Rachel Griffiths Gutst about ‘The Last Showgirl’ and Jamie Lee Curtis
According to Rachel Griffiths, whether it’s a cinema or TV, “older women have a moment.”
“We all know that that is true: Demi Moore is a brand. There are so many great actresses of that generation. Now take heal mirren in ‘Mobland’, for God’s sake. I loved Pamela [Anderson] In ‘The Last Showgirl’ and Jamie Lee Curtis dance on that damn table the best moment I saw last year. I had awe for that girl! ‘
Directed by Gia Coppola, “The Last Showgirl” was aimed at experienced dancers in Vegas.
However, Griffiths is not jealous of the roles of her colleagues.
“If all goes well, it means that the actor delivers. For me to go” I wish I had it, “I just never have that thought. She already lives in it. It is very rare that you think:” I could have done better. ” Usually you are embedded by the choices you would not have made. “
Recently seen in Sydney Sweeney-Glen Powell Rom-Com “Everyone except you”, the Australian actor has become known for hit shows “Six Feet Under” and “Brothers & Sisters.”
Joks about a “beautiful, stupid” jury on Monte-Carlo Television Festival are, in contrast to “Sad, Serious” DOC jury “we are here because we are unemployed. Come on, you can say it,” she told Co-Juror John Reardon-Griffiths underlined: women watch television.
“I watch television when I do the laundry, when I fold socks, when I am cooking. You know, I did not go to the cinema for years. I was too tired. Women will never stop demanding that they see themselves authentically represented,” she added.
“We Australians, we fought in the First World War with a poster that said,” Free trip to Europe. ” Instead, I came to a jury in Monaco – I had it much better than my grandfather. “
During a chat with journalists, Griffiths – whose show “Madam” was only awarded at the Fest last year – that she hoped to see more various shows.
“I would say that the selection was different from the wider palette of the things I digest. [what’s happening] At the moment. ”
Griffiths has worked with Blackfella films, founded by Rachel Perkins and aimed at native Australian stories. She produced and played in “Total Control” next to Deborah Mailman.
“It is very close to my heart. It makes stories better when their content reflects the places that we live. I hope that this recovery of diversity and inclusion has no influence on our industry, because it makes characters more attractive, and it makes television more interesting. I hope it was not just a moment in history when we got ‘beef’ and these great casts ‘and these great casts’.”
In her own work, Griffiths refuses to ‘feed the beast’. “If the algorithm wants more ‘angry’ shows, I will not do it.” But she noticed a new demand for repairable procedures.
“The recording of a show like ‘Good cop/bad cop’ [in the competition] Shows that people try to find repairable procedures that bring you joy and do it in a fresh way. When I’m on my way and have discussions all over the world, I hear: “Do you have an idea for a repairable procedure?” She says.
“It’s just so hard to make those limited series. They are difficult to sell unless you have a big name, such as Toni Collette or Colin Farrell.”
