‘W.E.’ director tells MTV News she prefers directing because ‘If I’m the actor, I’m just … I’m a pawn.’ By Jocelyn Vena, with reporting by Josh Horowitz Madonna directing “W.E.” Photo: The Weinstein Co. Madonna has given the whole thespian thing a try several times over. So, the idea of hitting the big screen again in front of the camera doesn’t really appeal much to the “W.E.” writer and director. “No [I don’t want to act], but I do [act] every day of my life,” she told MTV News, before waxing a bit more philosophical about her future ambitions for a career on the big screen. “I like directing better,” she further explained. “If I write it and direct it, then it’s my voice. If I’m the actor, I’m just … I’m a pawn.” As Madonna embarks on yet another chapter in her always-evolving career, she explains that she hopes that people will be able to love her for every project she’s attached herself to in her decades-spanning career. “I’d rather not divide things up into categories, but I prefer the idea that people would say that I contributed to the culture, the zeitgeist from a female perspective as a musician, as a songwriter, as a filmmaker, in my political point of views of the issues that I’ve stood by and fought for,” she said. “I hope that I consider all of these things to be a part of my body of work and I’d rather not go, ‘Oh, she’ll be remembered as a great filmmaker, a great songwriter.’ ” “W.E.” opens Friday and follows two parallel love stories. It focuses on the vintage, tabloid romance between American divorc
W.E. wasn’t just an undertaking for Madonna, who directed her Wallis Simpson/Edward VIII biopic with all the lavish heft of a gigantic watercolor landscape. It was also a labor of love for Andrea Riseborough, the 30-year-old actress playing Simpson, the American socialite whose romance with Edward led to his abdication of the throne in 1936. The film’s most enjoyable asset, Riseborough was saddled with making the polarizing Simpson a wholly charismatic figure — an Evita without the benefit of torch songs. She succeeds, and with her thoroughly photogenic Edward (James D’Arcy) in tow, she softens W.E. ‘s melodrama with fantastic ease. We caught up with Riseborough to discuss her fascinating director , her feelings about the subject matter, and the zaniness of the Venice Film Festival . You’ve been promoting this movie nonstop for months! Are you sick of corsets and gorgeous costuming at this point? Are the constraints of the couture caving in on you, so to speak? That’s very funny! No, I’m very much enamored with every different period. It’s so funny because people often say — or people talk about period pieces — and I never really faction different periods or divide them from one another. I just think that really everything is of a specific period whether it be 2016 or 1810. It was extraordinary, the architectural feats that some of the couture gowns entailed on W.E. entailed. You have no idea. It was extraordinary. But is it daunting to think of committing so much to the look and feel of a period piece again? It’s something I’m very familiar with. Because whether it is 2016 or 1810, it’s very arduous. Specificity in any project, even if it exists in the abstract [Laughs] or it exists in an alternate reality, there’s always a vision that everybody adheres to. Everybody very much passionately leans toward expressing that vision and the way we share it with the world. It’s something that’s very familiar to me, actually, I suppose is the answer to that. It’s something I enjoy very much. It’s transporting. You are stunning in this movie. You really have the face of a beautiful silent screen star, or a young Bette Davis. Have you seen Dark Victory ? Oh I have, yes! Very much a part of my lexicon as a child. Did you think your throwback looks would aid you in getting cast? Because you would definitely fit in with the stars of Wallis Simpson’s time. Not really, because when I’d been sent the script, I thought it was very unique. I wanted to explore a little more and was interested certainly in the character that was Wallis Simpson, when I went to meet with the director — but when I met her, I actually had what could only be described as sandy blonde hair and a false tan. I was playing a modern character elsewhere. I’d never seen myself in one particular period. I know that my face is pretty plain and can look reasonably attractive but can also look horribly unattractive, and it’s been something that’s been a real benefit to me — being a blank canvas. Muscularly, I can mold it anyway that I want to, if need be. Or I can completely relax it! So, no, I didn’t think that — no. What I saw ahead was like with any role, the journey of a transformation that was something so utterly far away from myself. It was something and is something I’m very fulfilled by. For the record, James D’Arcy also looks just like Anthony Perkins. You can tell him I said so. [Laughs.] Nobody’s ever told him, but I can e-mail him if you like! [Laughs again.] E-mailing him now. Madonna is known for being able to choose forthcoming trends, own them, and bring them to the pop culture fore. Before you met her, did you have any idea what would impress her, based solely on your knowledge of her before W.E.? Did you use that insight to get cast in the film? My desire was not to impress; I wanted to see what fueled her passion for the story. I wanted to know what her vision was for it, and whether she would respond to what I could her offer her as a potential duchess. I think it would’ve been — I would’ve been somebody else, actually. It’s not who I am, I suppose. I was interested to see what our complicit working relationship would be. That was exciting to me. The story of the duchess was something I thought would be potentially interesting to excavate. I wanted to see within what framework that might possibly happen. She, very fortunately, responded to what I had to bring to her. Really, we were artistically complicit from that point on, from the outset really. She’d seen me play Margaret Thatcher and this other character before, so she had a good grasp on the reality that I could inhabit somebody who existed and somebody who was young and innocent — this other character was young and innocent. One interesting thing about W.E. is the sheer continental difference in knowledge about Wallis Simpson. In the U.K., everyone knows. In the