Latest news with #EleanorTheGreat
Yahoo
2 days ago
- Entertainment
- Yahoo
Steven Spielberg's Shark Hits 50: Steven Soderbergh On Why ‘Jaws' Is The Most Disruptive Film Of Our Lives & Why Spielberg Is The GOAT
On its 50th anniversary, Steven Spielberg's Jaws can claim to be the most disruptive film of the last half-century, maybe even ever. While predecessors like The Godfather and The Exorcist drew theater lines around the block through word-of-mouth, Jaws was the one for which the term summer blockbuster was coined. Opening on a then-unheard-of 409 screens, the film caught the zeitgeist in an unprecedented manner, helped by marketing techniques that would center escapism as a staple of the summer movie season. Spielberg's film followed hard on the heels of Peter Benchley's bestselling 1974 novel, with screenwriter Carl Gottlieb throwing out the book's myriad subplots to focus on New England police chief Martin Brody (Roy Scheider) and the team he assembles to stop a great white shark that is terrorizing Amity Island: intellectual oceanographer Matt Hooper (Richard Dreyfuss) and salty, no-nonsense shark hunter Quint (Robert Shaw). More from Deadline Scarlett Johansson On Why The Script For Her Directorial Debut 'Eleanor The Great' Made Her Cry: 'It's About Forgiveness' – Cannes Cover Story Dakota Johnson Talks Romantic Experiments In Cannes Comedy 'Splitsville', Upcoming 'Materialists' And 'Juicy' Colleen Hoover Adaptation 'Verity' How Independent Animation Underdogs Like 'Flow' And 'Memoir Of A Snail' Are Disrupting The Awards Race: There's "Never Been A Better Time" In Spielberg's hands, Jaws was a lot more than a terrifying great white shark; the characters of Quint, Hooper and Brody are indelible, their grudging camaraderie bolstered by the film's centerpiece: the chilling tale of the USS Indianapolis. Devised by script doctor Howard Sackler and punched up in a later draft by John Milius (with some finessing from Shaw himself), Quint's gruesome monologue explained the fisherman's hatred for sharks, having been on board the ill-fated ship when it went down in shark-infested waters in July 1945 ('The ocean turns red, and despite all your poundin' and your hollerin' those sharks come in and they rip you to pieces'). An early admirer of the film was 12-year-old Steven Soderbergh, who came out of the screening with two questions: 'What does 'directed by' mean? And who is Steven Spielberg?' Spielberg's giant shark hooked Soderbergh not only enough to fuel his own disruptive filmmaking career, but also to start work on a long-gestating book that reconstructs each day of shooting what must have seemed like an impossible task: making a movie on open water with a mechanical shark that just would not work. (Amblin is producing Jaws @ 50: The Definitive Inside Story, to premiere on National Geographic this summer.) RELATED: 'Bono: Stories Of Surrender': On Irish Fathers & Sons, Processing Family Tragedy & How A Need To Be Heard Propelled A Dublin Kid To Become One Of The World's Biggest Rock Stars Here, Soderbergh reflects on his enduring admiration for the film. DEADLINE:Jaws Jaws STEVEN SODERBERGH: Overwhelmed, on a lot of levels. It was probably the moviest movie I'd ever seen at that point, this incredibly combustible combination of super-high concept and bravura filmmaking. But the thing that I think separates it from most movies before or since is the character work. And the clear understanding on the part of Spielberg of what Stanley Kubrick used to call the non-submersible units of narrative. When you look at how the narrative of the movie is built, what each scene or sequence is accomplishing, it's just a model of movie storytelling, combined with what was, at the time, unprecedented hype and expectation. And then, that expectation is not only met, it's exceeded, and he makes an instant classic, which nobody was anticipating. RELATED: Brazilian Comeback: How The Cannes 2025 Country Of Honor Is Following The Success Of 'I'm Still Here' It was already, at that point, a sort of legendarily difficult production. And until the first preview in Dallas, nobody knew what was going to happen. But you've got these forces that are smashing into each other — cultural and artistic forces — that result in this kind of nuclear detonation of popularity. But also, you've got a singular, multi-generational talent emerging with this film that everybody in the world is going to see. There was just so much fissionable material there to generate an explosion, and that's what happened. But what makes it unique even in retrospect is this: Let's say you look at the five movies nominated for [the Oscar] Best Picture that year: Barry Lyndon, Dog Day Afternoon, Jaws, Nashville and One Flew Over the Cuckoo's Nest. All of them are great. I would argue, though, that of the