00:00I knew that I wanted to make a real French film. It was independent. That was an auteur film.
00:19I didn't want to do some big, giant co-production. I really wanted to make a singularly French film.
00:25And I was hoping that it would be something that felt as intellectual as it was emotional.
00:32So there you go. I found it in this script.
00:35And sometimes, you know, you read something and you love it and you don't really know why,
00:39and then later many things reveal themselves to you.
00:42And I think that the more that time went on, I feel like in some ways it was a movie for
00:48my mom who loved France, loved everything European, everything French.
00:53We had a Peugeot growing up, but had never left the United States.
00:57She'd never traveled anywhere.
00:59And one day, once she took a bus trip in France, she came back and she said, that's it.
01:05You know, we're going to move to France.
01:06You're going to be a French actor.
01:09And she reinvented her life there.
01:12You know, she ended up living there for a good portion of her life after that and became
01:17part of the culture.
01:18Well, I don't know if I consider myself a French actor.
01:20I hope someday I could be a French actor.
01:24I guess I discovered that there's a part of me that comes from my education, my French
01:30education, that is unlike anything that I am in English.
01:35The character of Lillian Steiner is kind of unsure of herself and maybe slightly more vulnerable
01:41and slightly more frustrated and neurotic in ways that I don't usually have that experience
01:55on screen.
01:56But I think it's something about not being sure of myself in the language.
02:01You know, I don't know that you really prepare, right?
02:04You just you just read a script, you love it and you try to interpret it and you try to
02:10serve the director's vision.
02:12You know, Rebecca is a very singular filmmaker and we were good collaborators.
02:17So I was, you know, excited to help her execute the, you know, the movie that she wanted.
02:26And that meant doing things a little differently.
02:29You know, we do things differently in France than we do in America.
02:32It was great.
02:33I came to the set, you know, about three weeks before shooting and I just wanted to immerse
02:37myself in the language.
02:38I didn't want to speak English.
02:39I just wanted to get here and just, you know, walk, walk in the streets and go to the gym
02:42and do all those things in French.
02:44And then it was just a great experience, I think, to just forget everything at home and
02:53just, you know, just to be here and be in the present moment.
02:56We went to a bunch of psychiatrists, psychoanalysts, psychiatrists.
03:03They're two separate things, but we visited various ones.
03:06And I came out being fascinated and also realizing I never wanted to do psychoanalysis.
03:11Well, I don't know about midlife crisis, but spiritual crisis for sure.
03:16I think spiritual crisis is just an incredibly rich thing for me that I'm interested in.
03:22You know, why you wake up one day and you say, I can't do this anymore and I want to change.
03:27Or what is life for?
03:29What is the meaning of life?
03:31And, you know, why did I make these choices?
03:33How did I get here?
03:34All those questions for me are very rich and important.
03:39And especially as a director, I feel like those are the themes that I revisit over and over
03:43again.
03:44Well, it's big changes.
03:45So I've been working for 60 years in the film industry.
03:47And when I first started, you know, in the 1960s, there were no film directors in America,
03:52really.
03:53Very few.
03:54There were in Europe, but not in America.
03:57So I never saw any women.
03:59There were no technicians either.
04:02So sometimes there would be a script supervisor or a makeup artist, but that was about it.
04:06It was just me and a bunch of guys and wonderful men who taught me everything.
04:10You know, fathers and brothers who really taught me everything.
04:13So I'm very grateful for that.
04:14But it was nice when women came in and it was a much more diverse and real community.
04:20I think it was nice for the men, too, that they were able to feel a lot when they were
04:23on set.
04:24They were able to feel like it was like real life.
04:25But that didn't happen till really just recently, only in the last 20 years.
04:29I don't know.
04:30I hope not.
04:31I hope that movies will continue to be a place that people can go to to see the truth and
04:37to ask questions and to look at sociopolitical questions and to believe in, you know, to believe
04:47in humanism.
04:48So I hope that that's always a place that we inhabit in filmmaking.
04:52I think it has to do with age.
04:54I think that the 50s were really hard when I was 50.
04:58You know, you don't know what you're supposed to be doing or you're supposed to be competing
05:01with some old idea of yourself and, you know, but you know perfectly well that you can't
05:05climb that mountain as well as you did before or you can't be on that cover of the magazine
05:09or, you know, you have crow's feet.
05:10And so there's this, you just feel like you're always losing, like you're trying to keep up
05:15with something that's not real.
05:18But when I turned 60, I feel like that all changed.
05:20I feel like I suddenly didn't care and I didn't, I felt like I just had very little time ahead
05:27of me and I wanted to make sure that I was the happiest that I could be and I wasn't
05:30interested in a bunch drama anymore.
05:33So that, it's been, it's, I think I'm doing the best work of my life and I think I'm the
05:39happiest when I'm working now.
05:41I don't think I was as happy when I was young.
05:43I think I was always like, it's not good enough, it's not good enough.
05:45There's a lot of anxiety that I don't have.
05:48What do I do?
05:49It's a degree of life.
05:50It's the heredity of the woman.
05:52Run, run, run, run, run, run.
05:54Me jodisteis adolescencia con vuestra separación y todo para.
05:57Oh, oh, oh, oh, oh, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay, ay
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