In my humble opinion, Elizabeth Olsen is a fascinating woman whose career trajectory is nothing short of captivating. She’s been fortunate enough to navigate through the world of acting with a grace and finesse that’s truly commendable. From her beginnings, where luck seemed to play a significant role, she has evolved into a strategic powerhouse, carefully selecting roles that not only challenge her but also resonate with audiences worldwide.
In her most recent film, “His Three Daughters” directed by Azazel Jacobs, Elizabeth Olsen takes on an extraordinary role – portraying a tranquil, ordinary human woman named Christina. Among the trio of sisters, Christina serves as a peacemaker between Natasha Lyonne’s character, a melancholic pot-smoker, and Carrie Coon’s character, a domineering control freak. These three women share a Lower East Side condo while waiting at their father’s deathbed, squabbling over groceries and revisiting old familial disagreements.
The film is a true indie — Jacobs wrote the parts for each actress and hand-delivered them an analog script, then shot the whole thing in 17 days in a real New York City apartment. For Olsen, who is fantastic as a woman who keeps trying to make herself smaller and smaller until she erupts, the role marks something of a return to form. After spending a solid part of the last decade careering around the Marvel Cinematic Universe, she seems eager to return to the eccentric indies upon which she built her early career. At Vulture Fest, we talked about the times she appeared in her sisters’ projects, her “terrible” early days in theater, her chaotic first movie roles, the moment she started really choosing her films, the 50 directors she wants to work with next, and, of course, the certainty of death.
As we approach the release of His Three Daughters in September, it’s fascinating to engage in discussions about it now since I’ve been able to connect with a broader range of people who discovered the film in various ways. Friends have shared their reactions like, “Why didn’t you prepare me for this?” It seems that many can relate to the film’s exploration of our collective experience with mortality and hospice care, as I believe most of us have been touched by it either personally or through someone close to us.
For individuals who’ve shared that they were secretly glad I didn’t give them a heads-up, as they found the unexpectedness therapeutic and comforting in its reminder of shared experiences, I ultimately perceived this as a moment that was perplexingly intricate for them. Aza expresses in the movie that films don’t always get it perfectly right, which is why he leaves out numerous details like depicting the father in the room, because he wasn’t sure how to portray those subtleties effectively. That’s Aza’s perspective; I believe he would have conveyed it beautifully. However, this movie has been an enjoyable topic for discussing with others.
Aza wrote a movie especially for you? He personally handed over the script to you. Can you describe your experience with that? What did he express, how did you react? Well, back in 2018, we teamed up on a show called Sorry for Your Loss. After that, Aza and I became close friends and often discussed our projects. It wasn’t too surprising to me since we always wanted to collaborate.
About a fourth of the way through, he admitted that he began envisioning me, as well as Carrie and Natasha. While he wasn’t very acquainted with Natasha, he knew Carrie and myself quite well. He aimed to create an intimate environment, free from the familiar movie industry dynamics we’ve grown accustomed to. Since he was already familiar with the investors, the primary concern was safeguarding this project. He didn’t want it floating around as a PDF that could be easily shared, nor did he wish to announce its existence, thus avoiding any anticipation about when it might be revealed or submitted to film festivals. Instead, he personally delivered the script to me and mailed copies to my agent and managers, thereby ensuring they felt involved rather than overlooked in this endeavor.
Looking back, it had an old-school vibe throughout. When we started filming three years ago, spanning just 17 days between Thanksgiving and Christmas, it seemed as if there were no grand expectations of what might come from it. Instead, the essence of the project lay in collaborating with each other, savoring the opportunity to work together. Despite its brief duration, it took on a much larger scope, transcending those 17 days. It felt like an authentic, unadulterated experience that one often encounters only at the beginning of a creative journey. I believe Aza yearned for a chance to create something so entirely his, free from financial influences dictating the direction of the project. So, he penned a script that could be both directed and produced with minimal budget.
As for the character, I was quite taken aback by it! But as I delved deeper into the script, I realized she’s the most delightful character I’ve ever portrayed! Initially, when reading the script, I questioned, “How on earth will I pull this off?” The character is a woman who moves from NYC to the West, and she’s a Dead Head – a concept I’m not familiar with musically. However, as I started to grasp the essence of the character, I began to reminisce about the strong female characters I admired growing up in films – ladies like Carol Kane, Dianne Wiest, and Diane Keaton. These women were known for their energetic, buzzing personalities, their neuroticism, and their vulnerability that could reduce them to tears at any moment. This character became a whole new experience for me.
