A Quote by Radha Mitchell
I had a friend, and we always used to pretend to be twins. We had this fantasy about going to Hollywood together. We were about four.
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My parents divorced about the same time the movie 'The Parent Trap' came out, about two twins at camp who scheme to get their parents back together. I had that same fantasy.
I've always loved reading fantasy. I used to pick out all the books in the library that had the little unicorn sticker on the side to show that they were fantasy.
Their grandchildren had reminded Will of the song about demon pox he had taught them- when they were much too young, Tessa had always thought- and that they had all memorized. They sang it all together and out of tune, scandalizing Sophie.
I don't write from dreams because I don't remember mine, but I had a fragment of an image left about twins, whose father was telling them how their lives were going to go for the next eight years. I wrote a scene about that, and then another and then another and then another, and after five months I had 732 pages.
The idea of the book ["The Japanese Lover"] came in a conversation that I had with a friend walking in the streets of New York. We were talking about our mothers, and I was telling her how old my mother was, and she was telling me about her mother. Her mother was Jewish, and she said that she was in a retirement home and that she had had a friend for 40 years that was a Japanese gardener. This person had been very important in my friend's upbringing.
As a kid, I used to tell all these stories. I remember meeting a childhood friend, and we were talking. We remembered that I had made up this story about going to Mars. And she looked at me and said, 'I didn't sleep for a week after that!'
I remember when I was very young, I had a fever - a long rheumatic fever in bed for four months. And in the days, I stayed alone with the maid. I only had my father's books with me. They were fantasy books about ghosts, and also books by Edgar Allen Poe that made a forever impression on me.
Hollywood always had a streak of the totalitarian in just about everything it did. The old moguls were essentially hard-fisted authoritarians who had created a system of linked dictatorships to control the creative people. We were supposed to be the children; mad, tempestuous, brilliant, talented, not terribly smart children.
I always had the fantasy of Hollywood and Los Angeles and the beach, not realizing that Hollywood was so very far from the beach.
We were doing a gig in Spain and yet again had four hotel rooms that never get used. We always share a bed. So we're all in bed together and we've all got wind. And we thought it would be funny to put it on Instagram. Farting on cue.
I had a friend in high school who badly wanted to make movies and would recruit me as an actor. It was always so much fun. I decided, I'm going to go to Hollywood and make movies, which is a thought I'd never had before.
My father was a writer, so I grew up writing and reading and I was really encouraged by him. I had some sort of gift and when it came time to try to find a publisher I had a little bit of an "in" because I had his agent I could turn to, to at least read my initial offerings when I was about 20. But the only problem was that they were just awful, they were just terrible stories and my agent, who ended up being my agent, was very, very sweet about it, but it took about four years until I actually had something worth trying to sell.
I had a friend whose family had dinner together. The mother would tuck you in at night and make breakfast in the morning. They even had a spare bike for a friend. It just seemed so amazing to me.
I have a very close friend who is a brilliant clown, and I always wanted to do a show with him. So I did one year at La MaMa Theatre. I had not done stilts before that show, and I had about two weeks to learn how to do that, and they were just made with off-off Broadway money. The ones that I had in Rogue One were made by [Industrial Light & Magic]. So they were really easy. They were made with actual prosthetic feet on the bottom. They were athletic, in a way. I could run in them. There was a bounce to them that I could use.
Ever since I arrived in America to promote Stoker, I haven't had time to go and see it in a theater. The fact that I had to shoot twice as fast as I'm used to in Korea was the most challenging thing about my Hollywood experience.
We had that horrible experience with 'Behind the Music' where they just made it all salacious. That's not about the band - that's a soap opera. If you're together with a spouse or a partner for 40 years, you're going to have arguments. But if you're with four other people, you're going have exponentially that many more things happen.
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