other four films that aren't Jaws, there are other filmmakers that could have made versions of those movies. They may not have been as good or distinctive, but they are possible to be made by other filmmakers. But there was no other director on the planet who could have survived and made Jaws. None of those other four directors could have made Jaws. Whereas I think Spielberg could have made a variation of any of those other films. It was just a totally unique property and a totally unique talent blowing up, and that's why I think it still resonates, and it just keeps getting better because it's all in camera. RELATED: DEADLINE: SODERBERGH: There's no C.G. They were out there in the middle of a f*cking ocean. There's a reason people don't do that. There is no technological advance that has happened since that would make it any easier to do what they were doing. That shark was just a pneumatic mechanical device, in the actual ocean. There's no shortcut to that, and nobody's been able to come up with an easier, better way to do it, which is why people have stopped doing it. DEADLINE: What was the most calamitous thing that those choices brought? SODERBERGH: Going through the production reports, there's a period of a few weeks where the shark's not working. And it's not working to an extent that they're beginning to confront the real possibility that what they're attempting to do just physically cannot be done. It's a testament to the studio, the producers and Spielberg, that they continued to shoot, and continued to believe that essentially, they would figure it out. But when they first got the thing in the water and tried to make it work, they were looking at the real possibility that they'd made a mistake. DEADLINE: SODERBERGH: From what I've read, it was obvious very early on, they would have to take the basic premise of the book, and those three characters, and just start over. It makes sense that in the course of talking about this story, somebody would say, 'Hey, why does Quint hate sharks so much?' And that they should try to answer that. My understanding, which could be wrong, is that Howard Sackler was the one who came up with the idea of him telling that story. RELATED: DEADLINE: SODERBERGH: As is well-documented, it went through many, many iterations. But the audacity of stopping the movie — for nine minutes — to have that scene! It starts out as a very funny scene and then morphs into something much darker. It is just still amazing to contemplate today. Can you imagine, in the middle of a Star Wars movie, a nine-minute dialogue scene? It's unthinkable. And so, again, the fact that Spielberg understood this. He's like, 'We've got to do it, and this is the time to do it. The night of day one when you need a breather — we're going to give you that breather, but then we're going to slip this other thing in there too, something that's going to make Quint an unforgettable character, through a story that is also unforgettable and true.' So, just the fact that, under enormous pressure, everybody continued to do their best work and to make the best version of that movie is, to me, a real clinic for a young filmmaker about the kinds of obstacles that you encounter. If you're going to make a movie, this is the most extreme example, but as a portrayal of the idea, 'never panic and never give up,' it's pretty hard to beat. DEADLINE: The ExorcistThe GodfatherJaws SODERBERGH: You have to attribute that to Universal, recognizing they had a rocket in their pocket and tripling down, quadrupling down, on this wide-release strategy. If it's not this movie by this filmmaker, it doesn't work. It just doesn't work. You can't just do it with any film. It was the beneficiary of a lot of different elements coming together in this one circumstance, and the studio saying, 'We should really weaponize this movie, because there's 100% awareness and 100% want to see. And the guy made a masterpiece. So, we throw everything at it.' That was the right call. Of course, when it works, everybody goes, 'OK, let's do that too.' The problem is, you've got to have a movie like Jaws to pull it off. RELATED: DEADLINE: Psycho SODERBERGH: Well, to your point, it's a huge idea. It's a really big hook, and everybody who came into contact with the novel knew it. It's a testament to how big the idea is that the novel was as big as it was, because it's not a great novel. It's just got this massive hook in it that keeps you reading. Those are rare, those high-concept horror movies that are applicable to experiences that you have in everyday life. Psycho was one of them. This is another, and whether they all have to involve water, I don't know. But it's the equivalent of finding a horror movie that makes people afraid to step off the curb, or something that they do multiple times a day and