Leelee Sobieski

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By Executive Editor Nicole Holland and Online Editor Todd Konrad

At the age of 25, two-time Golden Globe nominee Leelee Sobieski has become a breakout actress of her generation.  She next stars as Johnny Depp’s romantic interest in Michael Mann’s anticipated John Dillinger biopic for Universal, Public Enemies (July ’09).  Her previous foray into television garnered both a Golden Globe and an Emmy nomination for the portrayal of legendary Joan of Arc in the top-rated, $20 million CBS miniseries Joan of Arc, as well as a Golden Globe nomination for her role in Uprising. Furthermore, she previously treated audiences to a variety of performances including a young nymphet opposite Tom Cruise in legendary director Stanley Kubrick’s top-grossing Eyes Wide Shut and the Merchant-Ivory production, A Soldier’s Daughter Never Cries.

Sobieski, who is half French and half American, is no stranger to French cinema. She starred in the French-language film L’idole, and co-starred alongside Cannes favorite Catherine Deneuve in the updated adaptation of Choderlos de Laclos’ classic Les Liaisons Dangereuses, directed by Josée Dayan. In addition, she made her Cannes debut when Lying premiered at the 2006 Cannes Film Festival.

IFQ recently spoke with Sobieski upon her return from Moscow where she just wrapped The Mad Cow.

IFQ: Could you briefly discuss your role in the new film Public Enemies as Polly Hamilton and what drew you to accepting this specific part?

Leelee Sobieski: I play Polly, Chicago gangster John Dillinger’s last girlfriend before he died. Public Enemies is such an exciting, sexy story to begin with, but it has actually become even more topical because of our present economic situation. Michael Mann as Director, Dante Spinotti as cinematographer and then Johny Depp, Christian Bale and Marion Cotillard—that sounds like a good movin’ picture to me!

IFQ: As Polly, you play with Johnny Depp, who in the film portrays John Dillinger while your character was Dillinger’s final girlfriend in real life. How was your rapport in working with Johnny in such an intimate role?

LS: Johnny is one of my favorite actors today and has been since I was a six-year-old totally taken with Cry Baby. We got along very well and he is really playful to work with, nice to everyone down to the last extra, even wishing all the other actors good luck before his close-ups. It was actually something beautiful to see.  Johnny really creates a special space in which he can be free and fluid.

IFQ: Do you approach a role based upon a real-life character any differently than one who is purely fictional?

LS: Well, yes, except not that much information was available on Polly Hamilton; I did find some material and used as much of that as I could, as far as the story would allow. I grabbed a bit from here and a bit from there. Sometimes even when playing a completely fictional character, I will draw from women or even men from the past. I always like to combine different elements as we are all multilayered people and so we should be multilayered characters in film, as well. Everyone has something that makes them special and unique, even if they keep it hidden.

IFQ: Director Michael Mann has always been known for meticulous preparation

on his films to both achieve the most realistic portrayals as possible. How was your experience in working with Mann in terms of his direction and additionally how would you compare his working process and approach to other filmmakers you’ve worked with like Stanley Kubrick for instance?

LS: Michael Mann and Stanley were both really precise. The attention to detail that many ignore is what can sometimes make a film sing. There is detail in everything though it’s not only a visual thing, but it’s in the integrity and honesty of a moment.  A great director assembles the best crew and cast and trusts them, but at the same time supervises every little detail. The movie is the director’s baby and should be treated as such.

IFQ: At an early age, you had the honor to work with the late legendary director Stanley Kubrick on his last masterpiece Eyes Wide Shut. How was your experience working with Kubrick on that particular film and your impression of him on-set?

LS: Stanley was the most open director I have ever worked with, which sounds like a contradiction to his meticulous sense of detail, but it’s not. He was open to being inspired by the moment or a new idea that would present itself in the moment no matter where it came from. Stanley was the first person whom I felt love for who passed away in my life. I was so young when it happened, when I had the opportunity and the honor to work with him, and he was so special. There was no one like him. He was one of the best directors in history if not the best. My memories of him always circle around the quality of his eyes.

IFQ: Big breakthroughs in your career occurred in 1999 with Eyes Wide Shut, which has gone on to become a cult classic since its release and Joan of Arc, which landed you a Golden Globe nomination (Best Performance by an Actress in a Mini-Series or Motion Picture Made for TV) and an Emmy nomination (Outstanding Lead Actress in a Miniseries or a Movie). What are your feelings/thoughts on how these two films stand in your overall body of work and the exposure it helped provide for you?

LS: I only had two scenes in Eyes Wide Shut and I only said “Hello,” even though it was a four page crazy monologue audition to get the part. That’s what’s behind every “Hello” or “How are you?” in a Kubrick film. And that is only from the actress’ point of view…

Joan of Arc was a lot of work for a fifteen-year-old, but playing her and working alongside Peter O’Toole and Shirley MacLaine taught me so much at such a young age. Those two older and incredible actors can sometimes knock a younger one away just by their experience and weight, so I had to work really hard at believing I was Joan and not little Leelee who was obsessed with all of their movies.  They are larger than life legends, but a joy to work with.

IFQ: Cécile de Volanges in Les Liaisons Dangereuses was your breakthrough role in France. You co-starred alongside Cannes favorite Catherine Deneuve; what was it like working with her?

LS: Catherine has to protect herself in France because she is such an icon, but once she lets you in she charms you entirely. She was so sweet to me and planned a surprise birthday party when I turned 19 and bought me this really cool old Navajo turquoise ring. I love Belle de Jour.  Like Peter and Shirley, and like Johnny and Tom, Catherine is one of the greats, and I count myself lucky to have worked with her.

IFQ: Your French in Les Liaisons Dangereuses is quite impressive and you carried the film well playing opposite Deneuve. Also, you have starred in several French speaking films such as the previously mentioned Les Liaisons Dangereuses, as well as earlier works: L’idole, A Soldier’s Daughter Never Cries, etc. Did your father’s French background, your childhood and your earlier French-speaking films help you with the language in Les Liaisons Dangereuses?

LS: All of the above helped me. Especially the fact that my father is French… I think L’idole was the film where I really became comfortable working in French. And it was thrilling also because the actor I was working with, James Hong, didn’t speak any French so I was constantly translating everything French into English for him when it was his close-up. My mind and attitude function a little differently in the two languages and that was exciting to play with.