Kevin klib5/27/2023 Sigourney Weaver: I’m afraid it refers quite specifically to the fact that Kevin was about to do a show, a benefit of Shakespearean monologues and sonnets, and he was always rehearsing these as we were setting up so I started to go around and ask the crew in the background to look like they were falling asleep. I read an interview with Ivan Reitman where he said on the set of Dave, Sigourney you would ridicule Kevin’s actorliness. Yes, Anthony Hopkins gets all the good roles but he’s gotta have a vacation every now and then so they do trickle down to others of us. ![]() I haven’t been looking at it from the male point of view but do you think that’s true or does Anthony Hopkins get all the good roles? Sigourney Weaver: I think audiences have also changed, maybe during Covid, watching all this long-form TV that really has the time to get into different characters and a lot of them are older characters so we’ve changed our appetites as well and I think there’s less ageism with scripts, in my opinion, there are a lot of great scripts, a lot of great women characters around of all ages. Kevin Kline: They have appetites, yes, and they’re not to be disregarded as ageists tend to do so that’s a nice thing with the movie that you can take away subliminally or otherwise. Kevin Kline: Aren’t we always looking for movies that don’t repeat the same old tired tropes that have been passed down just out of laziness? It was the first thing that leapt off the page at me was to see that oh, instead of always having old people depicted as having somehow receded into oblivion or irrelevance, that they’re still quite horny among other things. Do you find you’re both still getting offered too many characters, with age, that don’t have such nuance? Is there an abundance of thankless parent or grandparent roles? It’s also a film that allows older people to be sexual and messy and flawed. It’s great when they happen but it’s much more Avatar and then The Good House. We shot it very quickly in Nova Scotia and it was so amazing to be doing a script that was written from a woman’s point of view, an older woman who has a lot to say about what’s going on in her life so I think that even though I know what you mean about these bigger, more reassuring films, I do feel like I can’t live my life expecting those. ![]() Sigourney Weaver: I consider The Good House one of those smaller but very well-made films. Has it become harder to find these scripts and do you as consumers also miss them? There’s this throwback feel to The Good House, tapping into that robustly made, mid-budget adult type of movie that we just don’t get as much these days, films where grown ups just get to live without some fantastical element involved. Kevin Kline: I’ve always been sort of anti-awards anyway as they have been towards me occasionally. You can’t just ego your way through those shows. Sigourney Weaver: I remember that what I liked about Kevin right away is that even though we were supposed to be very light-hearted and relaxed, he didn’t assume we could just improvise our way through this so he wanted to work as hard as I did. ![]() Kevin Kline: So we worked together as writers, as presenters, before we ever had to act together. Sigourney Weaver: Silly dialogue … banter. We just laughed a lot and we were actually having to write some, what would you call that. Kevin Kline: Tall, that’s the first thing I noticed. Going back to the first time you ever met each other, which I believe was when you had to host together at the Obie awards in 1981, what were your first impressions? Earlier this week, I saw them on screen together yet again, this time on Zoom, where they spoke about a shared history, a “mean” hoax once pulled on-set and the importance of embracing horniness over 70.
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