Is it scary?
Quite the contrary. No, it was a huge relief.
So why are you focusing more on this game, as you said, instead of doing that job?
I don’t know. It’s not like I actively chose it. Are not to do this. It was that I actively chose to do something else—with my comrades, with Bong Joon Howith Jim Jarmusch, with Who is Wes Anderson? That’s just what I’ve always done.
Without spoiling anything, this is also the year you have a movie where you play two characters. Think about it. Nervous or Eternal DaughterYou do that too much lately.
Honestly, I do it all the time. I mean, all way back. I mean, even Lynn Hershman Leeson‘S Technology from [2002]. I’ve always loved toying with the idea of creating a portrait from multiple identities. Although I would say that [in this year’s case]That’s not my suggestion. I was worried about that. I was worried about that here more than I was elsewhere. But in this case, now that I see it, I believe it was the right decision.
You mentioned Next door personal to you, which reminds me of a few years ago when you said Guardian You are considering a career change into palliative care. Am I right about that?
We were talking about COVID, and I said that during COVID, I was considering—if we weren’t making any more films—going through that training and working in palliative care. That’s always been in my pocket, that possibility, right.
I know you’ve talked a lot about caregiving in general, so is that part of what makes this film so personal?
Yes, absolutely. I’ve had the privilege of being in Ingrid’s shoes for quite a while now. It’s been a blessing in my life, so making a film about being able to bear witness to someone in such difficult circumstances was a really personal event for me.
Can you talk a little bit more about working with Julianne in that context?
We both felt really lucky because the fact is that we hadn’t known each other for 30 years. We’re the same age, and we’d passed each other a couple of times, probably in the hallway here, and said, “I’d love to hang out, let’s work together someday.” And I thought, “Well, when is that a possibility?” When we came to make the film, a film about two women who’ve known each other for 30, 40 years, it was really a fake. But it’s easy to fake because it could also be real. We fell into a rhythm very easily, and we could immediately imagine that we’d known each other for 40 years.
