Adrien Brody
Actor Adrien Brody has been a busy man as of late with starring turns in the upcoming films The Brothers Bloom, Cadillac Records and Manolete among others. One project sure to scare audiences and confound critics’ expectations is the Dario Argento-helmed thriller Giallo, in which Brody stars with Emmanuelle Seigner and Elsa Pataky. IFQ recently caught up with Brody for a quick chat covering a variety of subjects from his dual roles as both actor and first-time producer on Giallo, working with as well as expressing admiration for Argento, views on the film festival circuit, and how his professional life has been since winning the Best Actor Oscar® for The Pianist.
IFQ: Without giving too much away, could you briefly discuss your role in the upcoming Dario Argento thriller Giallo and how your character fits into the overall plot?
Adrien Brody: I play detective Enzo Avolfi, a man who saw his mother murdered at a very young age. His desire for vengeance materialize into an obsession with hunting down pattern killers and delivering justice. The story begins amidst an ongoing investigation of repeated slayings of beautiful young women.
IFQ: How was the experience of working with Argento himself? What’s his working process like on set?
AB: Dario and I collaborated and worked well together. He is a master of the genre, and obviously has developed a taste for blood. My initial concerns about excessive gore, and my desire to limit some of it, were soon dispelled by his enthusiasm and glee, in creating his morbid tale.
IFQ: Before you were offered the role to work on this film, both as star and producer, what was your familiarity of Argento’s work beforehand? Did that play any role in you choosing to do this film?
AB: I have seen quite a few of Dario’s films. He creates such a uniquely terrifying world (even before any bloodshed). His films are like strange paintings. If you just watch the introduction to Profondo Rosso (Deep Red), he’ll frighten you from the moment he roles credits.
As a teenager, these were the kind of movies I’d go to with my friends. I think there’s a strange fascination with horror, and being “scared” in a movie theatre is exciting. It’s also a genre I haven’t explored as an actor, and I look for new experiences.
IFQ: Initially, how did you come on board this project as an actor and producer?
AB: The role of Celine, a fashion model who is abducted, was first offered to my girlfriend, Elsa (Pataky). It’s a very challenging role as the character is put through terrible torture. My initial interest to come on board creatively stemmed from a sincere desire to make sure she was safe. What’s interesting is that by playing the detective in the film, the motivation of my character is also to protect her from harm. That being said, it was also a chance to work with the legendary master of Italian horror films. He’s one of the greats.
IFQ: As a first-time producer, what responsibilities were you saddled with in that capacity on this particular film? Also, what was your working relationship with fellow producer Rafael Primorac?
AB: As a producer, your objective is to make the best movie you can and overcome obstacles when they present themselves. I was involved with casting, rewrites, financial decisions, editing, artwork concepts, etc. Dario, Richard Rionda, Rafael Primorac and I all worked as a cohesive team.
IFQ: In addition to working with Dario, you co-starred with Emmanuelle Seigner, who is a former interview subject of ours as well as Roman Polanski’s wife. How was it working with her and did the two of you have any relationship beforehand through Roman?
AB: I knew Emmanuelle from working with Roman, and I’m familiar with her work. While brainstorming about the movie with Elsa, we both felt she would be right as her sister.
IFQ: You mentioned that your girlfriend, Elsa, has a supporting role in the film. What was it like working with her on the set?
AB: Elsa is very talented and we are both intensely focused on our work. This is the first time we’ve acted together in the same film. It deepened our connection to the work and each other. Of course, I would sometimes have to remind her to be nice to “the producer.”
IFQ: Since you won the Best Actor Oscar® for The Pianist in 2002, your career has continued to soar with intriguing parts in big projects, both studio and independent. How do you feel the Oscar® win affected the kinds of material sent your way as well as your criteria in choosing parts afterwards, if at all?
AB: Prior to receiving the Oscar®, I had been fortunate to work with many talented people within my field and have earned the trust of filmmakers whose work I admire. Although there has been more access to material after the success of The Pianist, I’ve tried to keep my motivation the same: to look for roles and stories that move me and provide growth, or take me down a new path. I like to experiment.
IFQ: Given the variety of parts you’re doing from Manolete to Leonard Chess in Cadillac Records, and now Inspector Enzo Avolfi in Giallo, what kinds of parts or genres would you like to tackle next if given the right opportunity and material to do so?
AB: I’ve been torn between lover and criminal, scholar and sociopath, and Jesus Christ.
IFQ: A lot of the work you’ve done has worked its way through the film festival circuit to generate attention and awards like The Pianist, which won the Palme d’Or at Cannes, Hollywoodland which screened to acclaim in Venice, going way back to Restaurant which screened at the New York International Independent Film and Video Festival early in your career. What’s your take on the film festival scene in general, in terms of what they bring to the table and any pitfalls you’ve seen?
AB: Considering how many movies are made, I feel any opportunity for a filmmaker to have his work seen is a good one. Independent film festivals are invaluable for smaller productions. Now that there are festivals in so many countries, there are more opportunities for not only American productions, but foreign films, and films from other cultures to share their vision.
IFQ: You’ve worked with some of the best directors in film today from Roman Polanski, Terrence Malick, Spike Lee, Wes Anderson, and Peter Jackson to now Dario Argento. In general, what traits do you feel filmmakers at that high level share and as a side note, what do you want from a director ideally when taking on a role in film?
AB: No two experiences are the same and I’m grateful for that. What I look for in a director is not only a unique vision, and the ability to convey that vision on the screen, but to also know how to collaborate with actors and inspire the best from his team. A sense of humor also helps.
*Photo Courtesy of Hannibal Pictures