Back then he was still making movies for under a million pounds or a million dollars or whatever it was. That’s not how it is with Peter Greenaway. That’s the hierarchy that is given up with a certain amount of resentment, and this of course depends on the actor and how they behave. It’s not because they need to be kept happy or deserve it, but it helps to make things run smoothly. Quite often – and it’s not necessarily a good thing – people see the actors as being much higher in the hierarchy. When you go to work with Peter Greenaway, I think you have a pretty good idea of what it’s going to be like. I think I probably do better with direction. I don’t know that if The Baby of Macon is his best work at all, but he very much left you alone as an actor to find your own way. I don’t think I’m so challenged by it now, but it was very daunting to go onto a set with Greenaway. I must have been quite irritating as an actor because I’ve had directors tell me that I have to fight being camera shy. What was it like working with Greenaway so early on in your career? Your first movie out of the gate was The Baby of Macon, a staggering film for a lot of different reasons. You started your film career with Peter Greenaway, a very singular filmmaker whose films simply cannot be compared with any other filmmaker’s work. Ormond’s career is as diverse as it has been successful, and in this exclusive interview she discusses some of her best and most notable works, including her two new films. In 2021, she has two notable releases in the stylish and starkly moody picture Reunion (out in theaters and on demand now) where she plays a character quite unlike any other she’s played before and the period piece race drama Son of the South (in theaters and on demand now), starring Lucas Till as the real-life character Bob Zellner, a Civil Rights advocate in the deep south. Thereafter, Ormond appeared in a variety of films in a plethora of genres, including working with David Lynch in Inland Empire (2006), with David Fincher in The Curious Case of Benjamin Button (2008), and Jennifer Lynch’s dark one-two punch films Surveillance (2008) and Chained (2012), which put Ormond in the center of darkly themed motion pictures. From her breakout work in Legends of the Fall (1994) opposite Brad Pitt and Anthony Hopkins to playing Guinevere in Jerry Zucker’s integral King Arthur epic First Knight (1995), and then opposite Harrison Ford in Sydney Pollack’s lovely remake of the classic Sabrina (1995), actress Julia Ormond segued into the lead role in Smilla’s Sense of Snow (1997), which was based on a series of books by Peter Hoeg.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |