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DP/30: Zero Dark Thirty, actor Jessica Chastain

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3 Responses to “DP/30: Zero Dark Thirty, actor Jessica Chastain”

  1. Sam says:

    Loved this interview. Jessica Chastain is a great conversationalist, and I like what she has to say about how she works. And I like how down to earth she is, despite having every reason not to be.

  2. jon says:

    She’s great.

  3. Djiggs says:

    The best Actress Oscar goes to Jessica Chastain this year & I think handily over Jennifer Lawrence.
    -the other 3 likely candidates Cotilliard, Riva, Weisz/Knightley are into pictures that are even more uncompromising in their artistic viewpoints than even ZD30 (not necessarily more successful story wise than ZD30 but definitely less appealing to an average moviegoer & academy member)
    -historical drama against screwball romantic comedy
    -sending praise to Obama’s administration approach to handling terrorists (e.g. Good detective work vs evil Cheney torture tactics)
    -Factoring along with their performances are Chastain’s career & Lawrence’s career in Oscar voters … Which I theorize will be like how the AL MVP went to Cabrera over Trout…Lawrence is still a young skyrocket with bigger mountains to climb while Chastain is hitting the beginning of her prime acting years after 10 plus years not having any substantial recognition until past two years
    -the biggest factors are screen time & how much each actor is carrying their film’s narrative; Lawrence is in a more defined ensemble movie & is not the character that is the audience’s narrative marker…Bradley Cooper is & Lawrence is the most important supporting but still a supporting player. Chastain’s Maya is the viewer ‘s prism into the world of ZD30. I think that this is the primary reason Streep was chosen over Davis…because she was in almost every single scene in her movie.

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon