to Adrien Brody as Arthur Miller Marilyn in Andrew Dominik’s Nearly Three Hours Monroe Biopic, Blonde , audiences tend to breathe a sigh of relief when the famous writer betrays a cherished promise and betrays the Hollywood icon — only because nearly everyone else in the film has been abused and exploited in more horrific ways the actress. As the film’s divisive critical response suggests , Blonde is a tough and divisive watch. But it’s hard to imagine that wasn’t Dominik’s intention.
Director’s first since Narrative movie Brad Pitt crime thriller Kill them tenderly , Blonde is based on Joyce Carol Oates’ review, 383-page novel of the same name, where The New Yorker was once called “the definitive study of American celebrities.”
Dominica cost years of developing this film and working hard to make it happen. Featuring Ana de Armas’s wholehearted and convincing performance, the film examines the Hollywood icon Her entire life, from her troubled childhood as Norma Jeane, her career climbing to superstar Marilyn Monroe. During Blonde’s long run, Dominic sticks to an intimate first-person perspective that leaves viewers unable to escape Monroe’s many pains, including sexual abuse , traumatic abortion, domestic violence at the hands of her first husband (Bobby Cannavale as Joe DiMaggio) — and most importantly, the sensationalizing, greedy creation and rapacious creation of her hypersexual celebrity image by the media and across America. Pursue.
Brody’s presence in the movie was a respite. In a subtle and tender turn as the great American playwright, the actor inhabits one of the few men in the film (perhaps the only one who admits that Monroe was a brilliant, talented artist in her own right), Their marriage in Connecticut was an idyllic (albeit short-lived) trip away from the crowds and explosive flashes.
Blonde Succeeded Wonderful world premiere at 
Venice Film Festival this monthSeptember and its Netflix will launch on Wednesday. The film is being produced by Brad Pitt’s production banner, Plan B, with Pitt serving as a producer.
The Hollywood Reporter with Burrow at the Venice Hotel earlier this month Dee sat down with Excelsior to discuss his transformation into Arthur Miller and his take on the film’s message shortly before the biopic premiere – and from
Some anecdotes Succession, whose role earned him a recent Emmy nomination.
Congratulations on the movie. I just watched a press screening and I’m freaked out by all this, but I can’t say I have a solid explanation yet.
Yes, I can imagine. (laugh.)
I really like your acting. It’s nuanced and your character Arthur Miller seems to be the only main character in the entire Marilyn Monroe story, and as it’s portrayed, she’s not overtly scary to her.
Glad to hear that. Andrew showed me a version of the film a long time ago, but I haven’t seen the final version. I’m sure it’s very similar. I expected this response because I understood the need for storytelling and told it from her perspective, but I also did a lot of research on people I deeply admire and have to represent. Although some aspects of the relationship are fictional, they have a real relationship. He’s clearly a complex, thoughtful, intelligent person – I wanted to convey a high degree of thoughtfulness in that. Andrew and I had several conversations about this. I’m happy to follow my orders, but I also like to stand up for what I think is important. So I’m really glad you said that.
I would love to know your opinion About the movie itself . It’s a very big, ambitious turn in the story of Marilyn’s life. In a way, this feels like a visceral and empathetic portrayal of the trauma she’s been through, and an insight into all the different individuals and institutions that exploited her — even the way America itself exploited her — Severe scrutiny was undertaken. But at other times, it feels as if the filmmaking approach and exclusive focus on trauma has become so extreme that the film pushes the exploitative horror genre — and if that’s the case, the film sort of uses Marilyn’s story to start over, Ironically, to advance its own bold agenda. What do you think?
This is a very shrewd explanation. I think Andrew is a very brave director, someone I’ve been dying to work with for years. I like what he does. I think it’s a remarkable achievement that he goes hand in hand with Joyce Carroll Oates’ work to honor the novel with this amazing adaptation she recognizes. Ana’s work here is excellent. You know, novels and movies are full of themes of exploitation and trauma. Unfortunately, Marilyn’s life is full of this feeling. I think since it’s being told from a first-person perspective, it kind of makes the film a traumatic experience because you’re inside her — her journey, her longing, her isolation — — in all this flattery. It’s brave and takes a while to digest. And I think it conflicts with the public perception of her life. I think that’s what makes this film successful because – whether it’s an extreme portrayal or not – it honors the public perception of the fame and glory of Hollywood’s most famous and iconic actor and the reality of that person The extreme gulf between loneliness, emptiness, mental confusion and abuse of that person. So, therefore, I find that both of the interpretations you’ve come up with are part of the storytelling, and I understand where Andrew is going. This is fearless filmmaking.
You mentioned your love for Arthur M. Le’s admiration. What was your research process like as you prepared to play him at this stage of his life?
