Penelope Cruz gets inside the head of the dictator director in Official Competition.
A line. A description. A moment. An actor can find a character in the most unexpected places. Penélope Cruz found a vital element of Lola, her manipulative auteur director in filmmaking satireShe'd fallen in love with the script but was concerned about finding the look of the character."For a few months I was thinking, how does she look, this woman? She can't be too normal, or too plain, or too this or too that.
There just aren't that many films about making films. Not about the raw, nitty-gritty, day-to-day process, which surprised Cruz."I feel like, that there could be hundreds and hundreds of great movies made about the process of making movies." There's also something aspirational about, as Lola is a woman director – a depressingly rare phenomenon that's getting more common, slowly.
Would she tolerate Lola's abusive techniques in pursuit of perfection?"In my 20s, maybe," she said, but now she would disagrees with the idea that making the actor suffer makes the performance better."I've learned to work more from my imagination than from forcing my experiences into the life of the character."
If anything, she's learned to appreciate differing methodologies of character development."I've had directors who don't want to rehearse at all, I've had some, like Pedro [Almodóvar, with whom she has made seven films], who want to spend two, three months together working on the character.
And, unlike Lola's"my way or the highway" approach, she relishes the joyous, collaborative side of filmmaking and character discovery: Indeed, she said, more than one take on the set ofwas ruined because everyone was laughing too much."One of the things that I love the most about making films is that it's really a team sport. It's not easy to get that right take.
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