Aza is exceptionally familiar with my personal side, and he’s remarkably more compassionate and amiable than I am. As a result, I believe I’ve adopted a kinder, gentler demeanor around him. Perhaps this is why he suggested me for Christina, as he seems to bring out the best in people. Even with Natasha, who can be quite intense and unpredictable, Aza manages to connect on a deeper level. He communicates so directly that it creates a sense of calm, making conversations more thoughtful and profound.
At what point did you learn that both Carrie and Natasha were involved in the situation? From the start, he mentioned, “I penned something especially for you, Carrie and Natasha, and I’d be thrilled if you both agreed to it.
Can you recall your initial encounter with them? That day stands out vividly for me because Carrie walked in wearing an overall-like jumpsuit, looking as if she’d been working construction that morning. The aroma of McDonald’s wafted through the air, reminding me of fast food left in a car. Suddenly, she produced an egg sandwich from a street vendor and began sharing stories about her children while sitting cross-legged and eating. I remember thinking to myself, “Is this what Chicago is like?” because she identified herself as a Chicago actress. Natasha, with her hood on, seemed mysterious and nocturnal. I grew fond of them instantly.
Could you share some insights about the initial day of filming? On that day, the characters portrayed women grappling with societal expectations of family roles, something many of us can identify with. We playact versions of ourselves, often when we return home or interact with siblings. It could be a persona from the past, a desired image, or simply being on edge because of the excitement of being together.
https://youtube.com/watch?v=watch?v=K0jwAP2fS1E
In getting to know each other, did you manage to develop a bond similar to sisters quite easily? To put it another way, we had to learn how to act as if we were siblings. This required some adjustments on our part, as we tried to figure out the dynamics of our new family. However, the sense of being sisters – that connection – felt very natural and authentic from the start. As actors, we often find ourselves trying to quickly size up the people we’re about to work with, asking questions like “are they going to be a brick wall?”, “is this their true self?”, or “are they putting on an act?”. But all three of us were genuine and authentic very quickly, which I believe helped create an intimate bond that real sisters might have.
As a fortunate movie critic, I’ve had the unique opportunity to witness this intimate production unfold firsthand, as we filmed scenes consecutively due to our single location setup. The captivating dynamics between these sisters were further illuminated, while Carrie, Natasha, and I also forged bonds off-screen. Given the compact nature of this film, we found ourselves literally sharing the same space throughout the day, with no escape to a private sanctuary. This tight-knit atmosphere allowed for an authentic progression in character development, as each scene seamlessly built upon the previous one.
In our discussions, we delved deeply into the dynamic between Katie and Christina, focusing on their shared past that Katie clings to immaturity. Christina aspires to move away from this history and be more considerate and compassionate towards Rachel. There’s a moment where Christina is attempting to establish her own space, sitting in a chair against the partition wall in the apartment. It’s almost as if Katie and Rachel are perplexed by her actions, unaware that all she truly wants is some personal time.
It seems Natasha shared an interesting thought about you lately. She mentioned that your thoughts often revolve around the fact that we’re all going to eventually die. I’m curious to hear more about what sparks such contemplation in your mind.
About death.
Yeah. I’ve met people who are like, “It’s gonna happen and I’m okay.” They’re usually surfers.
Instead, we could say:
I feel like you’ve done a lot of projects about grief and dying.
Yes, and I don’t mean to!
To clarify, it’s not as if I’m fixated on this subject. My mind is occupied with various matters. At the moment, my focus is predominantly on a profound, transcendent concept that predates organized monotheistic religions.
As a cinephile immersed in the profound thoughts of the book “God, Humans, Animals, Machines,” I’m yearning for a deeper exploration of the concept of having a body and a soul. Could you perhaps elaborate on this fascinating subject?
Could you enlighten us when you come to a conclusion? I often ponder over the fact that we seem to be in a cultural chasm where we forget what unites us, and instead, we continue to divide, subdivide, and spread hatred. This thought crosses my mind frequently.
Great.
Sorry!
In response to your comment, I too ponder over those topics frequently. However, let’s shift our focus towards the intense physical altercation depicted in the movie instead. Honestly, I’ve never found myself involved in such a heated confrontation with my family members! There was a moment where it seemed like self-inflicted harm and perhaps an incident involving my brother almost drowning me, but that’s about it.
Can you share some insights into filming this specific scene, given your previous mention of a hummingbird repression approach in the film? Was it particularly impactful for you to perform due to that aspect?
That is so funny.
