Jodie Foster on ‘Vie Privée’ in Cannes, What Trump Means for Female Directors and Why Turning 60 Led to Career Contentment: ‘There’s a Freedom’

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Jodie Foster can go years without making a movie.

She openly acknowledges that she’s selective about the roles she chooses. For her, it’s not just about acting; the role needs to resonate deeply with her.

In just a few hours, it’s time for the Cannes debut of “Vie Privée,” a gripping French thriller. Despite her usual reluctance towards acting, Foster found herself irresistibly drawn to this project after meeting its director and scriptwriter, Rebecca Zlotowski, who shares her passion for character development and storytelling. The captivating plot, where Foster portrays a therapist suspecting that her patient’s suicide was actually a murder, proved too compelling to resist.

In my perspective, Rebecca possesses a remarkable grasp of both the intellectual and emotional realms, much like how I approach cinema. Just as she strives to immerse viewers in the characters’ inner lives, I too find joy in delving deep into a character’s emotions as an actor.

After spending several years away from acting during the 2000s to dedicate time to raising her children, Foster has returned to the screen more often recently. In 2023, she received an Oscar nomination for her role as a swimming coach in “Nyad,” and in 2024, she earned an Emmy for her performance in “True Detective: Night Country.” This new phase of her career came about after turning 60, leading her to focus more on ensemble projects rather than individual starring roles. This shift seems to have reignited a passion for acting that began with her memorable performances in Disney films like “Freaky Friday” and grittier productions such as “Taxi Driver.” Before receiving Oscars for “The Silence of the Lambs” and “The Accused,” she first captivated audiences with these iconic roles.

Why did you decide to make “Vie Privée”?

As a devoted cinephile, I’ve been yearning to immerse myself once more in a captivating French film, as it’s been quite some time since my last one. For me, it’s not just about jumping into any project; it’s about finding the right script that resonates deeply. I wasn’t keen on being part of an extravagant American-French collaboration. As an actor, I crave a compelling narrative. Many French films, which I admire, are character studies that follow individuals over a certain period. That’s not my style. I’m drawn to narratives that allow me to build a dynamic character who drives the storyline. This project perfectly aligns with my preferences.

At the beginning of the film, your character Lilian appears quite self-assured; however, it doesn’t take long to notice the flaws in her exterior image. Many roles you’ve taken on involve characters who are either trying to keep things under control or establish dominance. What draws you to those types of roles?

This trait seems distinctly human, or perhaps more specifically female. It’s possible that my upbringing has played a role in its development, as I wasn’t naturally an emotionally open individual. I’m not someone who would freely and passionately express deep emotions, like spilling blood on the table. Acting wasn’t something I was destined for. Instead, it was thrust upon me at the tender age of 3. It wasn’t a path I actively chose; I wouldn’t have chosen to become an actor. What fascinates me is the masks people wear to navigate this complex world and the multiple layers they must maintain to protect themselves.

You wouldn’t have chosen to be an actor, but do you enjoy acting?

Absolutely, I agree with that. However, I prefer to set my own rules. As a child, I worked so extensively that by the age of 18, I felt the need for a change in strategy. Observing many young actors today, I must admit there’s a part of me that wonders how they can be so eager to act. They seem indifferent about the quality of the movie, the dialogue, or even being a mere prop in an advertisement like a Fruit of the Loom ad. If I were to stop acting tomorrow, it wouldn’t bother me much. I find fulfillment in being a medium for storytelling or cinema. If I had other talents, such as writing, painting, or sculpting, that would be wonderful too. But this is the only talent I possess.

In your career, you’ve taken on the role of director for four films, among them “Little Man Tate” and “Home for the Holidays.” Is it that you find directing more appealing than acting?

I find myself more drawn towards directing, but finding the initial momentum can be challenging. It takes an extensive amount of time to refine and personalize the material, which I am dedicated to doing. The films I’ve created hold a special place in my heart as they resonate deeply with my life experiences. To me, these productions embody the essence of an auteur film, and if I can’t approach it that way, I’m not particularly interested.

Over the past eight years, I’ve been incredibly fortunate to collaborate with no less than 27 remarkable women directors, and each experience has been a true testament to the power of their vision.

Hold up a moment! [She taps the armrest of the sofa she’s seated on]. Wow, that’s amazing! She’s so dedicated and hardworking.

How do you feel about it? Wouldn’t it be great if more acting stars would leverage their influence to create opportunities for women directors, who might not otherwise be considered?

I’m quite hopeful about the future. Over the years, I’ve witnessed significant transformations, particularly in the film industry. When I first began acting, women were scarcely represented on set, limited mostly to roles like makeup artists or script supervisors. As time went on, I started noticing more female technicians, yet the director’s chair remained largely untouched by women.