now they will never do without some amount of anxiety. Those are really hard to come by — and, believe me, there are lots of writers sitting around trying to come up with them. DEADLINE: JawsOrca Star WarsJaws SODERBERGH: The component that needs to be present for these two to become something other than single-use plastic is great storytelling. And so, two years later, Star Wars meets both those metrics and that's why it blew up in the same way Jaws did. But we're talking about a period of time when it was still conceivable that the most popular films of the year were also the best films of the year. And I don't know that that's been true for some time. DEADLINE: Close Encounters of the Third Kind, E.T. SODERBERGH: He's a singular talent who was going to emerge one way or another. He was unstoppable. A born filmmaker, and everybody that interacted with him knew it. The weird thing is, despite being the most successful director in history, I still think he's taken for granted. He has generated so much astonishing material, and some doesn't get its due because he's prolific and unpretentious in the way that he works and the things that he makes and the way that he talks about his work. There are things that he's done that if any other filmmaker had made them, these would be their career best. But he's done it so often that he gets taken for granted. I mean, there's no filmmaker that I'm aware of that can wrap their head around what he did on Ready Player One [2018]. You get any group of directors together, and they're like, 'I don't even understand how that's possible, what he did in that film.' And that's just one of two films he made back-to-back [after 2017's The Post]. Anybody else after any one of these things he'd done would be on bed rest for three years. DEADLINE: Jurassic ParkSchindler's List SODERBERGH: That's ridiculous. Either one of those would put another filmmaker in the hospital. So, for his facility and, like I said, his lack of pretension, I just still think he's taken for granted, strangely. Best of Deadline Every 'The Voice' Winner Since Season 1, Including 9 Team Blake Champions Everything We Know About 'Jurassic World: Rebirth' So Far 'Nine Perfect Strangers' Season 2 Release Schedule: When Do New Episodes Come Out?
Yahoo
2 days ago
- Entertainment
- Yahoo
Scarlett Johansson Coordinates Her Orange Smoky Eye to Her Strapless Gown
"Hearst Magazines and Yahoo may earn commission or revenue on some items through these links." Some people go through life never knowing what color they look their best in—but not Scarlett Johansson. The actor looked positively radiant in head-to-toe orange as she attended the New York City premiere of The Phoenician Scheme at Jazz at Lincoln Center last. Her ensemble consisted of an elegant, strapless gown in a blood-orange hue. The piece was ruched at the neckline and featured a draping details that wrapped around her waist and cascaded down one side. ScarJo styled the dress with black square-toe sandals, small gold hoop earrings, and a striking open-ended gold necklace with large teardrop diamonds at each end. For her glam, Johansson chose a summery orange smoky eye that perfectly coordinated with her citrus-tone dress. Her blonde hair was down in easy waves. In The Phoenician Scheme, 'wealthy businessman Zsa-zsa Korda appoints his only daughter, a nun, as sole heir to his estate. As Korda embarks on a new enterprise, they soon become the target of scheming tycoons, foreign terrorists, and determined assassins,' per IMDb. Bill Murray, Tom Hanks, and Michael Cera are also in the Wes Anderson movie. The comedy-drama had its premiere at the Cannes Film Festival earlier this month. Johansson attended the glamorous festival alongside husband (and Saturday Night Live cast member) Colin Jost. She also promoted another project while there: her film Eleanor The Great, which she directed. ScarJo walked the Cannes red carpet for her directorial debut in a cool Prada skirt suit. You Might Also Like 4 Investment-Worthy Skincare Finds From Sephora The 17 Best Retinol Creams Worth Adding to Your Skin Care Routine
Irish Times
4 days ago
- Entertainment
- Irish Times
Scarlett Johansson on her newest role: film-maker
