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Jodie Foster has been acting for approximately 58 years, and there are certain things she will not tolerate on set. She refuses to be instructed on how to get into character and will not entertain what she considers “voodoo” directing – amateur, exaggerated methods. She also will not respond well to overbearing interference from those higher up in the industry. The only time she will concede to demanding producers is when they are “super passive-aggressive British people” – a type she finds irresistible. In her work, as well as interactions with the media, Foster is focused and straightforward, with minimal performance anxiety or self-awareness. She approaches a role or story in the same manner as she would a book report – with a practical mindset.
We are currently in a luxurious hotel suite in West Hollywood, where the charming and pleasant 61-year-old has styled her hair in gel-spiked strands and wears a pair of black trousers that emphasize her slim waist. Completing the look is a crisp white shirt with the collar neatly popped. Her appearance may remind one of a matador or a high-end caterer, but what truly stands out is the sense of familiarity emanating from her face and manner. Her voice, smile, teasing laugh, and intense gaze evoke memories of her iconic roles spanning decades – from Clarice Starling in The Silence of the Lambs to Sarah Tobias in The Accused, and even her childhood performances in Taxi Driver and Bugsy Malone. As she relaxes, Foster removes her mules to reveal red painted toenails and casually tucks her legs up under her – a natural gesture that may also be a deliberate one. After five decades of being in the public eye, I can only imagine that she understands, like I do, that “tucking her legs up under her” is a cliché line often used by profile writers to create a false sense of closeness.
Foster has a complex side that is not as clear-cut and has caused discomfort in the media’s reporting of her. She can be very aware of herself, which has been further amplified by journalists constantly probing for details on her sexuality. As one of the few openly gay women in Hollywood for many years, Foster now seems to struggle with discussing her personal life publicly, showing signs of what appears to be post-traumatic stress disorder.
Here we are, gathered to discuss True Detective: Night Country, the fourth installment of the popular anthology series previously led by Matthew McConaughey and Woody Harrelson. This season, there is finally representation of women. Jodie Foster portrays Liz Danvers, Ennis’ chief of police in a desolate small town in Alaska’s far north. The story takes place during the two months of permanent darkness in that region. It combines elements of a police procedural, an odd-couple buddy drama, and a poignant portrayal of North American Indigenous life. Like previous seasons of True Detective, it also includes supernatural elements that may not always make sense but still offer an enjoyable viewing experience. Foster’s character, “Alaska Karen,” is a lonely and bitter cop who delivers lines like, “Stop where you are, Ennis police…fucker.” This role may not be a major departure for Foster, who had a great time filming in Iceland, but her character’s journey offers a satisfying arc that is well-suited to her style.
One of the most striking aspects of the show is imagining what it must have been like for the relatively young cast and crew to collaborate with Jodie Foster. With the exception of Fiona Shaw, who portrays a former professor residing on the outskirts of town and did not have any scenes with Foster (although they did share a meal together), the majority of the production consists of fresh and inexperienced actors. Kali Reis, who delivers a brilliant performance as Evangeline Navarro, Danvers’ Indigenous sidekick, was previously a professional boxer. Issa López, the director, is a successful Mexican writer who has directed 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 contrast, Foster has an impressive resume with approximately 50 productions, multiple films and TV episodes directed, and two Academy Awards for Best Actress for her roles in The Silence of the Lambs and The Accused. There is a certain quality about Foster that is difficult to articulate – perhaps it is her intense presence – combined with the sheer volume and quality of her work that has earned her status as an icon. One can only imagine what it must have been like for the young individuals working alongside her.
She will not agree with this, of course. “I consider myself to be a fun person. I do not take things too seriously and I often make jokes.” She takes a moment to pause. “Also, I am not an authority on things.”
This is so funny. You are the epitome of an expert. You have been doing this job since you were only three years old! Just imagine De Niro or Pacino saying something like that. Foster grins. “Not exactly. I’m just familiar with myself, I don’t really know anyone else, and even as a director – I’m not particularly focused on directing actors, surprisingly.” Foster’s first film as a director, the 1991 movie Little Man Tate, in which she also acted, has been followed in her directing career by a few movies and individual episodes of TV shows like Orange Is the New Black and Black Mirror. “I really give the actors freedom to do their thing and trust that I’ve chosen the right people. I’m not someone who can coax out a performance on the 200th take. I believe that casting is crucial and if you do it quickly enough, people won’t overthink themselves.”
She has very specific expectations for how she is directed, and while working on True Detective, the only slight challenge was with director López. Although López has directed four films and Foster has been in many, the idea of being directed by an experienced director can be intimidating. However, they quickly bonded and found humor in everything. Foster appreciates when directors give clear instructions, such as asking for a faster or slower pace. She is not interested in directors who try to be overly affectionate or dramatic. While López may have to take that approach with other actors who are younger or inexperienced, Foster makes it clear that she does not respond well to it.