You know that part.
https://youtube.com/watch?v=watch?v=ML1_2lHFftE
As a fellow cinephile, I can certainly relate to your curiosity! While we didn’t necessarily have arguments in the traditional sense, there were certainly times when Natasha and I had discussions or differing opinions, particularly about how best to manage our busy schedules. Being detail-oriented, both Natasha and I took a keen interest in planning our days effectively, ensuring that nothing important was overlooked. With her being more outgoing than me, I usually deferred to her leadership style, stepping in when balance was needed or when my perspective could add value. However, we never had any serious disagreements, always finding a way to work together harmoniously.
Were you residing with either Natasha or Carrie? No, it’s unclear as our apartments were scattered within the same building, but we weren’t spending our nights there.
It’s been shared that you two cohabited! Since Carrie resides outside the city, our living arrangement was more like a shared apartment, or as some might say, a trailer. However, many journalists have misconstrued our conversations about it. Even when we clarify, “We don’t mean literally living together,” it seems to happen frequently. Carrie often texts saying, “They’ve misunderstood us again!
We’re correcting the record.
We’re correcting the record, yeah.
In our fictitious apartment, we were all engrossed in the daily New York Times Spelling Bee game. Our aim was to be the queen bee each day. We frequently enlisted Tracy Letts, Carrie’s playwright husband known for his extensive vocabulary, to help us reach our goal. This activity was a daily routine for the three of us, with Aza growing quite tired from it.
If you were to devote your time following someone across the country – be it a band, artist, or spiritual figure – who would you choose?
That’s incredibly healthy.
I don’t know, actually. What would you do?
I’m quite enamored with Ariana Grande, and it seems like she’s my musical equivalent of the Grateful Dead – I find myself drawn to her everywhere!
“They go through different periods or phases in history, while we don’t seem to have that luxury. However, if we could, I suppose it would require significant effort to understand and reflect on how we perceive others. Pop stars serve as powerful cultural icons. While ‘important’ may not be the perfect term, they provide a captivating diversion from the reality of our mortality.
To prevent us from gazing into nothingness, you’ve mentioned before your disinterest in films solely for streaming, and theatrical release holds significance for you. Could you elaborate on how you manage this balance? This movie had a brief run in cinemas.
Indeed, they offer as much as Netflix does, which is a two-week window. I was incredibly thankful that they allowed this. They provided numerous 35mm prints of the film, enabling it to be shown projected at various theaters in Los Angeles, and I believe in New York too. They ensured the film’s analog essence, something we cherished, was preserved.
Was it because of your words that led to this situation? It was Aza’s remarks that prompted the deal for a theatrical release. They created a 35mm print due to our collective request, and they knew it would generate more excitement for cinema-goers. In essence, watching a film on the big screen, even something as commonplace as this, can still be an unpredictable experience. After all, there’s a person behind the projector who might occasionally change reels, causing minor imperfections to show.
For certain smaller movies, streaming is currently the primary method of public viewing, given the complexities and financial losses associated with traditional acquisitions during this time. However, I personally don’t find making a film exclusively for streaming appealing. I share Paul Thomas Anderson’s sentiment that blockbuster films like Marvel productions help keep cinemas financially viable. In my opinion, streaming has indeed disrupted the film industry significantly. Ultimately, it boils down to whether one can negotiate and assert their demands effectively in this evolving landscape.
It seems you’ve been discussing your increased readiness to take risks in your career by backing films, and recently you’ve been attending pitch meetings. I came across an article about Todd Solondz’s struggle to produce Lovechild, a movie you’re cast in. Can you tell me more about the status of that project?
In simpler terms, For the projects I have in mind, there are studios like Searchlight Pictures that can handle diverse types of work. However, these ideas often blur genre lines, making it hard to categorize them. For instance, I’m unsure about the genre for “His Three Daughters“. It has humor and heart, so some might call it a dramedy. But this term is confusing, especially when seeking funding because it can be dull.
As a passionate cinephile, I was wondering if there’s anything else you could share about the Todd Solondz film? If you’re documenting this conversation, it would be fantastic if you could emphasize in large, bold letters: “Todd Solondz is in need of financial support to create his next masterpiece!
It appears that in your heart, you lean towards independent projects rather than large Marvel productions. What thoughts cross your mind about this? Is it more a matter of balancing obligations versus personal passion? I think because Marvel has been so consistent for you, providing a sense of security and allowing you the freedom to take on other opportunities, returning to Marvel doesn’t feel like an obligation but rather a choice. When I say “always,” I mean in the last six years out of the eleven you’ve spent with them. Each time it feels like they have a character-driven idea that makes them want you to come back.
Could I inquire about your initial acting experience? You were just four, and you appeared in the music video “B-U-T-T Out” alongside your sisters. Do you recall any details from that role during that time in your life?