Few movie stars today win over critics and convey Old Hollywood glamour as effortlessly as Scarlett Johansson does, all while seemingly impervious to the industry's convulsions. Now 40, she has been famous most of her life. She turned 10 the year her first movie, North, opened in 1994; four years later, she was upstaging Robert Redford in The Horse Whisperer. In the decades since, she starred in cult films and blockbusters, made a record with Pete Yorn and earned a couple of Oscar nominations. Between hits and misses, she also married three times (most recently to Colin Jost) and had two children. The kind of diverse professional portfolio that Johansson has cultivated can make life more interesting, of course, but it's also evidence of shrewd, career-sustaining choices. In 2010, she made her critically celebrated Broadway debut in a revival of Arthur Miller's tragedy A View From the Bridge. (She went on to win a Tony.) That same year, she slipped on a bodysuit to play lethal Russian superspy Black Widow in Marvel's Iron Man 2, a role that propelled her into global celebrity. On Tuesday, Johansson publicly took on another role when she presented her feature-directing debut, Eleanor the Great, at the Cannes Festival . Playing outside the main line-up, it is the kind of intimately scaled, performance-driven movie that's ideal for a novice director. READ MORE Scarlett Johansson with June Squibb at the Cannes Film Festival. Photograph: PascalJune Squibb stars as 94-year-old Eleanor, who, soon after the story opens, moves into her daughter's New York apartment. Life gets complicated when Eleanor inadvertently ends up in a support group for Holocaust survivors. It gets even trickier when a journalism student insists on writing about Eleanor. A friendship is born, salted with laughter and tears. I met with Johansson the day after the premiere of Eleanor the Great. She first walked the festival red carpet in 2005 for Match Point, returning last year with Asteroid City. (She's also in The Phoenician Scheme, which is here, too.) It had rained hard the day of her premiere, but the sky was blue when she stepped on to a hotel terrace overlooking the Mediterranean. Seated in a quiet corner shaded by a large umbrella, Johansson was friendly, pleasant and a touch reserved. Wearing the largest diamond that I've seen outside of a Tiffany window, she kept her sunglasses on as we talked, the consummate picture of movie stardom. Scarlett Johansson said she could identify with the story of Eleanor the Great. Photograph: Sam Hellmann/The New York Times Here are edited excerpts from our conversation. Q: Tell me about the genesis of the project. A: I have a production company called These Pictures, and we get all kinds of submissions. I wasn't looking for something to direct at that moment. I read it because I was fascinated to see what June Squibb was starring in because I love her, and I was so surprised by the story. It had a lot of elements of films that I love, independent films from the 90s and early aughts. It was New York-based, very character driven. And the plot device was so surprising. It made me cry. I immediately called my producing partner and was, like, I can direct this. I know how to make it. Q: Not everyone just thinks they can direct. A: When I was much younger, I thought I would end up doing that eventually. In my early 20s, I became focused on understanding my job as an actor better. I was creatively engaged with the directors I was working with, taking on different roles that were challenging, and I veered off that path. The timing was right when the script found me. It felt like an extension of the work that I've been doing as opposed to this big unknown. And June was ready to make the film. She had energy and was committed to doing it. Q: Did this story speak specifically to you because of your family experience? A: I could identify with the character's story, and, of course, I identify as Jewish. I had a very formidable grandmother who I was incredibly close with. She lives inside me and I think of her very often. She was, you know, a character and not unlike Eleanor. She could be kind of impossible. [ Laughs. ] [ Cannes 2025: Clapologists get it wrong, an acidic Israeli satire is too hot to handle, and Scarlett Johansson serves up schmaltz Opens in new window ] Q: How did it start to come together for you as a movie? A: I look at New York in a cinematic way. I've spent so much time strolling around as one does and just spending time observing. I'm a people watcher; it's one of my great pleasures. And when I read a script, I can see it as a film in my mind. I already had ideas, so it was more about having a dialogue with the cinematographer where we could have a conversation and get to the same conclusion. I knew I wanted beautiful portraits of June, to show her in this very pure way. The actors were so committed and had such dramatic stamina. I just needed to photograph them in a way that was uncomplicated. Q: When you were younger, at one point did you realise, 'Oh, women make movies too'? A: It was fortunately a given because I worked with so many female directors when I was a kid. So, I guess I just never really thought about it as this gendered thing. Maybe I'm spoiled in a way or I take it for granted because I did work with so many female directors and continue to. Actually, the other day, I was reading an interview with Natalie