Yes, he is the greatest we have ever had One of the playwrights, apparently, his work is so nuanced. Ironically, many of his plays revolve around family structure, family drama and tragedy – and his place in this storytelling is a tumultuous family tragedy. But, you know, he lived a very great life, and there’s not a lot of that involved in this movie. For example, his experience on the House Un-American Activities Committee. I did a lot of research on his life and their relationship. Andrew told me a lot of really fascinating details, even though the movie doesn’t even really touch on those things directly. But we tried to get an inside look at where he was in the career he spent with Marilyn. You know, I just feel a great responsibility to honor him. Basically that’s it.
I will share an interesting detail with you. While I was doing research, I watched a lot of videos. There are film clips of Arthur Miller giving various interviews and discussions at the end of his career. I kind of agree with this. But when I met Andrew, he showed me some footage I hadn’t seen, and that was when he and Marilyn were married. I was like, “Oh no…” Because in the video I watched, he was a lot older and his voice changed a lot. It’s rougher. We were very close to shooting, but what Andrew showed me helped me adjust a lot, thank goodness. Interestingly, a few years can bring about a completely different weight and shift in how one performs. All those years were after Marilyn, which is also interesting. Regardless, it’s a great honor to be a part of this film. Both Andrew and Anna’s work here is extraordinary.
Adrien Brody on “Inheritance.” HBO 1235228251 1235228251
(laugh.)
Because you are so recognizable! This initially got me out of the inheritance world. But you win us right away because of the nuance and detail in the way you hit that guy. This is really great. What details of that character were important to you and how did you put him together?
I like this question. Because all the characters in this show have a lot of complexity, to get in and spend time with them, I have to feel like I’m not just coming in and doing something. It has to make you feel like you are catching a glimpse of someone who is also very complex – and for that to happen, everything has to be real.
You know, as long as I’ve worked in this industry, I’ve met all kinds of people in my life. Many friends, many acquaintances, many encounters. I like to think I’m insightful. So certain qualities of this character are a fusion of certain people I met in that world. Some people really responded to it – I think the people who liked it the most were those who met real people who were similar to that person. I haven’t been in touch for ten years because someone wrote to me and just said, “Wow, you really caught it.” This role was a relatively short period of time for me, in my years of Works in the big picture, but I’ve gotten so much love. I didn’t expect it, it’s fun.
As for putting the characters together, you know, there are a lot of layers, a lot of beliefs about who you are and what you think you are. It’s about capturing the insight of a very complex person, but conveying it all in the few moments we see him.
Even though his clothes are layered, I hope he has enough scheming to make him a perfect fit for this encounter – kinda deciphering where their business is If it’s a “solvable situation,” as he puts it, whatever that means. He knew they’d be looking forward to sitting down — having a coffee; something to eat; let’s talk about this. They will win my support. I am an idiot. Then we’ll get back to business.
But instead, he planned to take them for a walk. He’s prepared for bad weather. It would be cold by the sea, so he buttoned up—his hat and jacket could be taken off. But he knew they would be wearing loafers, blistering and uncomfortable, but tried to stay calm. And it’s all intentional. It’s a little hint to this guy’s mind. I’ve met people like that, and they’re very smart, but very shrewd, because the game they play matters. They may be very charming, but fundamentally, they are very ruthless. Sorry this is all rather verbose, but that’s wh when I’m trying to express.
Media around take over Two different approaches to the actors you face in those scenes. Brian Cox takes a more traditional, classically trained approach, and he has many of the techniques honed over his long career that allow him to turn on the camera as it rolls and then end work during the day Leave when work is done. And then there’s 1235228251 Jeremy Strong, who acts in an extreme way famous. From the point of view of you stepping into the ensemble, what is it like to use both approaches, and where does your performance approach sit between these two extremes?
Well, thank you for asking me too position. I feel like I support any approach as long as it doesn’t really wreak havoc on anyone. I think it’s everyone’s responsibility to adapt to other people’s methods. This is part of the job. It’s not an exact science. I studied as an actor for many years – Stanislavsky and method. I use a lot of things – sensory memory and emotional recall – they are all built in. Like Brian, it’s more of a technical thing sometimes because you’ve been doing it for a long time.So you have an innate understanding that it’s really about listening and doing work ahead of time — with that Characters connect, listen, be present and react accordingly. All this still appeals to me. I think the hard part comes when the actors disrupt the flow. This can come from many reasons: insecurity about where they are at that moment, whether they are connecting or not, or from the ego. or something else.
However, I didn’t experience any of this on Succession. I think Jeremy is a great set partner and very thoughtful. He contacted me before getting on the boat and we got together. I did notice him keeping his distance from Brian on set, but I just thought it was all funny. I think Brian probably doesn’t care, but it obviously worked for Jeremy. I just remember thinking, “Wow, this is so funny.” It all went smoothly. I just wish there were more. I really enjoy interacting with them. This is my experience. I thought it was fine. You know, whatever works — what they did on that show obviously worked.
Interview edited for length and clarity.
