Zoe Saldaña and Kate Winslet rekindle their bond, much like colleagues who haven’t worked together in a while often do: They collaborated on James Cameron’s “Avatar: The Way of Water,” which hit theaters in 2022, and will reunite again for the third installment, “Fire and Ash,” due out next year. Saldaña initially brought Neytiri to life in the first “Avatar” back in 2009, while Winslet, a long-time Cameron collaborator from “Titanic,” joined the cast as Ronal, a shaman and warrior character.
Winslet reminisces about the welcoming atmosphere Cameron fostered during film rehearsals, describing it as a place where collaboration flourished and ideas were freely shared and listened to. Similarly, Saldaña concurs, expressing that when one is provided with an abundance of resources to craft a character, the results can be astonishing. She finds this process incredibly gratifying.
Discussing Cameron and the Na’vi characters from the “Avatar” films, who represent the indigenous inhabitants of Pandora, she points out: “It’s amazing how he allowed us complete freedom to create the Na’vi people alongside him.” However, there was certainly rivalry on set, as Winslet remarks, laughing: “You have to be present whenever he talks about you. He says something like, ‘Kate can hold her breath for seven minutes.’ Then he mentions, ‘Sigourney came in second with nearly six minutes.’ Zoe allegedly claims she did it for five.’ And I respond, ‘I did it for five!’
This year, the two films by them – “Lee” starring Winslet and “Emilia Pérez” featuring Saldaña – diverge significantly from Cameron’s typical sci-fi blockbusters. In “Lee,” Winslet portrays Lee Miller, a war photographer who courageously shattered gender norms to capture powerful images during World War II. On the other hand, in “Emilia Pérez,” Saldaña takes on the role of Rita, a Mexican attorney who becomes involved with Emilia (Karla Sofía Gascón), initially assisting her with a gender transition and later helping her navigate the aftermath of leading a drug cartel – all within an opera-style narrative.
The two old friends, in other words, have a lot to discuss.
KATE WINSLET: When I learned that I’d be conversing with you today, my heart leaped with delight. It’s not only because I’m eager to discuss your film, but also because you radiate and shine so brightly, and it’s a genuine pleasure to spend some quality time with you – an opportunity that we might not have again!
AS A MOVIE CRITIC: I cannot express enough my admiration for the film “Lee”. It left me in a state of deep, heartfelt emotion. The story of women like Lee Miller, who have significantly influenced the course of history, is both humbling and inspiring. I found myself wondering, how could it be that such an extraordinary figure remains largely unknown? Kudos to you for bringing her tale to light. Yet, I’m curious about the journey that led to this compelling narrative. How did all the pieces fall into place?
WINSLET: I appreciate your comment since it’s exactly why I wanted to share Lee’s tale. Many individuals are unaware of her identity, and that’s a significant part of the story. People often associate those World War II photographs and the Nazi regime with different figures, not realizing that behind those iconic images was a middle-aged woman.
For a short span during her twenties, she dabbled as a model. However, this aspect of her life was frequently emphasized and stereotyped, often in connection with her romantic relationships. It used to infuriate me, as there was so much more to her existence than just that.
SALDAÑA: Absolutely.
WINSLET: We strive to lead our lives as women, shaping femininity into a symbol of resilience, strength, courage, and compassion. That’s what Lee embodied for me. In the early 2000s, I visited an exhibition of hers in Edinburgh, and later on, some friends who work at an auction house contacted me. They told me that this table was once the kitchen table in Lee’s family home. Since I love cooking and cherish family meals, and so did Lee, preparing delicious dishes, and sharing joyful moments around this table, I decided to purchase it.
SALDAÑA: Oh, wow.
I took a seat at the table and pondered, “Why hasn’t someone created a film about Lee Miller yet?”>
SALDAÑA: How long ago was that?
In 2015, I had my first hands-on experience in creating something from scratch, selecting the writers, and shaping the narrative because Lee’s life was so multifaceted. However, it was during this decade that she embarked on a war journey as a flawed middle-aged woman, bearing an immense emotional toll for the horrors she encountered.
In the production of “Lee,” we were fortunate to have Ellen Kuras as our director, a highly respected cinematographer throughout her career. I collaborated with her on “Eternal Sunshine of the Spotless Mind” back in 2003. When the moment came to select directors for the project, it suddenly struck me that it shouldn’t be a man. It simply couldn’t be a man! By then, I had deeply immersed myself in Lee’s world, crafting the story both on and off-screen over a period of 10 years. I reached out to Ellen – she had ventured into TV directing but hadn’t directed her first feature film yet. I thought, “Alright, Ellen, it’s your turn now. Join me.
Could you tell me about the remarkable film “Emilia Pérez” where you portray the character Rita? Since I hadn’t read anything before our conversation, your first words and the emergence of your beautiful singing voice took me by surprise. I was thrilled to discover that it was a musical! After all, I had heard your wonderful singing on the set of “Avatar,” where you often sang around the dressing rooms. How did this project find its way to you?
SALDAÑA: I wish I could say that it was through a table that I bought on auction.
WINSLET: Oh no, you don’t want to do that! It would mean you’re retelling the table tale repeatedly. Could you share something different instead?
PARAPHRASING: The agents were responsible, but it’s important to note that the power of manifestation played a significant role as well. I must confess that I have been somewhat skeptical about our connection with the universe, but it has always communicated directly with me when I sought advice and guidance. The films, such as “Avatar,” “Star Trek,” and “Guardians of the Galaxy,” provided immense value to me. As they gained immense popularity and transformed into global sensations, they coincided with my personal life events like getting married and starting a family. Consequently, there was minimal time for me to…
WINSLET: … be an artist.
… I’m ready to start working out my muscles again and push myself. You might feel overwhelmed with anger, not knowing where to channel it. After discussing with my representatives, we compiled a list of renowned directors — a rather short one. They reached out to me and mentioned, “Jacques Audiard is holding auditions for his upcoming film, which will be in Spanish, an opera set in Mexico. The role seems tailor-made for you.
In a moment, your self-doubt rears its head, whispering, “Hold on, hold on, hold on. You’re not Mexican. Hold on, hold on, hold on. You can’t sing, you can’t dance, you can’t do this.” But in spite of that, I thought, “I still want to meet him. I just want to chat with him.” And we did have a Zoom call, and the connection was amazing between us and Jacques.
WINSLET: This director is incredibly talented. Goodness gracious! As I delve deeper, I find more complex aspects, like peeling back layers of an onion. But transforming all that complexity into an opera? That’s simply astounding to me.
SALDAÑA: It was stunningly magnificent, and while I don’t often employ such terms in our work, I firmly believe Jacques’ choice to transform this into a musical, to give it an operatic quality, was masterful. This was essential for allowing the audience to truly empathize with these characters and understand them better. What I admire is that he wasn’t deterred by their complexity – these are women who have lived through immense hardship and heartache. Yet, they deserved love and the freedom to tell their stories. In a long time, I haven’t seen such portrayal.
WINSLET: Yet, there’s a blend of fragility and bravery, even in the face of fear – that defiant spirit of “I’ve got this, world! I can handle it alone.” This reminds me of Rita and Lee, who both display an unyielding determination, unwilling to be discouraged by obstacles. They pursue their beliefs with relentless resolve. Remarkably, this theme resonates even more strongly today! All presented within the thrilling context of a nearly heist-like opera. I found it absolutely captivating.
Production: Emily Ullrich; Lighting Director: Max Bernetz; Set Direction: Gille Mills
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2024-12-15 19:17