U.S., plenty of people know nothing about that era of British history. Oh, don’t do yourself down! I’m trying not to! But there’s definitely a gap in awareness about who Wallis Simpson was. How do you feel addressing that with different markets for the film? I think, really, the story transcends any historical context you might feel you need to put it in. Interestingly, of course, it was a reality. But what we have portrayed is our perception or version of the truth, Madonna’s version and vision of a woman who really existed. The heart of the piece is the thing that’ll tap on the door of the common man, if you will. Because, I hope, that was the thing that originally tapped on the door of the common man — every one of the working class areas that Edward visited, the working men so very much appreciated him, took him into their homes in a way that a prince had not been taken in before. It’s that same honesty and love and truth, I think, that people will feel and respond to. Wallis, she’d seen the writing on the wall. She ended up being as trapped as she imagined she would be, if he should abdicate, which he did as you know. It’s impossible for any one person — I mean, let’s not even reduce it to gender — it’s impossible for any one person to live up to the responsibility of the kingdom. How does one man fulfill a partner who has given up such an awful, awful lot for their relationship? Do you find yourself sorting out the fair criticism of W.E. from what might be considered a biased response to your director? Has the criticism been fair? I really believe that people have their own relationship with it. And I say “with it,” I mean everything that the film is. We were all part of making it. They can choose to absorb it and gain what is valuable from it any which way. I really have no opinion on it, to be truly honest, Louis. I know I’m incredibly honest to be part of something I found beautiful. That’s really all I know. Talk about the Venice Film Festival, where the world got its first taste of W.E. and the first swarm of responses to the film hit. Seemed pretty manic at the time. How do you remember it? It felt incredibly special. It was almost like our first offering at something we’d been so lovingly baking. The explosion that then ensued was quite breathtaking. It was almost funny being so surrounded by love. I’m just speaking as honestly as I felt it! Lastly, I heard you say that you and Madonna connected deeply in researching the “geeky” minutia of Wallis Simpson’s life. How deeply did that fixation go? Oh my gosh, that is such a long answer, Louis. Her fastidious research has no bounds! And that’s where the answer lies. When you approach something that you’re ignited by and are passionate about in such a way, really, until it seems to you’re getting to the point where no stone is unturned, only then can you stop. When you imagine chronicling an entire woman’s life from age 29 to 70, everything that went before 29 — since it must be taken into account — and everything that went after, you can imagine that’s no small feat. I ferociously lapped that up. I enjoyed it so much. But none of that is worth anything if you can’t just trust that it’s been inside of you so you can be present when you’re living out what might’ve been their life. W.E. opens Friday in limited release. [Top Photo: WireImage]
If you’re a big Hollywood star, why go overseas to shoot a cheesy foreign commercial for millions of dollars when you could just go to Davenport, Iowa, and shoot an equally cheesy domestic commercial for free? That’s what Will Ferrell figured recently when he approached the Pabst Brewing Co. out of the blue and offered his services for an Old Milwaukee ad campaign pro bono.
Having begun his career as American independent film’s great hope with delicate, languid features like George Washington and All the Real Girls , David Gordon Green has devoted the last few years to turning out goofball stoner comedies that, aside from their hip and very current casts, could seem like forgotten oddball ’80s artifacts discovered in a box of dusty VHS tapes at a garage sale. While it’s not a career trajectory anyone who went googly-eyed over his early output would have guessed for him, there’s an unmistakable undercurrent of glee to these recent films that suggests Green — who still works with many of the crew members with which he started, including composer David Wingo and DP Tim Orr — is having a great time making exactly the type of movies he wants to.
Even though it’s something of a slick mess, Madonna’s W.E. is just the kind of movie you’d expect from an artist who once, with a delightful lack of irony, declared herself a material girl. A weirdly sympathetic portrait of Wallis Simpson, the woman for whom a king gave up his throne, W.E. is the story of a life told through stuff: Evening gloves, cocktail shakers, baubles from Cartier, little hats trimmed with netting. It’s as if Madonna went back in time and forgot to talk to actual people, to find out how they lived and what they thought — but she sure did a lot of shopping.
Madonna’s directorial feature W.E. seems like a statelier version of Julie and Julia : A woman name Wally Winthrop (Abbie Cornish) living in 1998 New York is enamored by the decades-old romance of Wallis Simpson (Andrea Riseborough) and Prince Edward (James D’A rcy). New stills from the film — which will premiere at the Venice Film Festival before heading to Toronto — owe less to, say, The King’s Speech and more to movies in Madonna’s own oeuvre.
Perhaps! When reports surfaced that Madonna was planning to direct W.E. , from a twisty script co-written by the pop icon herself and Truth or Dare director Alek Keshishian, the first thing that sprang to mind — besides “whuck?” — was the structural similarities to Julie & Julia (though probably with more sex and less butter). After all, the film jumps between parallel narratives: one involving Edward the VIII (Ewan McGregor) and his abdication of the throne to marry American socialite Wallis Simpson (Vera Farmiga), and the other centering on a modern-day woman (Abbie Cornish) who is obsessed with all things Simpson. (Romance geeks or Neil LaBute superfans will also note quite a bit of similarities with the 2002 film, Possession .) But now comes word that Madge is also cribbing a device from Sofia Coppola…
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