When I ventured into directing, I consider myself fortunate because those in power knew me well, so they were willing to take a chance on me as a first-time director. However, before my last three roles, I had only worked with one female director – and that was over 50 years ago!

Did you mention that the last three productions you’ve been involved with – “True Detective”, “Nyad”, and currently “Vie Privée” – have all been directed or co-directed by women? Was this decision made intentionally?

Making a point about gender balance in movie production, one might say:

It’s challenging for me to base my filmmaking decisions solely on the gender of the creator, as it should be a more organic choice driven by personal interest and talent. Ideally, one would value the individual behind the project. For instance, Jonathan Demme, known for “Silence of the Lambs,” was my favorite feminist director. Nevertheless, I believe that implementing some form of affirmative action or quota system is crucial to ensure equal opportunities for first-time filmmakers. This way, we can establish a fair and inclusive industry from the start.

In the past decade, America experienced a significant awakening regarding social consciousness, leading decision-makers (who had previously been oblivious to their own prejudices such as xenophobia, racism, and sexism) to question their practices. This self-realization was sparked by public scrutiny over the lack of female directors within their circles. As a result, they chose to address this issue and bring about positive change. We’re now enjoying the fruits of that transformation.

Is it your belief that the DEI initiatives supported by these companies will diminish due to the criticisms or actions taken by the Trump administration against them?

It appears that a significant shift is underway within various sectors, including academia, law firms, and entertainment, which could potentially mark the end of an era. This transformation, as it seems, has been initiated by the administration. I fervently hope that this change does not materialize, as we cherish the opportunity to narrate a multitude of stories. These stories generate income, and it’s astounding how long it took for studio executives to understand that women make up half of the population. Female filmmakers are not a risk, and it’s important to note that this change wasn’t solely driven by female executives. In fact, during certain periods, multiple studios were run by women such as Amy Pascal, Sherry Lansing, and Dawn Steel. At one point, four out of six studio heads were women, yet the lists of directors remained male-dominated. It’s crucial that those in power at studios avoid perpetuating institutional bias. I’ll step down from my soapbox now.

In “Vie Privée,” there’s quite a bit of humor present. Since you don’t have much experience with comedy roles, did you enjoy getting to display a more light-hearted aspect of your talent?

Experiencing French roles brought enjoyment since I transform into a distinct individual in French compared to my English persona. My demeanor becomes more exposed and vulnerable, making me feel less self-assured and certain. This lack of confidence adds an extra dose of amusement for me.

Do you feel like you are funnier in French than you are in English?

I prefer to step away from my usual character, as it seems more liberating to me. Comedies in English aren’t really my cup of tea. Perhaps the reason is that American comedies often lack subtlety and intellectual depth, which are crucial elements for me. Consequently, I don’t find many comedies that I truly enjoy. The one exception was “Maverick,” a film I made, despite its silliness. It had a certain wit and English intelligence thanks to being penned by William Goldman. However, my fascination with comedy typically doesn’t last longer than a week. After about a week, I find myself longing for the conclusion: “Oh, can we wrap this up already?” Comedies are significantly more challenging to create than dramas.

Why did you decide not to film a cameo in “Freakier Friday“?

I’ve been occupied with working on a film, but Jamie Lee Curtis is an excellent friend of mine. I kept up with the production and all the related happenings.

Following your victory at the Golden Globes for “True Detective,” you expressed that this was the most fulfilled point in your professional journey. Can you share what made this particular achievement so special to you?

At the age of 60, an event transpired that led to a hormonal change within me, causing a sudden shift in perspective where I found myself saying, “I don’t mind.” This happened around the same time when I became incredibly passionate about sharing and amplifying stories that had previously gone unheard. In the case of “The Mauritanian,” my role was not to focus on my character’s story, but rather to bring Tahar Rahim’s narrative to life. With “True Detective,” I purposefully crafted my part to support and further the stories of the indigenous characters. I aim to utilize any knowledge, resources, or influence I have as an actor to contribute to these narratives. Now it’s time for someone else to share their story, and I find that immensely enjoyable. It turns out that being a part of a collective is far more fulfilling than being the one who kicks off a movie on 1,500 screens.

In my fifties, I found life to be particularly challenging. Adapting to change isn’t easy, and it often feels like we’re not as good as our past selves. However, something significant occurred a few years back that shifted my perspective. One day, I woke up and realized that the things I used to care about no longer mattered to me. I decided to embark on a new journey. Life events such as children growing up, parents passing away, or divorce can be devastating. Yet, there’s a sense of liberation in these changes. Although it’s heartbreaking to let go of the roles we once had, like being a devoted mother, daughter, or wife, it also means that we are free to discover ourselves anew – just me now.

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2025-05-20 18:18