep your perspective. Even if you donít have a job you can go out and see great theater, go out and hear great music. You can nourish yourself with the arts while you wait for the right job to come. My role models were Jessica Tandy and Hume Cronyn, who lived out west for a while when he was writing [but essentially were in New York]. But I always trusted that you could have a good career here. If it was an expensive movie theyíd have the money to come and interview you here and there are a lot of independent films that are made here.

What films have you liked lately?

Oh my God! Well, the films I enjoyed this year were Hotel Rwanda, Kinsey, Collateral and I liked Sideways. I thought there were some really interesting films.

What films influenced you to go into acting or influenced in your work?

When I was an adult I fell in love with Ernst Lubitsch, and I loved all of his films unreservedly. Theyíre fantastic and I could watch them all again and again. I love it when comedy and drama are presented together, and all the values of each, and no one does it better than Lubitsch, though I think Mike Nichols is pretty awesome as well. I personally love Ninotchka. I love Melvyn Douglas and Greta Garbo together, and I love those actors who were in all of Lubitschís films, those guys who played the Russians. Theyíre so ridiculous.

And are there films that changed your life?

Thatís interesting. The next film Iím doing is a film with Alan Rickman called Snowflake in which I play a woman on autism spectrum. Iíve spent the last nine months spending time with people on the spectrum. Weíre all on the spectrum. It just may be more obvious in certain people. Its things like that that you end up discovering when youíre researching a film. You donít really know when you start how itís going to impact on you, but itís really profound.

Email us        Let us know what you think.

Features        Return to the features page

dmindbanner.gif (10017 bytes)

drugstore.com

Barnes & Noble

IMVU

Photo Credits:
#1 © 2005 Courtesy of Sony Classic Pictures.  All rights reserved.
#2 © 2005 Courtesy of Sony Classic Pictures.  All rights reserved.
#3 © 2005 Courtesy of Sony Classic Pictures.  All rights reserved.
#4 © 2005 Courtesy of Sony Classic Pictures.  All rights reserved.

Copyright ©2005 PopEntertainment.com.  All rights reserved.  Posted: April 6, 2005.

vudu.com

drugstore.com

Copyright ©2005 PopEntertainment.com.  All rights reserved.  Posted: April 6, 2005.