At Cannes, Scarlett Johansson debuted her most recent role: that of a filmmaker.
The star immediately recognized, “I know how to make it,” upon discovering the script for “Eleanor the Great,” which already featured June Squibb. She, Johan is currently seeking to return to directing.
Scarlett Johansson is one of the few film stars of our day that can effortlessly charm reviewers and exude Old Hollywood elegance, all while appearing unaffected by the industry’s upheavals.
At 40 years old, she has been well-known for the majority of her existence. In 1994, the same year that “North,” her debut film, was released, she turned ten. Four years later, in “The Horse Whisperer,” she was stealing the show from Robert Redford. She went on to act in hit movies and cult favorites, record an album with Pete Yorn, and receive a few Academy Award nominations in the years that followed. She also got married three times in between her strikes and misses (most recently to Colin Jost) and had two children.
Naturally, the variety of Johansson’s professional portfolio may add interest to one’s life, but it also demonstrates sound, career-supporting decisions. She made her critically acclaimed Broadway debut in 2010 in a revival of Arthur Miller’s tragedy “A View From the Bridge.” (She later received a Tony award.) In the same year, she became famous throughout the world for her performance in Marvel’s “Iron Man 2” as the deadly Russian superspy Black Widow, which she portrayed in a bodysuit.
Tuesday marked the public debut of Johansson in a new role as the director of her first film, “Eleanor the Great,” which she unveiled at the Cannes Film Festival. It is the perfect sort of small, performance-driven film for a new director to make since it is not included in the core cast.
In the 94-year-old Eleanor, who moves into her daughter’s New York apartment shortly after the narrative begins, June Squibb plays the role. When Eleanor unintentionally joins a support group for Holocaust survivors, her life becomes complicated. It becomes much more difficult when a journalism student is determined to write about Eleanor. A friendship is formed, sprinkled with tears and laughter.
The day after the debut of “Eleanor the Great,” I got together with Johansson. For “Match Point,” she initially strolled the festival red carpet in 2005, and she came back last year with “Asteroid City.” (She also stars in “The Phoenician Scheme,” which is also available here.)
The day of her premiere, it had rained heavily, but when she stepped onto a hotel patio with a view of the Mediterranean, the sky was clear. Johansson was friendly, charming, and somewhat reserved while seated in a peaceful corner beneath a huge umbrella. She was the ideal image of a movie star, sporting the biggest diamond I’ve ever seen outside a Tiffany window and wearing sunglasses as we spoke.
The following are edited excerpts from our discussion.
Describe the project’s origins to me.
At my production firm, These Pictures, we receive submissions from all genres. At that point, I was not searching for anything to aim at. I read it because I adore June Squibb and was curious to see what she was cast in, and the plot completely caught me off guard. It had many of the characteristics of the independent films of the 1990s and early 2000s that I like. It was centered in New York and heavily focused on character.
Additionally, the plot twist was really unexpected. I wept because of it. I immediately contacted my production partner and told him, “I can direct this.” I am aware of the procedure.
Not everyone believes they have the power to direct.
I believed I would eventually get to that point when I was far younger. I made it my mission to improve my comprehension of my role as an actor in my early twenties. I veered off the path since I was in a creative relationship with the directors I was working with and took on a variety of difficult roles. When the screenplay discovered me, the time was perfect. Rather than being a complete mystery, it seemed like a continuation of my previous work. And June was prepared to produce the film. She was enthusiastic and dedicated to getting the job done.
Did your family history make this narrative especially relevant to you?
I identify as Jewish, and I can relate to the protagonist’s tale. My grandmother was a formidable lady with whom I was very close. I think of her a lot, and she lives inside me. She was a bit of a character, as you know, and somewhat similar to Eleanor. She might be a little hard to deal with. [chuckles]
When did it begin to take shape as a film for you?
I think about New York in a cinematic way. I’ve spent a lot of time wandering about as one does and simply taking in the surroundings. One of my greatest joys is observing people. I can also picture a film in my head when I read a screenplay. Since I already had some thoughts, it was more about discussing them with the cinematographer so that we could come to the same conclusion.
I was aware that I wanted stunning images of June that portrayed her in this incredibly innocent manner. The actors were incredibly dedicated and possessed remarkable theatrical endurance. I only had to capture them in a straightforward manner.
At any point in your childhood did you ever understand that “Oh, women make movies too”?
Since I collaborated with so many female directors throughout my childhood, it was fortunate that it was assumed. Thus, I suppose I never gave much thought to it as a gendered issue. Perhaps I’m a little spoiled, or maybe I take it for granted since I’ve collaborated with so many female directors and continue to do so. In fact, I read an interview with Natalie Portman the other day, and she grew up working with female directors in the film industry.
She had a similar experience. Perhaps it was fortunate for both of us that there were more opportunities for female directors when we began working there. I’m not sure whether it’s perfectly balanced, but it’s somewhat balanced out in that manner. [Laughs]
Are you interested in continuing to direct?
I certainly do. Our shooting experience was wonderful. The atmosphere on set was really welcoming, inventive, and uplifting. It made me extremely happy. Not every film you create will be a happy one, but as I’ve grown older, I have become more intolerant of the unpleasant experience. [Laughs]
Your manager was your mother. Did you discuss the sorts of activities you wanted to engage in?
She was forced to become my manager, and I believe it was initially for my protection. I developed my own wants and thoughts as I grew older and became more of a person. I was lucky that my mother encouraged my artistic passion, integrity, and everything else. She admired me for my work as an actor, as well as for my passion for performers, filmmakers, and performing.
Did your mother ever advise you on how to prevent being taken advantage of?
My mother and I are quite close. Being born and raised in New York, I had a certain street sense, and I don’t believe she was as concerned that I would be exploited by those in the business.
In a 10-year-old profile written by a female journalist, she portrays you as a attractive kid.
Yuck!
I understand! It reminded me of the ways in which media portrayals might contribute to that exploitation.
It’s difficult to manage since you’re being interviewed and sitting with someone for an hour or two, and no matter what you learn, it’s beyond your control. I was interviewed by Barbara Walters, who asked me about my favorite or sexiest body part, or something similar. Although I was horrified by the query, I still felt compelled to respond.
Do you have an optimistic outlook on American films as an industry veteran?
I believe that things will eventually even out and that some of the players will switch around. It’s going to take a long time. In my opinion, the strike was worse than Covid in terms of the harm it caused, and it has been extremely difficult to deal with. This summer, there will be a number of blockbuster films, and I believe that even lesser films like this one will be fantastic to watch in the cinema since everyone is crying and united.
You’re sort of thrilled after watching something move in front of a crowd. In my opinion, it’s about providing variety and studios that are dedicated to the theatrical experience. I believe that we can recover, but that’s just my opinion.