Foster has now collaborated on two back-to-back projects with directors who have less experience. In her most recent film, Nyad, which is available on Netflix, Foster portrays Bonnie Stoll, the close friend and coach of marathon swimmer Diana Nyad. This time, Foster worked with even less seasoned directors: Elizabeth Chai Vasarhelyi and Jimmy Chin, who were primarily known for their work in documentary films. I thoroughly enjoyed Nyad because of its clever writing and comedic elements, as well as Annette Bening’s outstanding performance as the lead character. Foster also stood out in her role, displaying a level of ease on screen that I haven’t seen since her days in Freaky Friday at the age of 13. It’s refreshing to see her playing a character who isn’t dealing with trauma or being sent into space alone.
In Nyad, she is relaxed and has a good sense of humor – her performance has been nominated for a Golden Globe. It appears to be the first time Foster has portrayed a lesbian character. (There is a separate discussion to be had about the underlying gay subtext in her portrayal of Clarice Starling in Silence of the Lambs, which lesbians can elaborate on – the choice of boots and duffel coat, the way she reacts to male characters, and more). The media coverage of the film, especially when reporters brought up the fact that both lead characters were gay, was predictably uncomfortable. It should be noted that it is more difficult for gay women than gay men in Hollywood, where there is no equivalent to showrunner Ryan Murphy (well, there is, but she is so deeply closeted that she might as well be in Narnia). I do not blame Foster for keeping to herself. Questions about her personal life are not overtly hostile or mocking nowadays, but there is often an underlying judgment: from straight people, generally, why are you still affected by this; and from the gay press, why didn’t you do more in the past?
I inform Foster that I greatly admired Nyad and she responds enthusiastically, “Thank you! I have a strong affection for Bonnie and Diana, so that was my main motivation to participate. I knew them from social gatherings and such.”
The film “Nyad” subtly addresses a traumatic experience from the past. As a teenage swimming champion, Nyad was sexually abused by her coach. The filmmakers, who were all young, brought their own perspectives to the table, given their previous work on victims of sexual violence. However, they ultimately chose to focus on Nyad’s incredible accomplishment of swimming from Cuba to Florida at the age of 64, despite the physical risks involved. Nyad and the filmmakers, Diana and Annette, wanted to make it clear that her success was not due to her traumatic experience. In fact, one of the most poignant moments in the film is when Nyad mentions that her abuser had passed away and she reflects on how she still occasionally feels like she’s 14 and fighting her past.
I personally enjoyed the scenes in the beginning of the movie where Foster and Bening are relaxing at home in LA, playing table tennis and Scrabble. “Yes, I really love those scenes.” To get Bonnie’s toned stomach, Foster trained like an athlete for six months. She confidently struts around in the movie wearing cutoff shorts and a tank top, holding her clipboard and whistle like the most fit PE teacher in the world. Despite always being portrayed as a nerd, isn’t she just as much of an athlete when you consider the evidence? Foster laughs heartily. “I’ve always wanted to be admired for my body, so I’m thrilled that people are now talking about it.”
Foster recently discussed the challenges of her 50s, a decade of transition where she had to navigate being a woman in Hollywood without many role models. She found support and guidance from friendships with both older and younger women. One of her close friends is 80 years old, a college professor who lived in a commune in the 1970s and is an extraordinary person. Through their friendship, Foster is able to gain insight into what lies ahead and what is possible. Despite her friend’s many accomplishments, she believes that the greatest fulfillment comes from helping other women in their communities.
What is her perspective on what young individuals in her field require? “They should understand the importance of unwinding, not overthinking, and creating something unique. I can assist them in discovering that, which is more enjoyable than being the center of attention with added pressure as the protagonist.”
I informed Foster that I recently saw a picture of her with the young British actor, Bella Ramsey, who is non-binary and stars in the popular HBO show The Last of Us. At just 20 years old, Ramsey is on the verge of becoming a megastar. Last month, she introduced Foster at the Elle magazine Women in Hollywood celebration, at Foster’s request. Foster explained, “I reached out to Bella because we had never met before and asked her to introduce me at this event, which celebrates actors and people in the movie industry but also has a strong focus on fashion. This means they are deciding who represents us.” Foster expressed her disappointment with the organizers’ efforts to include diversity, stating, “They are proud of themselves for including people of all ethnicities, but all the attendees are still dressed in high heels and fake eyelashes. There are many ways to be a woman, and it is important for people to see that.” Foster praised Ramsey’s speech and attire, saying, “Bella gave the best speech while wearing a perfectly tailored suit with a middle part and no makeup.”
