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Joan Allen Talks About Working with Sally Potter on "Yes"
>From Rebecca Murray,Your Guide to Hollywood Movies.
Friday, June 24, 2005
Allen on "Yes," Simon Abkarian and Sally Potter, and Her Career Joan
Allen on Her Attraction to _`Yes:'_ (http://movies.about.com/od/yes/)
`When I saw Sally Potter's name on the script I went, `Okay, I'm
probably going to do this no matter what,' because I love he work so
much. Then I read the script and thought it was very rich and a great
character to work on with Sally. And it was. It was an incredible
experience making it.' Joan Allen on Working with Simon Abkarian: `It
was a really wonderful, joyful experience. I don't speak French and
was embarrassed becauseSally speaks French very well. It was a global
cast and crew and Simon speaks Arabic, French, Armenian, English...
This was [Simon's] first English-language film. He knows English and
working on our relationship was wonderful. I think a lot of that was
because we have both had extensive theater backgrounds. He has his own
theater company in Paris and I was part of the theater company for
many years and there's that sense of the most important thing, which
is the story. And I think we both approached our work in a similar
way, so interesting things happen.'
Freedom to Play with the Rhythm of `Yes:' Sally Potter's background as
lyricist contributed to her decision to write the movie as if the
dialogue were part of a song. Potter explains it by saying she chose
verse `because its deep rhythms and its long tradition (from medieval
sonnets to Icelandic sagas to rap) enable ideas to be expressed in
lyrical ways that might otherwise be indigestible, abstract or
depersonalized.'
Allen said Potter allowed the cast a little play when it came to the
dialogue. `There was a fair amount actually. Some of it has its
ownrhythm. Within the structure of the rhythm there's a lot of
freedom and Sally just wanted it to be emotionally true more than
anything. Then the words would come out as emotional content. We had
three weeks of rehearsal and Sally would tweak some things. She'd be
counting the number of syllables and that was really cool to watch her
do that.
It was our objective to make it accessible conversational. Most people
who see it who aren't aware...like half way through they go, `Oh, this
is rhyme,' and I love that that's what is does. It would be horrible
to turn people off thinking it's all verse.'
On Taking Her Career a New Direction: After making a name for herself
in Hollywood playing Pat Nixon in `Nixon,' a repressed housewife in
`Pleasantville, ' and Elizabeth Proctor in `The Crucible,' Allen's
last few roles have featured a whole different side of the
multi-talented actress. Joan Allen was gardening in the nude in "Off
the Map" and she's involved in a few hot, sexy scenes in `Yes.' Does
she view her most recent choices as indicative of a change in the
direction of her career? `I hope so - I loveit,' laughed Allen,
adding, `Working in the garden in the nude, that took some decision
[time]. I didn't decide to do that right away, but I finally did.
I had said I would never really do that [and] they had a body double
ready. But I started getting superstitious that if I didn't do it, I
wouldbe cheating the character somehow. I said, `I think I won't
understand this film unless I do it.' And the way Campbell Scott
handled it, and the fact that it wasn' t a sex scene, made a bit of
different to me. I characterize it as my ` National Geographic' shot
because she's naked in the garden and mesmerized by a coyote. I think
it's innocent in that sort of way.'
Joan Allen on Taking Risks: `This business is tough, and Sally
familiarized me with a term the other day when we were talking about
what is the hardest part of this business. She said, `The financing.'
It's difficult and she struggled, ultimately making it for a million
dollars. She said it's a very risk-averse atmosphere we live in. As an
actor I like to do different things, and if no one is willing to take
that chance to take their risks financially, you get put in a place
that maybe you don't want to necessary stay in.
I did `Nixon,' `Ice Storm' and `TheCrucible' within a year and a half,
and `Pleasantville' shortly thereafter. So all those happened very
quickly and, to me, at the time they were vastly diffident
characters. It's only in retrospect after some journalists have
pointed it out to me, they all havea strong moral center. I've done
the best in those roles and am proud of all of those films. They were
interesting characters, but I don't want todo that anymore. The vein
has collapsed for the junkie; it's not going to give anymore. So
fortunately I had Campbell Scott come along who so wanted me to do
that film and for many years was trying to get it financed.'
What She'd Like to Do Next: `I'd like to do more comedy. I had a great
time on `Upside of Anger.' Many parts of it were great fun. I think
it's cool when there's actors who are couples that is somewhat
authentic, andthere was a mini version of that with me and Kevin
[Costner]. We were of similar age, trying to have an adult
relationship with all the baggage that goes along with it.'
