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It has been approximately 58 years since Jodie Foster began her acting career, and there are certain things that she will not tolerate on set. She refuses to be instructed on how to embody a character and will not accept what she refers to as “voodoo” directing, which involves exaggerated, nonsensical movements. She also does not respond well to interference from those in positions of power in the industry. The only time she will comply with demanding producers is when they are “super passive-aggressive British people,” a type that she finds irresistible. In her work, as well as interactions with the media, Foster is conscientious and matter-of-fact, with little performance anxiety or self-consciousness. She approaches each story or character in a practical manner, much like she would approach a book report.
We are currently in a hotel suite in West Hollywood, where the 61-year-old is charming and pleasant. She has gel-spiked hair, tiny-waisted black trousers, and a crisp white shirt with the collar popped. Her appearance could be compared to a matador or someone in high-end catering. However, what stands out most is the sheer familiarity of her face and manner. It is almost startling. Her voice and smile, along with her teasing laugh and intensity, bring to mind iconic roles from her decades-long career. These include Clarice Starling in “The Silence of the Lambs” and Sarah Tobias in “The Accused,” as well as her childhood roles in “Taxi Driver” and “Bugsy Malone.” Foster casually takes off her mules, revealing red painted toenails, and then tucks her legs up under her. This gesture appears to be effortless or perhaps calculated. After being in the public eye for five decades, I imagine she understands the cliché of writers using phrases like “tucking her legs up under her” in an attempt to create a false sense of closeness.
There is another side to Foster; one that is markedly less straightforward and, over the years, has made much of the coverage of her painful to read. She can be intensely self-conscious, a state if not wholly created then certainly intensified by the experience of having journalists test every conceivable angle to get the subject of her sexuality on the table. For a long time, Foster was the only visible gay woman in Hollywood and these days her ability to talk publicly about her life is mired in something that, to me, looks a lot like PTSD.
Here we are, supposedly discussing True Detective: Night Country, the fourth season of the male-dominated cult anthology show previously led by Matthew McConaughey and Woody Harrelson. This season introduces female characters, including Liz Danvers, played by Foster, who is the chief of police in Ennis, a desolate small town in northern Alaska. The story takes place during the two months of permanent darkness in the area. It combines elements of a police procedural, a buddy drama, a portrayal of North American Indigenous life, and a supernatural tale that may not make complete sense but is still entertaining. Foster’s character, nicknamed “Alaska Karen,” is a bitter and lonely cop who speaks her mind with lines like “Stop where you are, Ennis police … fucker.” The role was not a huge stretch for Foster, who enjoyed filming in Iceland, but her character does have a satisfying arc that aligns with her preferences.
One of the most notable aspects of the show is imagining what it must have been like for the young cast and crew to collaborate with Jodie Foster. With the exception of Fiona Shaw, who portrays a former university professor residing on the outskirts of town and did not share any scenes with Foster (although they did have a meal together), the majority of the production features new and inexperienced performers. Kali Reis, who shines in her role as Evangeline Navarro, Danvers’ Indigenous sidekick, was previously a professional boxer. The director, Issa López, is a successful Mexican writer who has created a few Spanish-language films, including the fantasy-horror movie Tigers Are Not Afraid, but this is her first major project in the United States. In comparison, Foster has been involved in approximately 50 productions, directed numerous films and TV episodes, and has won two Best Actress Oscars for her performances in The Silence of the Lambs and The Accused. There is a certain indescribable quality about Foster – perhaps a fierce intensity – coupled with the vast quantity and caliber of her work that places her on the verge of becoming an icon. One can only imagine what it was like for the young individuals working alongside her.
She will not agree to this, obviously. “I am quite amusing. I do not take anything too seriously. I frequently make jokes.” She stops for a moment. “Also, I am not an authority on the subject.”