Portman, and she grew up in film working with female directors. It was kind of the same thing for her. Maybe we both got lucky that when we started working, there was more opportunity for female directors. It's kind of balanced out in that way. Um, I don't know if it's totally balanced. [ Laughs. ] Scarlett Johansson with husband Colin Jost at the Cannes Film Festival. Photograph: Doug Peters/PA Wire Q: Do you want to keep directing? A: I do. It felt very fulfilling. We had such an amazing shooting experience. The feeling on set was so familial and creative and positive. It was really, really joyful. You don't always have a joyful experience on every movie that you make, but as I've gotten older, I have a lesser tolerance for the unpleasant experience. [ Laughs. ] Q: Your mom was your manager. Did you talk about the kinds of things that you wanted to do? A: She became my manager out of necessity, and, I think, at first, it was on a protective level. As I grew up and became more of a person, I had my own desire and ideas. I was fortunate that my mom was very supportive of my artistic desire, integrity, all of that. She loves film-makers and actors and performance, and she respected me as an actor. Scarlett Johansson at the screening of Eleanor the Great the the Cannes Film Festival. Photograph: Mohammed Badra/European Pressphoto Agency Q: Did your mother talk to you about how to avoid being exploited? A: My mom and I are very close. Because I was born and raised in New York, I already had a sense of my own street smarts, in a way, and I don't think she was so worried that I was going to be taken advantage of by people in the industry. Q: I read a profile of you from 10 years ago by a female journalist in which she describes you as a sexy child – A: Ew! Q: I know! It made me think about how media representations can be complicit in that exploitation. A: That's hard to control because you're giving an interview and sitting with somebody for an hour or two, and whatever the takeaway is, it's out of your control. I did an interview with Barbara Walters and she asked me what the sexiest part of my body was or my favourite part or something like that. You can see that I was mortified, but still feel obligated to answer it. Q: As an industry veteran, do you feel optimistic about American movies? A: I think it'll balance itself out, and some of the players will change. It's just going to take a lot of time. The strike was really damaging, I think, more damaging than Covid; that has proved very, very challenging. There'll be a lot of big movies this summer, and I think even smaller movies like this film, when you see it in the theatre, it's amazing because everybody's crying and together. When you can see something moving with an audience, you're kind of buzzing afterward. I think it's about offering variety and studios that are committed to the theatrical experience. I think that we can climb our way back up – I think so. This article originally appeared in The New York Times . 2025 The New York Times Company
Daily Mail
6 days ago
- Entertainment
- Daily Mail
Scarlett Johansson stuns in a black dress as she cosies up to husband Colin Jost while celebrating Eleanor The Great aboard a yacht in Cannes
Scarlett Johansson turned heads as she cosied up to her husband Colin Jost while celebrating Eleanor The Great aboard the RH Three yacht in Cannes on Wednesday. The actress, 40, looked stunning in a black midi slip dress, layered effortlessly under a sleek black blazer. She styled her golden locks in a chic updo and completed her look with a radiant makeup palette. Meanwhile, Colin, 42, looked dapper in a navy suit paired with a crisp white polo shirt. The loved-up couple looked happier than ever as they posed for a sweet snap at the back of the luxurious yacht. They were joined by Scarlett's co-stars and filmmakers including Pierre Cailliarec, Kara Durrett, Jonathan Lia, June Squibb, Keenan Flynn, Andrew Calof, Harry Jierjian, and Erin Kellyman. From A-list scandals and red carpet mishaps to exclusive pictures and viral moments, subscribe to the DailyMail's new Showbiz newsletter to stay in the loop. Theresa Flynn, Tyler Lewis, and Marcel Pariseau were also in attendance at the glamorous soirée. The group appeared in high spirits as they enjoyed dinner aboard the yacht and celebrated the film into the night. Just hours earlier, Scarlett looked as radiant as ever as she posed for portraits to promote her new film at the Cannes Film Festival. The actress glowed in a grey Prada V-neck sweater paired with a satin skirt, flashing a bright smile as she posed on a balcony overlooking the ocean. Keeping accessories to a minimum, Scarlett completed her chic look with a glowing makeup palette that enhanced her natural beauty. Scarlett has had a packed schedule during the