A Quote by Julie Benz
[Dario Argento] would yell at you in Italian, and I'd have no idea what he was saying. I'd just go, "Okay!". But it was a really great experience [filming Two Evil Eyes ].
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[Dario Argento] speaks very broken English - he's Italian, so I'm going to do a very bad Italian impersonation - but he asked me my name, and I told him, and he goes, "Walk across the room." He looked at me, and he said, "Do you want to be in my movie [Two Evil Eyes]?" I was, like, "Yeah! Yeah, I do!"He goes, "Okay! You play Betty!" And I was, like, "Oh, I'm playing an extra named Betty! Great!" So we walked out, thinking that I was playing an extra named Betty, no lines, just background.
I didn't really know who [Dario Argento] was at the time. I know him now, obviously. But I went in to be an extra on the movie [Two Evil Eyes], and he saw me sitting out waiting to meet the casting director, and he pulled my mother and I into a separate conference room.
Working with Dario [Argento] was a lot of fun. He's a larger-than-life character, and with an Italian accent.
I really didn't know who Dario [Argento] was. I didn't know who Harvey Keitel was. It was a wonderful experience, though.
I'm Dario Argento, and my style is something recognizable I think by the audience.
If someone's performance is down we do not say, 'Hey pick up your things here.' We do not yell and scream at them, we say, 'Are you okay?' The idea of putting our financials goal aside for one minute to express empathy for the human being for that work and saying, 'Are you okay?' That is part of the sacrifice.
[Photographer Julian Wasser] had this great idea that I should play chess naked with Marcel Duchamp and it seem to be such a great idea that it was just like the best idea I'd ever heard in my life. It was like a great idea. I mean, it was - Not only was it vengeance, it was art, and it was, like, a great idea. And even if it didn't get any vengeance, it would still turn out okay with me because, you know, I would be sort of immortalized.
I used to consume a lot of horror movies as a teenager, and some impressed me more than other ones. I would watch Romero's movies, Dario Argento's movies, 'Eraserhead' over and over. 'Possession,' 'Repulsion,' 'Freaks.'
The only problem was that I couldn't communicate with Dario. He speaks Italian and I don't. We had a translator the whole time. I just felt that something was lost with the go between. He was a delightful man, but I wish we could have spoken the same language.
If you just don't have any idea what you want to do, the worst thing you can do is go to law school. If you can go to college, maybe it's fine to have four years of fun and learn a little bit, that's okay, but if you have to go two hundred thousand dollars in debt, that's not something I would recommend.
College gave me validation: I gained a lot of confidence, just from once or twice saying something in class and the professor saying, 'Great idea.' That experience has certainly helped me say to a director, 'Actually, I think my idea is at least worth talking about.'
With The Reader, I'd just be shattered at the end of every day really. I wouldn't really want to talk. We kept saying, because we were in Berlin: "If we get back at a decent hour, let's go and have a glass of wine." We'd always think it would be a great idea, but then get to the end of the day and then go [acts drowsy and blabs]. It was very difficult for everybody.
It's the disease of thinking that a having a great idea is really 90% of the work. And if you just tell people, 'here's this great idea,' then of course they can go off and make it happen. The problem with that is that there's a tremendous amount of craftsmanship between a having a great idea and having a great product.
The only thing that I've really noticed in my own experience is just people kind of saying that a woman, when they react to something exciting, 'Oh, that's a masculine way of reacting.' And to me, that's absurd. It's like, that's how humans - they get excited, and you yell, and you jump, and you flex. That's what you do.
We met a couple months before the In the Land of Blood and Honey filming started. Angelina Jolie said, "Whatever you want, just ask for it." So we sat down and talked about it. She was great from the beginning, saying that this is essentially a story of my kind, my experience, my war, my country. In a way, she was giving us blank check to fill in the emotional landscape and do our best, really. She was really supportive and kind and open and creative.
Wayne Wang, the director, really helped me become a more mature actress. When I first started filming, I was really over the top. He just helped bring me down and make me real. That was really wonderful, a really wonderful experience. Also, what I learned about filming is it takes forever. I mean, there are so many different angles and shots. I mean, it just takes forever.
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