 |
| Marion Cotillard at NYFF |
One of the most graceful actors on screen today, Marion Cotillard is a rare example of simple and delicate beauty as well as profoundly perceptive, nuanced cinematic portrayals. Last Sunday, I finagled my way into the Film Society of Lincoln Center's Amphitheater to sit in on a conversation with the Oscar-winning actress, part of
the 2014 New York Film Festival’s free live event series. The talk served as a
precursor to a screening of Cotillard’s latest film, Two Days One Night, directed by renowned Belgian filmmaking
brothers Jean-Pierre and Luc Dardenne, in which she plays a young mother
battling depression, who has just one weekend to convince her co-workers to let
her keep her job.
In a chat with interviewer and Variety critic Scott Foundas, Cotillard discussed her process, her
inspirations, and her latest project. My takeaways from the conversation below:
On working with
Jean-Pierre and Luc Dardenne:
What struck me most about them was how well they had
organized everything. They had left plenty of time, a full month, for
rehearsals, which is unusual for a low-budget film. It was really helpful
because it allowed us all to explore and for me to go deep into my character.
But really, Jean-Pierre and Luc gave me everything I’d want in terms of a
relationship with my directors: the creativity, the challenge. It was one of my
best experiences.
On getting immersed
into dark roles, then stepping away from them post-filming:
I sometimes get asked when I’m going to stop living the
lives of people who are so “messed up.” (laughs)
But I unfortunately, or fortunately, love doing them. Sandra, my character in Two Days One Night, has a history of depression. Sometimes, she’d
burst into tears mid-conversation for no apparent reason other than her dark
past. I needed inspiration to understand how and why this would happen, so I
started researching and scripting my own dramatic scenes for preparation, just
for myself—the directors didn’t even know about them! But they helped me get to
those emotions during the tough scenes.
La Vie En Rose was
the first time I went so deep for months into the body and spirit of someone
dark. After that, I realized that I need a process to get back to my own life,
something like a detox. It’s hard, but it can be as interesting as the process
of getting into a role.
On watching herself
on screen:
I feel like it’s important to see my work. It’s part of the
entire experience of making a film, and I also do it out of respect for the
director’s work. The first time I watch my own film is especially hard because
I don’t actually watch the movie. I’m too busy judging myself, which I do very
harshly. The second time around, it’s easier to watch the movie—that being
said, if I really didn’t like myself during the first watch, I won’t watch it
again! Two Days One Night I haven’t
seen and I don’t know if I will. The process of making it was so intense that I
don’t think it’s even possible for me to watch it as an audience.
 |
| Cotillard plays a young mother battling depression in "Two Days One Night" |
On “celebrity:”
It’s a very weird thing. I don’t think you can ever be
prepared for it. When people began to recognize me after Taxi, I used to literally run
away—not something I’m very proud of doing! But now, I’m used to it and I do
like a lot about it. It’s a different connection to people, many people you may
never meet, with a story that touches them. But it was my childhood dream to be
unrecognizable from one movie to another. So for me, it’s more about that, as
well as the opportunity to explore more than my own culture. I’ve been Polish,
Italian, Belgian, even a non-living person! It’s been everything I wanted and
more.
On keeping at it
during the tougher years:
There was a phase in my early 20s when getting work, at
least the type of work I was ambitious to get, was hard. I was questioning my
patience because I always wanted more even though I was lucky to be working and
many of my friends weren’t. I viewed my ambition as negative at first, and
wondered if acting was useless. If you think about it, it is a very strange
job. Especially since I tend to choose such heavy material and let it consume
my life. Then, a director asked me point blank, “why do you do this?” And after
thinking about it, I just replied, “Because I feel alive when I do it.” (laughs). So I guess it really isn’t all
that useless after all.
On actresses she
admires:
I’m inspired by a lot of people. I love Toni Collette. When
I saw The Hours, I couldn’t recognize
her. She completely disappeared into her role. She’s a genius. There’s also
Meryl Streep, she’s the master, isn’t she? I’ve always loved Greta Garbo. And
then there are the younger prodigies, Jennifer Lawrence and Adele
Exarchopoulos, from Blue is the Warmest Color. I’m always very moved when a newcomer gives such amazing things
at such a young age.
On next steps:
I don’t really have a strategy for how I go about my films.
I read scripts, meet people, and when I feel I have a place in an adventure,
that’s when I go along with it. It’s funny: in the past, whenever I’ve felt a
particularly strong need to express a specific emotion, a movie and character
comes along that allows me to do just that.
A few years ago, I had been
feeling a certain need to channel anger. And then A Very Long Engagement happened. It’s never planned; I’m lucky that
it just happens. I’d love to do more
comedy. That would be fresh air and a departure from my comfort zone. And then,
I also have stories I’ve really wanted to tell, with French actresses I’ve
always wanted to work with. So direction could happen. It’s definitely a desire
growing inside me.
No comments:
Post a Comment