>From Rebecca Murray,Your Guide to Hollywood Movies.
Friday, June 24, 2005
Allen on "Yes," Simon Abkarian and Sally Potter, and Her Career Joan
Allen on Her Attraction to _`Yes:'_ (http://movies.about.com/od/yes/)
`When I saw Sally Potter's name on the script I went, `Okay, I'm
probably going to do this no matter what,' because I love he work so
much. Then I read the script and thought it was very rich and a great
character to work on with Sally. And it was. It was an incredible
experience making it.' Joan Allen on Working with Simon Abkarian: `It
was a really wonderful, joyful experience. I don't speak French and
was embarrassed becauseSally speaks French very well. It was a global
cast and crew and Simon speaks Arabic, French, Armenian, English...
This was [Simon's] first English-language film. He knows English and
working on our relationship was wonderful. I think a lot of that was
because we have both had extensive theater backgrounds. He has his own
theater company in Paris and I was part of the theater company for
many years and there's that sense of the most important thing, which
is the story. And I think we both approached our work in a similar
way, so interesting things happen.'
Freedom to Play with the Rhythm of `Yes:' Sally Potter's background as
lyricist contributed to her decision to write the movie as if the
dialogue were part of a song. Potter explains it by saying she chose
verse `because its deep rhythms and its long tradition (from medieval
sonnets to Icelandic sagas to rap) enable ideas to be expressed in
lyrical ways that might otherwise be indigestible, abstract or
depersonalized.'
Allen said Potter allowed the cast a little play when it came to the
dialogue. `There was a fair amount actually. Some of it has its
ownrhythm. Within the structure of the rhythm there's a lot of
freedom and Sally just wanted it to be emotionally true more than
anything. Then the words would come out as emotional content. We had
three weeks of rehearsal and Sally would tweak some things. She'd be
counting the number of syllables and that was really cool to watch her
do that.
It was our objective to make it accessible conversational. Most people
who see it who aren't aware...like half way through they go, `Oh, this
is rhyme,' and I love that that's what is does. It would be horrible
to turn people off thinking it's all verse.'
On Taking Her Career a New Direction: After making a name for herself
in Hollywood playing Pat Nixon in `Nixon,' a repressed housewife in
`Pleasantville, ' and Elizabeth Proctor in `The Crucible,' Allen's
last few roles have featured a whole different side of the
multi-talented actress. Joan Allen was gardening in the nude in "Off
the Map" and she's involved in a few hot, sexy scenes in `Yes.' Does
she view her most recent choices as indicative of a change in the
direction of her career? `I hope so - I loveit,' laughed Allen,
adding, `Working in the garden in the nude, that took some decision
[time]. I didn't decide to do that right away, but I finally did.
I had said I would never really do that [and] they had a body double
ready. But I started getting superstitious that if I didn't do it, I
wouldbe cheating the character somehow. I said, `I think I won't
understand this film unless I do it.' And the way Campbell Scott
handled it, and the fact that it wasn' t a sex scene, made a bit of
different to me. I characterize it as my ` National Geographic' shot
because she's naked in the garden and mesmerized by a coyote. I think
it's innocent in that sort of way.'
Joan Allen on Taking Risks: `This business is tough, and Sally
familiarized me with a term the other day when we were talking about
what is the hardest part of this business. She said, `The financing.'
It's difficult and she struggled, ultimately making it for a million
dollars. She said it's a very risk-averse atmosphere we live in. As an
actor I like to do different things, and if no one is willing to take
that chance to take their risks financially, you get put in a place
that maybe you don't want to necessary stay in.
I did `Nixon,' `Ice Storm' and `TheCrucible' within a year and a half,
and `Pleasantville' shortly thereafter. So all those happened very
quickly and, to me, at the time they were vastly diffident
characters. It's only in retrospect after some journalists have
pointed it out to me, they all havea strong moral center. I've done
the best in those roles and am proud of all of those films. They were
interesting characters, but I don't want todo that anymore. The vein
has collapsed for the junkie; it's not going to give anymore. So
fortunately I had Campbell Scott come along who so wanted me to do
that film and for many years was trying to get it financed.'
What She'd Like to Do Next: `I'd like to do more comedy. I had a great
time on `Upside of Anger.' Many parts of it were great fun. I think
it's cool when there's actors who are couples that is somewhat
authentic, andthere was a mini version of that with me and Kevin
[Costner]. We were of similar age, trying to have an adult
relationship with all the baggage that goes along with it.'