This amuses me greatly. You are the epitome of an expert. You’ve been in this profession since you were a toddler! Can you imagine De Niro or Pacino saying something like that? Foster grins. “Not necessarily. I just know myself, I don’t really know anyone else, and even as a director – I’m not particularly skilled at working with actors, interestingly enough.” Foster’s first film as a director, the 1991 movie Little Man Tate, in which she also acted, has been followed by a few movies and individual episodes of TV shows like Orange Is the New Black and Black Mirror. “I really give the actors the freedom to do their thing and just hope I’ve chosen the right people for the roles. I’m not someone who can push for a certain performance after 200 takes. I believe in casting the right people and allowing something to naturally occur on screen, and if you do it quickly enough, people won’t overthink themselves.”
She has specific requirements when it comes to being directed, and while there were no major issues on True Detective, there was a slight dance that needed to be done with director López. Despite the fact that López has only directed four movies and Foster has been in numerous films, this aspect can still be intimidating. However, they bonded quickly and found humor in everything. Foster appreciates when directors give clear instructions, such as asking for faster or slower performances. She is not interested in directors who try to manipulate or overly direct actors. Foster observes that López may need to use this approach with other actors who are younger or inexperienced, but she personally would not respond well to it.
Foster has now completed her second consecutive project with relatively inexperienced directors. In her most recent film, Nyad, released on Netflix, she portrays Bonnie Stoll, the close friend and coach of marathon swimmer Diana Nyad. This time around, Foster was working with a team that had even less experience: first-time feature directors Elizabeth Chai Vasarhelyi and Jimmy Chin, who had primarily worked on documentary films in the past. Personally, I thoroughly enjoyed Nyad because of its comedic and well-crafted storyline, Annette Bening’s exceptional performance in the lead role, and Foster’s relaxed on-screen presence, a refreshing change from her intense roles since her days as a child actress in Freaky Friday at the age of 13. It’s a pleasant change to see Foster portray a character who isn’t struggling through trauma or embarking on a solo space mission.
In the film Nyad, the actress portrays a carefree and humorous character, which has earned her a nomination for a Golden Globe. This is the first time Foster has played a lesbian character, and there is much to be said about the subtle gay undertones in her previous role as Clarice Starling in Silence of the Lambs. The media coverage surrounding the film and its gay characters was uncomfortable, as expected. It is worth noting that it is more challenging for gay women in Hollywood than gay men, as there are not many prominent female figures in the industry who are open about their sexuality. Foster’s decision to distance herself from the film’s promotion is understandable. While questions about her personal life are not as hostile as they used to be, there is still a sense of judgment from both straight and LGBTQ+ individuals. Straight people may wonder why she is still affected by her sexuality, while the LGBTQ+ community may question why she did not do more to support their cause in the past.
I inform Foster that I have a fondness for Nyad, and she responds enthusiastically, “Thank you! I have a great affection for Bonnie and Diana, which was my main motivation for doing it. I’ve gotten to know them through social gatherings like barbecues.”
The movie Nyad subtly addresses the trauma that the protagonist, Diana Nyad, experienced. As a young competitive swimmer, she was sexually abused by her coach. The filmmakers, who were relatively inexperienced, brought their own perspectives to the project, having previously made films about survivors of sexual violence. However, they ultimately chose to focus on Nyad’s remarkable accomplishment – swimming from Cuba to Florida at the age of 64, despite the physical dangers involved. It was important to Nyad and her co-producers, Diana and Annette, that the film did not portray her swim as a result of her past abuse. The most uplifting moment in the movie is when Nyad’s friend Bonnie casually mentions that her abuser had passed away. Diana responds by saying that the abuse does not define her, but she still has occasional moments where she feels like a 14-year-old fighting against it.
In my opinion, I particularly enjoyed the hangout scenes in the beginning of the film where Foster and Bening are relaxing at their home in LA, playing table tennis and Scrabble. “Yes, those scenes were my favorite.” To achieve Bonnie’s toned stomach, Foster trained like an athlete for six months. In the movie, she confidently wears cutoff shorts and a tank top, carrying her clipboard and whistle like a strong PE teacher. Despite being previously labeled as a nerd, it seems that she is just as much of a sporty person based on her dedication to her physical fitness. Foster laughs heartily. “I’ve always wanted to be objectified, so I’m happy that people are now noticing my body parts.”
