Natalie Portman describes her May performance as a ‘dream role’
Natalie Portman describes Todd Haynes’ new film May December as a “dream role.”
Portman plays actress Elizabeth Berry (Portman) in May December, and is set to play Gracie Atherton Yeo (Julianne Moore) in the film. Gracie is a Georgia woman who became a tabloid celebrity when she entered into a sexual relationship with a 12-year-old boy named Joe. (Yes, this is loosely based on the story of teacher Mary Kay Letourneau, who had an affair with and married her teenage student Vili Fualaau.)
Twenty years have passed, and Gracie is trying to move on from the scandal. But to prepare for her next role, Elizabeth visits Gracie and Joe (Charles Melton), now 36 years old. The couple is still together, married with children, but Elizabeth’s arrival exposes the fractures beneath their carefully crafted surface.
“There are a lot of refractions that all reflect the work that Todd did,” Portman says. “How you see the characters in Sammy (Burch’s) writing, they change as soon as you think you know something about them. You’re never sure or comfortable about how they’re supposed to feel. It was just a gift to do it.”
In this award-winning, historic 200th episode diverse Awards Circuit podcast, Portman discusses her performance in the Netflix black comedy. She also shares her perspective on the state of the industry and the upward rise of women producing their projects. Listen below.
When compiling Natalie Portman’s most memorable Mount Rushmore performances, they’d probably include her Oscar-winning turn as a troubled ballerina in Black Swan (2010) and her transformation into the former First Lady in Jackie (2016). . The other two openings are up for public cinematic discussion. Under the direction of author Haynes, Portman’s latest effort May December may stand proudly alongside her other roles.
Read highlights from miscellaneous An interview with the Oscar-winning actress is below.
Everett Group
After the Hollywood strikes, what do you think of the state of the industry, where the lines have become blurred between TV, film and movie theaters?
I have no idea and feel as lost as everyone else. It seems to change all the time. They’re like “movies are dead”, but “no, movies are booming” and “no, streaming is just like TV”. We’ve spent all this time changing our industry to have the same thing we had before. Meanwhile I see my children. They all just watch YouTube. (Makes you think so) Maybe none of this is relevant. I want to make what I love and care about and try to continue to support that. When you complement those things, they find their fans and they find people who are passionate about them.
As a former child actress and now a mother, do you encourage your children to get into this industry? Or do you see enough change to make them feel safe if they choose to go into it?
I would like no Encouraging young people to get into this. I don’t mean never; I mean as children. I feel like it was almost a coincidence that I didn’t get hurt, coupled with my father’s absolutely wonderful protection. You don’t like it when you’re a kid, and you’re grateful for it when you’re an adult. I’ve heard so many bad stories that I think any child should be a part of it. Having said that, I know all the conversations we’ve had over the past few years. It has made people more aware and cautious. But in the end, I don’t think children should work. I think children should play and go to school.
The film is a dark comedy, and people who haven’t seen the film may be surprised to see it labeled that way. Did you see the humor while reading the script or did you see it more in the editing room?
I feel like I saw that more in editing. I saw the absurdity and absurdity of people and human behaviour. I mean… “Everyone’s crazy” is the summary of every story. I saw that, but I think Todd’s vision for it is similar to the music he chose. It was unexpected and nothing I imagined at all while reading it. This creates a very disturbing tone with the humor, but I wouldn’t say it’s funny. It’s more this tune if you’re in a strange and unsettling world.
Where is the Oscar in your home? Is it on display?
no no no. It’s in a safe. There was a moment when my husband wanted to embarrass me. In the “Black Swan” era, he put all the awards on the shelf, and I said to myself: “I need to hide this immediately.” It’s amazing to be recognized, but it can never be the motivation because that’s a spoiler.
You star in and produce your film. How do you feel about this rising trend of women taking on both roles at work these days?
It’s the best, and seeing my teammates doing it inspires me. Reese (Witherspoon) is one of my biggest role models and inspirations. It’s incredible to see Margot Robbie and Emma Stone doing it too; I think there were a lot of people this year who helped get creative.
There are a lot of great things happening this awards season, but there is also darkness and sadness happening around the world regarding the rise of anti-Semitism and the war in Palestine. Do you have a message or thoughts you would like to share during this time?
Well…it’s a really tough time. We need art more than ever. I feel like this is where we need to find our light.
Also in this episode, actor Peter Sarsgaard, Volpi Cup winner and star of Michel Franco’s film Memory, talks about his new film.
Variety’s “Awards Circuit” podcast, produced by Michael Schneider, is the perfect place to listen to lively conversations about the best in film and television. Each week the “Awards Circuit” includes interviews with top film and television talent and creators; Discussions and debates on awards races and industry titles; And much more. Subscribe via Apple Podcasts, Stitcher, Spotify, or wherever you download podcasts. New episodes published weekly