In reviewing it again, it appears they’ve been rather unkind towards you in the film. When there are four children and two of them are employed, the other two go to the set after school, which serves as a form of daycare, which is convenient because there are teachers present and such facilities. Occasionally, they would simply say, “Hey Lizzie, we’ve written something for you,” without much further consideration.
As a child, I had a deep affection for acting and spent a significant amount of time practicing ballet. I attended numerous theater camps and took part in some acting workshops. The idea of pursuing it as a career crossed my mind, possibly influenced by Jennifer Connelly’s performance in the movie “Stepmom.
How did having sisters in the entertainment industry impact your perception of fame, and how did this influence your career path? My sisters’ careers seemed incredibly challenging and demanding from a young age. While there were enjoyable aspects to it, I also recognized they had professional responsibilities at such a tender age. This made me lean towards theater as a less conspicuous choice, avoiding the perception of being “so-and-so’s sister.” The term “nepo baby” wasn’t coined yet when I was starting out, and it doesn’t fully apply to my situation due to my parents. However, nepotism is still present in any field when you are associated with people who have a lineage to the job you aspire to have. So, I chose theater, moved to New York, attended the Atlantic Theater Company school through Tisch, began understudying at 19, and auditioned for Garry Hynes, who directs Martin McDonagh’s plays.
Are you interested in taking on another theatrical role? A production I was set to perform on the West End about a year ago didn’t work out, which was unfortunate. It was a two-person show, but when the actor could no longer participate, it became challenging to find a replacement. Despite this setback, I am eager to perform again. The series WandaVision seems to have sparked a renewed passion for physical acting within me, almost as if my lower body has been jolted out of its comfort zone. I’m really excited about getting back into theater, but I must admit that my past experience with Romeo and Juliet was quite difficult.
What transpired was a chaotic situation where our director, Tea Alagic, changed the play during rehearsals and then again for the theater performance, leaving us with barely two weeks to prepare. It turned into quite a catastrophe. I was around 24 or 25 at the time, and Daphne Rubin-Vega, my fellow actress, tried to console me by saying, “Lizzie, this isn’t every experience. Don’t let this discourage you!” However, the plays I understudied were not very good, which made the entire theater experience less than satisfying for me.
It seems like your career path has taken you by surprise, and I wonder if you could have foreseen the roles you eventually took on. To be honest, I often find myself wishing for more chances to try and fail, because in my imagination, I think… “If only I had five years of working on projects that weren’t immediately visible…
Were you not playing a very strategic game at the start?
At what point did you realize that you truly understood what you were seeking, and started making deliberate choices? When do you recall this change occurring for you? This shift might have been due to the fact that I spent two years working on the series “Sorry for Your Loss,” Marvel projects, which eventually led to “WandaVision.
After completing “Doctor Strange,” I moved on to portray “Love and Death.” It was around this time that I found myself wondering, “Marvel, that’s a wrap for that phase. So now what’s next?” Playing “Love and Death” was an incredibly rewarding experience for me, and I adored the ensemble and had a blast working on it. Consequently, I began contemplating, “How can I get myself back in the running again?” There are several filmmakers I aspire to collaborate with.
Could you possibly name a few examples? There are around 50 in total, and many of the European filmmakers I admire haven’t made English-language films yet. However, I’ve come to understand that my chances for certain roles might be limited if I don’t take on more projects like these. His Three Daughters was an initial step in this direction. A film called The Assessment, which hasn’t been released yet and was shown in Toronto, is another attempt with a new director, Fleur Fortuné. I believe these decisions have been aimed at making that transition.
This is like a new pop-star era for you. You’re in an era.
I’m in an era.
Do you know anyone whose professional journey inspires you so much that you wish to emulate them? For me, that would be Carey Mulligan, Andrea Riseborough, and Michelle Williams. They consistently transform their roles, whether subtly or dramatically, and I find their careers captivating. I can’t get enough of watching them.
You’re doing an Albert Brooks–style romcom next, correct?
Yes.
Absolutely! It’s a movie titled “Eternity” that we worked on this past summer, featuring Da’Vine Joy Randolph, Miles Teller, Calum Turner, and John Early. Our talented director, David Freyne, is an Irish filmmaker, and the film has a vibe similar to “Broadcast News” or a Billy Wilder production. It’s a romantic comedy with plenty of laughs and heartwarming moments. In this project, I get to portray a 92-year-old character who finds herself in the afterlife – yes, we’re delving into the subject of death again!
You can play our Elizabeth Olsen–themed Cinematrix here.
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2024-11-19 21:55