Vanda, your character in Venus in Fur, sweeps into her audition, seduces the director and peels down to her leather undies. She’s amazing and a little unreal.
We don’t know what she is! Is she a goddess? Is she coming from the play-within-a-play itself, from the 19th century? Maybe she’s just in the director’s mind. I don’t know. That’s what’s great about her. I think when [playwright] David Ives wrote that part, he was trying to capture a woman, with all the good and bad.
Mathieu Amalric, your costar, slowly wilts. You’ve had that effect on a director before.
[Laughs] Not at all. I don’t think my husband would ever let any actress treat him that way.
No? You don’t see your husband at all in Amalric’s performance of Thomas?
[Pause] Thomas is smug. He’s very pretentious and he thinks he’s amazing. I think she’s making fun of him. Roman is not that type of director.
Glad you cleared that up. Is it tricky leaving work behind when you two make a film?
Maybe when I was younger, on Frantic. But this was the first time I had responsibility for a real role with him. And I always wanted that. We didn’t have time to fight—it was perfect.
Do you ever feel overshadowed by your husband’s history? Has that been hard?
Yeah, really hard. Especially because it’s not my story and I had nothing to do with it. It always leaves scars. But that’s life. I think everybody’s got his own stuff. There is no perfect life.
Vanda seems pretty perfect.
After a role like that, you want something meaty. It can’t just be walking in a movie looking beautiful. That’s so boring. I’ve done that so many times and I’m sick of it. I would rather make pancakes with my kids, you know?
Venus in Fur opens Fri June 20.
Watch the trailer for Venus in Fur
Rated as: 4/5
Roman Polanski follows up his Albee-lite burlesque Carnage (2011) with another single-set farce—the initially subdued, soon gloriously unhinged Venus in Fur, adapted from David Ives’s hit Broadway play.
Read the full review for Venus in Fur
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Actor, activist, icon and complete badass. All hail Time Out New York’s guest editor-in-chief Susan Sarandon. Photograph: Paul Stuart There are certain people who are synonymous with New York City. Then there are those who simply are New York. Who are woven into the very fabric of the city like the steam rising from below the streets or the Greek cups stacked behind the bodega counter. Susan Sarandon is that person. As a lifelong New Yorker, she has seen it all, from the mean streets of the ’60s to the much cleaner ones of 2014. Along the way, she’s made a truckload of films, won an Academy Award, become an activist, had three kids, started a production company and helped to found a Ping-Pong club. So how did we feel when she agreed to edit this issue of Time Out New York? We won’t lie: absolutely fucking delighted. And a little bit smitten. As a native New Yorker, what does the city mean to you? The business that I’m in tends to isolate you and congratulate you on that isolation. New York guarantees that you’re still connected to real life. Just by the way it’s designed—you’re on foot, it’s crowded, you’re coming into contact with all kinds of people—it’s very hard to stay separate and above in New York. I also tend to suffer from inertia and don’t constantly look for ways to surprise myself. New York, by its very definition, does that. All you have to do is walk 20 blocks in any direction, and you’ll see something or meet someone you hadn’t counted on. The serendipity of N
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