festival in the French Riviera, promoting her new film, which had its world premiere on May 20, 2025. She made her directorial debut with the film which received a five-minute standing ovation and prompted 'tears and cheers' from the crowds. Eleanor The Great sees June's character, who converted to Judaism upon marriage, join a Jewish seniors social group, before discovering it is specifically for Holocaust survivors. Hoping to find companionship, Eleanor tells her friend Bessie's devastating story about her family's time in Auschwitz as if it is her own, before her lie spirals away from her in a very public way. Scarlett described her directorial debut premiering at the film festival as a 'dream come true' and 'surreal' as she emotionally soaked up the positive reaction. However, critics were less convinced as it received very mixed reviews, with some branding it 'wobbly' and 'unconvincing' while others were more impressed by the 'powerful' and 'touching' release. The Hollywood Reporter led the charge in branding Scarlett's debut as 'wobbly' and 'unfulfilled' as its critic concluded that the film 'struggled to find its groove' despite a hopeful character-driven plot. 'The film lurches between comic set pieces and more dramatic beats, and while Johansson proves a competent helmer, it's not enough to overcome some dizzying tonal imbalances,' they wrote. The Playlist was also left divided as it questioned whether viewers 'expected more' from Scarlett following her decades-long career as it described the plot as 'episodic'. 'Considering the lineage of filmmakers Johansson has worked with over her 25-year career, we dared to expect something more?' they asked, before praising June for being the film's saving grace. Variety described the release as an 'unconvincing crowd-pleaser' and, though they praised June's performance, it ultimately received a mixed verdict. 'The movie is an awards-season wannabe in every sense,' critic Owen Gleiberman noted, adding that the movie is always 'trying to squeeze a laugh out of you'. But it wasn't all bad news as the movie also received considerably more positive reviews from a range of other outlets, who praised its 'power' and raw emotion. Deadline gushed over Scarlett's 'wonderful and richly textured' debut and described Eleanor's story as 'beautifully realized' as they were overcome with emotion. 'There won't be a dry eye in the house for this one,' Pete Hammond wrote. The Times were won over by Scarlett's debut and critic Ed Potton insisted it hit 'the jackpot combination of being tear-inducing and laugh-out-loud funny'. This year's Cannes Film Festival is taking place in the wake of Trump´s vow to enact tariffs on international films. Cannes, where filmmakers, sales agents and journalists gather from around the world, is the Olympics of the big screen, with its own golden prize, the Palme d'Or, to give out at the end. Filmmakers come from nearly every corner of the globe to showcase their films while dealmakers work through the night to sell finished films or packaged productions to various territories. But Trump sent shock waves through Hollywood and the international film community when he announced on May 4 that all movies 'produced in Foreign Lands' will face 100 per cent tariffs. The White House has said no final decisions have been made. Options being explored include federal incentives for US-based productions, rather than tariffs. This year, some of the first-time filmmakers at Cannes are already particularly well-known. Kristen Stewart (The Chronology of Water), Scarlett (Eleanor the Great) and Harris Dickinson (Urchin) have all unveiled their feature directorial debuts in Cannes' Un Certain Regard sidebar section. Many Cannes veterans have returned, including Tom Cruise (Mission: Impossible - The Final Reckoning), Robert De Niro - who received an honorary Palme d´Or 49 years after Taxi Driver premiered in Cannes - and Quentin Tarantino, who paid tribute to low-budget Western director George Sherman. Variety 'There's no denying that as a character, Eleanor plays, giving Squibb an opportunity to strut her granny-with-an-attitude stuff. But you're always aware that the movie is trying to squeeze a laugh out of you.' The Hollywood Reporter 'The film lurches between comic set pieces and more dramatic beats, and while Johansson proves a competent helmer, it's not enough to overcome some dizzying tonal imbalances.' The Playlist 'Considering the lineage of filmmakers Johansson has worked with over her 25-year career, we dared to expect something more?' The Times: Four stars 'Johansson and her excellent cast nail the big moments and revel in the small ones.' Deadline 'Scarlett Johansson's wonderful and richly textured feature directorial debut is a small but beautifully realized story of a 94-year-old woman.'
