I have committed to a very interesting movie about a woman (“Second Saturn”) that I hope to do in May. The scripts for “Avatar” are absolutely incredible. You’re soon to head into one mammoth “Avatar” production. She was so disconnected from her life and bored by it. I’m sure you could describe Janey in “Ice Storm” as cold but she wasn’t cold. I was discussing a character I might play with someone and they said, “This woman’s cold.” I said I find that a nonsensical adjective for a woman. We’re not going to go away.Īng Lee’s “Ice Storm” must be a film you’re particularly proud of. Does it also make you remember how much you loved the first one? I think so, but not to the extent that I’m going to boycott it. I do think it has something to do with the misogyny Trump has unearthed. What did you think of the backlash to Paul Feig’s “Ghostbusters”?
I think by the time your daughters are in the world, everything will be different. It’s a movie I hope families go to together. That’s why I really loved “A Monster Calls” because the grandmother was unlike anyone I’ve played before - not completely unlike my mother, who was British. I don’t need to be the center of the story. I really love being part of a good story. You have such an impact on a film, regardless of how large your part is. I remember thinking, “Gosh, I’m so amazed I’m in this body for so long.” Maybe that’s the early awareness of an actor that we’re all changeable. It took me a while to realize I was stuck with me. I always used to think I was going to go to school and then come home and be a different girl and go to a different house. I thought everyone got to go on the set of “Peter Pan” and meet Mary Martin. Your father, Sylvester ‘Pat’ Weaver, was president of NBC and created “The Tonight Show.” Was it like you grew up in show business?Īt the time, I thought everyone’s father ran a network. The actress (who hasn’t lost a bit of her glamour) recently reflected on “A Monster Calls,” her re-entry to Pandora and her legacy of strong female protagonists. Aside from approaching grief with uncommon seriousness, the film flips some genre tropes, including Weaver’s grandmother character.
Bayona (who’s helming the next “Jurassic Park” film), the adaptation of Patrick Ness’ novel is about a boy coping with his mother’s terminal illness. She was even glimpsed in Ron Howard’s “The Beatles: Eight Days a Week - The Touring Years” as a young, rabid Beatlemaniac.īut she ends the year with “A Monster Calls,” a smaller film that uses fantasy to plumb deeper emotional depths. Weaver has been particularly ubiquitous in 2016, gracing the year’s top box-office hit, “Finding Dory,” with its best gag (her aquatic center greeting), and popping in to reprise her original role in the “Ghostbusters” reboot. Just her voice is enough to lend sci-fi credibility, whether as the ship’s voice in “WALL-E” or as the all-powerful Director in “The Cabin in the Woods.” She has defined one mega franchise (“Alien,” with one more on the way) and been the MVP of another (“Avatar,” with four sequels coming). She has an almost queen-like status on today’s movie landscape, particularly in science-fiction. That, of course, has been apparent since her breakthrough role as Ellen Ripley in “Alien.” But it’s no less true of Weaver at 67.
Whether the part is small or large, she reliably jolts any film alive with her intelligence and commanding presence. TORONTO - A movie has a way of sitting up straight whenever Sigourney Weaver is in it.
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