Recently, Foster discussed the challenges of her 50s, a decade of change where she had to navigate the expectations of being a woman in Hollywood without many examples to follow. She found solace in friendships with women both older and younger than herself. One of her closest friends is an 80-year-old college professor who lived in a commune in the 1970s. This relationship has given Foster insight into what the future may hold and the endless possibilities that lie ahead. Despite her friend’s many achievements, she believes that the most fulfilling thing is supporting and uplifting other women.
What is her perspective on what young individuals in her field should be aware of? “They should understand the importance of unwinding, not overthinking, and creating something unique. I can assist them in discovering that, which is far more enjoyable than carrying the weight of being the main character in the narrative.”
I informed Foster that I recently saw a picture of her with the up-and-coming British actor, Bella Ramsey, who identifies as non-binary and stars in the popular HBO show The Last of Us. At only 20 years old, Ramsey is quickly rising to fame. Last month, Ramsey introduced Foster at the Elle magazine Women in Hollywood event, which Foster personally requested. “I reached out to Bella, who I had never met before, and asked her to introduce me at this event. It’s a fantastic celebration of actors and those in the film industry, but it also heavily focuses on fashion. This means that they are choosing who represents us. They may take pride in featuring individuals from different ethnicities, but all the attendees are still expected to wear high heels and makeup. There are many other ways to be a woman, and it’s crucial for people to see that. Bella gave an incredible speech while looking impeccable in a perfectly tailored suit, with a middle part and no makeup.”
According to Foster, being a mentor is a recurring aspect of her relationships. She often reaches out to help young actresses, feeling compelled to do so because she knows firsthand the challenges of growing up. When she sees Ramsey, who openly stated in British Vogue that she is not completely heterosexual, does Foster feel a sense of empathy for her own past? Absolutely. Foster reflects on her difficult upbringing, but acknowledges that she had her mother’s support. Her mother, Brandy, was a powerful figure in the entertainment industry and raised Foster and her three siblings in Los Angeles. From the age of three, Brandy helped Foster land commercial gigs, guiding her towards success.
Was it possible for her to wear a suit, have a strong middle part, and go without makeup while she was starting out as a young actor? She responds, “No, because we didn’t have the freedom to do so. Hopefully, the current movement towards authenticity offers the opportunity for true freedom. While we may have had other positive aspects, my generation was focused on finding our place in terms of feminism. However, our perspective wasn’t broad enough, as we lived in a very segregated society.”
I referenced a statement she made recently about how our decisions are often controlled by fear. “It can be. It’s a way to protect yourself.” However, it can also be damaging, right? “Yes, it is a survival tactic. But one that can ultimately lead to your demise.” I should also mention that, despite her support for Generation Z, Foster can still find them annoying at times. “They can be quite bothersome, especially in a professional setting. They’ll say things like, ‘Nah, I’m not feeling it today, I’ll come in at 10:30am.’ Or in emails, when I point out grammatical errors and ask if they checked their spelling, they’ll respond with, ‘Why bother? Isn’t that limiting?'”
Foster is the mother of two adult sons, Kit and Charles, who were born during her previous relationship with film producer Cydney Bernard. After splitting up with Bernard in 2008, Foster has been happily married to photographer Alexandra Hedison for the past decade. One interesting aspect of raising her sons, according to Foster, was their initial confusion about what it means to be a man. They have little interest in sports and prefer spending time at home watching movies and hanging out with their female friends. They also have strong feminist beliefs. Foster recalls a time when her older son, influenced by the media’s portrayal of masculinity, thought he needed to be rude and disrespectful towards women to be a “real man.” Despite letting him explore this phase for six months, Foster made it clear that this behavior was not acceptable. She laughs as she remembers the experience.
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In the meantime, Foster’s spouse recently had a brief documentary titled “Alok” accepted by Sundance. It features Alok Vaid-Menon, a non-binary writer, poet, and comedian. Foster is filled with pride about this accomplishment. While Foster served as the executive producer for the film, they prefer to work independently from each other. However, they do acknowledge each other’s strengths. For example, Foster is skilled at writing letters while their spouse has a talent for visual arts and photography.