Khaleej Times
7 days ago
- Entertainment
- Khaleej Times
Scarlett Johansson on directing debut, old Hollywood glamour, and ‘Eleanor the Great'
Few movie stars today win over critics and convey Old Hollywood glamour as effortlessly as Scarlett Johansson does, all while seemingly impervious to the industry's convulsions. Now 40, she has been famous most of her life. She turned 10 the year her first movie, 'North,' opened in 1994; four years later, she was upstaging Robert Redford in 'The Horse Whisperer.' In the decades since, she starred in cult films and blockbusters, made a record with Pete Yorn and earned a couple of Oscar nominations. Between hits and misses, she also married three times (most recently to Colin Jost) and had two children. The kind of diverse professional portfolio that Johansson has cultivated can make life more interesting, of course, but it's also evidence of shrewd, career-sustaining choices. In 2010, she made her critically celebrated Broadway debut in a revival of Arthur Miller's tragedy 'A View From the Bridge.' (She went on to win a Tony.) That same year, she slipped on a bodysuit to play lethal Russian superspy Black Widow in Marvel's 'Iron Man 2,' a role that propelled her into global celebrity. On Tuesday, Johansson publicly took on another role when she presented her feature directing debut, 'Eleanor the Great,' at the Cannes Film Festival. Playing outside the main lineup, it is the kind of intimately scaled, performance-driven movie that's ideal for a novice director. June Squibb stars as 94-year-old Eleanor, who, soon after the story opens, moves into her daughter's New York apartment. Life gets complicated when Eleanor inadvertently ends up in a support group for Holocaust survivors. It gets even trickier when a journalism student insists on writing about Eleanor. A friendship is born, salted with laughter and tears. I met with Johansson the day after the premiere of 'Eleanor the Great.' She first walked the festival red carpet in 2005 for 'Match Point,' returning last year with 'Asteroid City.' (She's also in 'The Phoenician Scheme,' which is here, too.) It had rained hard the day of her premiere, but the sky was blue when she stepped onto a hotel terrace overlooking the Mediterranean. Seated in a quiet corner shaded by a large umbrella, Johansson was friendly, pleasant and a touch reserved. Wearing the largest diamond that I've seen outside of a Tiffany window, she kept her sunglasses on as we talked, the consummate picture of movie stardom. Here are edited excerpts from our conversation. Tell me about the genesis of the project. I have a production company called These Pictures, and we get all kinds of submissions. I wasn't looking for something to direct at that moment. I read it because I was fascinated to see what June Squibb was starring in because I love her, and I was so surprised by the story. It had a lot of elements of films that I love, independent films from the '90s and early aughts. It was New York-based, very character driven. And the plot device was so surprising. It made me cry. I immediately called my producing partner and was, like, I can direct this. I know how to make it. Not everyone just thinks they can direct... When I was much younger, I thought I would end up doing that eventually. In my early 20s, I became focused on understanding my job as an actor better. I was creatively engaged with the directors I was working with, taking on different roles that were challenging, and I veered off that path. The timing was right when the script found me. It felt like an extension of the work that I've been doing as opposed to this big unknown. And June was ready to make the film. She had energy and was committed to doing it. Did this story speak specifically to you because of your family experience? I could identify with the character's story, and, of course, I identify as Jewish. I had a very formidable grandmother who I was incredibly close with. She lives inside me and I think of her very often. She was, you know, a character and not unlike Eleanor. She could be kind of impossible. [ Laughs. ] How did it start to come together for you as a movie? I look at New York in a cinematic way. I've spent so much time strolling around as one does and just spending time observing. I'm a people watcher; it's one of my great pleasures. And when I read a script, I can see it as a film in my mind. I already had ideas, so it was more about having a dialogue with the cinematographer where we could have a conversation and get to the same conclusion. I knew I wanted beautiful portraits of June, to show her in this very pure way. The actors were so committed and had such dramatic stamina. I just needed to photograph them in a way that was uncomplicated. When you were younger, at one point did you realise, 'Oh, women make movies too'? It was fortunately a given because I worked with so many female directors when I was a kid. So, I guess I just never really thought about it as this gendered thing. Maybe I'm spoiled in a way or I take it for granted because I did work with so many female directors and continue to. Actually, the other day, I was reading an interview with Natalie Portman, and she grew up in film working with female directors. It was kind of the same thing for her. Maybe we both got lucky that when we started working, there was more opportunity for female directors. It's kind of balanced out in that way. Um, I don't know if it's totally balanced. [ Laughs. ] Do you want to keep directing? I do. It felt very fulfilling. We had such an amazing shooting experience. The feeling on set was so familial and creative and positive. It was really, really joyful. You don't always have a joyful experience on every movie that you make, but as I've gotten older, I have a lesser tolerance for the unpleasant experience. [ Laughs. ] As an industry veteran, do you feel optimistic about American movies? I think it'll balance itself out, and some of the players will change. It's just going to take a lot of time. The strike was really damaging, I think, more damaging than Covid; that has proved very, very challenging. There'll be a lot of big movies this summer, and I think even smaller movies like this film, when you see it in the theatre, it's amazing because everybody's crying and together. When you can see something moving with an audience, you're kind of buzzing afterward. I think it's about offering variety and studios that are committed to the theatrical experience. I think that we can climb our way back up — I think so.
