Hollywood Heroic Woman-好莱坞女主角
REPORTER: Well, “Spider Man”, “Pirates of the Caribbean”, “Shrek” and all the other Hollywood blockbusters climb to the top of the global box-office this month. A thriller, “Tell No One”, is bucking the trend in France. It took 17 million USD in the first four weeks alone. The film is set in Paris, and begins with an email that lands in the inbox of a doctor called Alex. It’s from his wife, who rather disturbingly, was brutally murdered 8 years ago. Tell no one, she says to him in her note, they are watching. As new evidence about his wife’s death emerges, Alex soon finds himself on the run. Trying to escape the police and a shadowy group of killers, he is also desperate to find out if his beloved wife is actually still alive. The film is directed by Guillaume Canet, better known as an actor in films like “The Beach”. It stars Kristen Scott Thomas as the best friend of Alex, in quite a different role to the one she is usually associated with: upper-class, aloof and very English, in films like “English Patient”, “Four weddings and A Funeral” and “Gosford Park”. So, when the BBC’s Francing Stock spoke to Kristen Scott Thomas she asked if it was the chance to do something different that was the attraction of this film.
KRISTEN SCOTT THOMAS: This is one of the reasons. I like working in France so much. There are less narrow-minded as far as casting me is concerned. People will allow me to do different things from things that I am allowed to do in England. I like playing small parts like that. Because you have very few scenes and you have to really nail it in those scenes. You do not have a very good expense of dialogue and you don’t have a huge canvas that you can fill with detail. You just have to really get it right in five scenes. “Four Weddings and a Funeral” was one of the films that I did ages and ages ago which was perhaps one of those things that people come up to me and say “Oh, that was great!”, because there were 5 scenes but they were so well written, and you know we managed to get it right. So you get that character in 5 scenes, and hopefully it’s the same in this one.
REPORTER: I noticed that the director said that one of the things that appealed to him about having you on the film was precisely because you were not playing one of those aloof aristocratic women that he often seen you do. And I mean is it generally true that the parts that come to you in France ignore all that. They don’t go for the aloof aristocratic line at all.
KIRSTEN SCOTT THOMAS: Absolutely true. I don’t…I’m never asked to do things like that. I’m always ask…but what was great playing this particular part was also the fact it she was closer to me in the way she moves, the way she dresses. It was more relaxed physically making that film.
REPORTER: You are going to be on screen in an English language film, not so far away in “The Other Boleyn Girl”.
KIRSTEN SCOTT THOMAS: Oh, yes!
REPORTER: Well! That is a return to aristocratic again.
KRISTEN SCOTT THOMAS: Yes! I think you are right!
REPORTER: That is a balance of your activities now, sort of maybe half your work in France and half international.
KRISTEN SCOTT THOMAS: Yes, ideally. I would love to make more films in England, but there doesn’t seem to be any.
REPORTER: Well, there are quite a few of course, but probably not ones that you would like to be in.
KRISTEN SCOTT THOMAS: Or probably ones that just don’t want me because there is no many space for aristocratic woman in the 1930s, which are apparently the only ones that I can play.
REPORTER: You are sometimes reported as having turned your back on Hollywood, or left Hollywood. Is that true?
KRISTEN SCOTT THOMAS: That sounds fantastically grand. No, I didn’t turn my back. I just gave up. I don’t know. It’s just a long way from home you know? It really is a long way from home. I love going to America, I love American film making. I think where I slotted in didn’t really suit me. I wasn’t being asked to do things that I really was eager to get out of bed for. And I made some fantastic films, but then I found myself being asked to reissue the same thing the whole time and I just find that a bit dull. It’s not a question of turning my back on. Of course, you know, I would love to make another film in America, but I just can’t deal with all the things you have to do to get a job. Too lazy.
REPORTER: Did you find that you were more impatient with American film making or American directors even, than European ones?
KRISTEN SCOTT THOMAS: I don’t think it’s a question of being. I don’t think it’s just the size of the industry. There is a French film industry, and a flourishing French industry…well, has been more flourishing. Well it works, it functions. It has its own style and you know we’ve been talking about the variety roles that I’m allowed to do, the people I can work with, the words I can say. It’s just very very different. I’m not required to be appealing. Where as in America I always felt that I was required to be appealing and I don’t like to be appealing. I think it’s rather dull.
REPORTER: well I guess that is a feature of Hollywood. That actually woman of all ages, you know, from kind of 6-90 are expected to be appealing whatever their ages and if they are not appealing, they are somehow usually punished somewhere in the script.
KRISTEN SCOTT THOMAS: Yes, I think there is some truth in that. Obviously, I think that what you are talking about are the big studio films the ones with heroic woman, except they never really proper heroic woman. There are very few films about woman who are heroic and positive. And yea, I find that really frustrating. I think that in Europe, woman, especially old woman like me, old haggard, withered, terrible old bags like me, are treated far more…not respectfully but more interested, be more interested in woman of 40 and over. And it’s great that you’ve got woman like Helen Millen, like Charlotte Rampling, these women having fantastic careers because of European film making.
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