Foster has faced challenges in achieving a sense of security and happiness with Hedison. Even a small level of fame can be damaging, and Foster’s level of fame is excessive. She explains that it has taken a lot of effort over the years to not let it ruin her. Being a public figure since a young age is a strange experience, especially if one continues to be an actor. It wasn’t until she took a break from her career that she realized just how unusual her life was. Suddenly, she had plenty of time where she wasn’t the center of attention, and not everyone was interested in her opinions. Being a public figure alters one’s universe, and it’s hard to know anything else. One may not even realize that they are being self-important, a bad friend, and unreliable.
Do people spoil you? “Because people spoil you, there are difficult lessons you must learn. As Hugh Grant once said, being famous at a young age is like being given steroids. You live with that strength your whole life, until one day you decide to stop taking them. Suddenly, you don’t recognize yourself and have no sense of who you are. It’s a process to rebuild your entire identity, and it can be challenging. This is something I learned later on.”
While working with Bernard, Foster never accompanied her to the Oscars or other public events and never openly acknowledged their relationship. However, during her 2013 Golden Globes speech, Foster gave tribute to Bernard and referred to their “modern family”. When asked about her thoughts on the situation, she responded by asking if it meant that someone was admitting they could no longer tolerate being with you because of your flaws. She agreed and stated that being an actor does not lend itself well to self-awareness, making it easy to be unaware of one’s own actions.
Presumably the magnetic pull back towards being an arsehole is strong, although, says Foster, she has strategies in place. “I think, healthily, I created compartments around things. But the compartments are problematic for my relationships.” She laughs. “I don’t want people to know me in this context.” She indicates the surroundings of the interview. “This is just mine. My friends don’t know it, my kids didn’t know what I did for a living till quite late. They had no idea. I never brought them on set.”
Is that a positive aspect? “I suppose it’s beneficial? However, there are other actors whose children have had experiences like, ‘Oh, I lived in Romania [while my parent was filming] and I did this and that… ‘ but I didn’t have any of those experiences with my kids. Maybe they would have had adventures or something.” She emphasizes that “there is nothing ordinary about growing up as a public figure and there is a lot of navigating involved in figuring out how to be a complete individual.”
She faced challenges, but she continues to face criticism for choices she has made in the past. She acknowledges that it is difficult to fully understand her decisions unless one has experienced the same situation themselves. She invites others to try and understand by putting themselves in her position.
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I have a question about the movie The Silence of the Lambs. A notable aspect of Foster’s acting is her intelligence, which prevents her from succumbing to cliches. In 1992, she won the Academy Award for Best Actress for her role in The Silence of the Lambs, which was unlike anything we had seen before on screen. The dynamic between Anthony Hopkins as Hannibal Lecter and Foster as the trainee FBI agent was crucial to the film’s success, but Foster’s performance stood out.
In the final scene, Clarice is navigating through the killer’s dark house, while he observes her using night-vision goggles. Her hand trembles with nerves as she holds the gun in front of her, a contrast to the typical portrayal of a confident FBI agent. I wonder, was this detail suggested by Foster or director Demme?
“It was my suggestion.” I knew it! “It resonated with me. There was something surprising about Clarice – that she possessed power, yet was still vulnerable and had a sense of smallness. She acknowledged that she lacked physical strength and it didn’t occur to me that it was groundbreaking. You’re portraying a character who could be seen as traditionally male – the action hero. But she’s not; she’s Clarice.”
Foster could be describing herself. The contrast between smallness and power is somehow central to her appeal and is also present in her ability to enforce boundaries off-screen. “I’m not a multitasker. I’m a weird focused person. If there’s a spectrum, that’s my spectrum. It doesn’t matter if there are planes going by or if someone is calling my name, if I’m focused on something. I’m really good at going, no thank you, I’m not doing that.”
No kidding. She won’t be moved and she won’t be put upon, and, at this point in her life, she won’t be made to feel bad about any of it, either. “You can get a skin as an actor, not just for being criticised, but [told what to do]: ‘Can you move your body there? Can you do this, can you be emotional here?’ I learned how to do all that. And I will not.” For decades, Foster was chastised in public for doing it wrong and lectured on how she should be doing it instead. “And now,” she says, looking at me rather pointedly, “I’m like, I’ll do it for my job, and I’m not going to do it for you.”
Source: theguardian.com