According to Foster, her mentoring relationship with young actresses is a common occurrence for her due to her personal experiences growing up. She feels compelled to reach out because of the challenges she faced in her own childhood. When she sees Ramsey, who recently opened up about not identifying as strictly heterosexual, does she feel empathy for herself when she was younger? Foster confirms that she does. She recalls her own difficult upbringing, but acknowledges that she had the support of her mother, Brandy. Foster’s mother was a dominant figure in the entertainment industry and raised her and her three siblings in Los Angeles. She also played a crucial role in Foster’s rise to stardom, starting at the age of three when she encouraged her to audition for commercials.
Did she wear a suit and have a sharp part in the middle of her hair with no makeup when she was starting out as a young actress? “No,” she responds. “Because we didn’t have the freedom to do so. But now, with the rise of authenticity, there is the potential for true freedom. While we may have had other positive aspects in our society, I personally did my best to navigate and understand my place and role in feminism. However, my perspective was limited. I lived in a heavily segregated environment.”
I referenced a previous conversation where she spoke about fear being the driving force behind most of our decisions. “It can be beneficial, as it keeps us safe.” However, it can also be detrimental, right? “Yes, it’s a survival mechanism, but one that can ultimately lead to our downfall.” I must mention that, despite her support for Generation Z, Foster still finds them irritating at times. “They can be quite bothersome, especially in a professional setting. They have this attitude of ‘I don’t feel like it today, I’ll come in at 10:30am.’ Or in emails, when I point out their grammatical errors and spelling mistakes, they respond with ‘Why bother? Isn’t that limiting?'”
Foster has two adult sons, Kit and Charles, who were born during her relationship with her former partner, movie producer Cydney Bernard. After separating in 2008, Foster has been married to photographer Alexandra Hedison for the past decade. She reflects on how her sons’ upbringing may have caused them to question traditional notions of masculinity. She shares that her sons are not interested in sports and prefer spending time at home and with their female friends, describing them as very feminist. However, she also recalls a phase her older son went through in high school where he struggled to understand his identity as a man, influenced by societal expectations. He briefly believed that being disrespectful and misogynistic was the key to being a “real man,” but Foster quickly corrected him. This phase lasted about six months before she put a stop to it.
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Her spouse recently had a brief film titled Alok, which features the non-binary writer, poet, and comedian Alok Vaid-Menon, accepted into Sundance. This achievement fills Foster with pride. While Foster was an executive producer for the film, they have a mutual understanding of maintaining independence in their respective work. Foster admits that they excel at letter writing, while their spouse has a great eye for visuals and photography.
Foster has struggled to find a sense of security and happiness with Hedison. The fame that comes with being a minor celebrity has had a corrosive effect on her, and she has had to work hard over the years to not let it ruin her. As someone who has been in the public eye since a young age, she acknowledges the strange nature of her life, especially as 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 time where she wasn’t the center of attention and not everyone was interested in her rants. As a public figure, her world is different and she may not even realize that she can come across as arrogant, a bad friend, and unreliable.
Why do people cater to you? “People cater to you, which means there are difficult lessons you must learn. As Hugh Grant once said, being famous at a young age is like being injected with steroids – you have those big muscles for life. But one day, you decide to stop the steroids and you no longer recognize yourself or know who you are. You have to rebuild your entire identity. This can be challenging, and it’s something I learned later in life.”
While Foster and Bernard were together, she never brought her to award shows or other public gatherings, and never openly acknowledged their relationship. However, during her 2013 Golden Globes speech, Foster paid tribute to Bernard and referred to them as being a part of a “modern family.” I wonder, what does this imply? Is it when someone tells you they cannot continue living with you because of how terrible you are? “Yes, definitely. Being an actor does not allow for much self-awareness. It is easy to be unaware of oneself.”
It is believed that the desire to act like a jerk is strong, but Foster has implemented strategies to combat it. She has created separate areas for different aspects of her life, but acknowledges that this can be difficult for her relationships. She jokes about not wanting others to see this side of her, referring to the interview setting as her own. She also mentions that her friends and children were not aware of her profession until later on and that she never brought them to set.
Is this a positive situation? “I suppose it is, but there are other actors whose children have had different experiences, like ‘Oh, I lived in Romania [while my parent was filming] and did all these things…’ But my kids didn’t have that. Maybe they would have had exciting adventures or something.” The main idea is that, according to her, “it’s not normal to be a public figure from a young age, and there’s a lot of navigating around that in order to be a well-rounded individual.”
Despite facing numerous challenges, she continues to face criticism for choices she has made in the past. She acknowledges that it is difficult to understand her decisions unless one has experienced the same circumstances. She believes that if others were in her position, they would better understand her perspective.
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I have a question regarding The Silence of the Lambs. One notable aspect of Foster’s performance is her ability to bring intelligence to her roles and avoid cliches. In 1992, she won the Academy Award for Best Actress for her role in The Silence of the Lambs, which was unlike any other character we had seen on screen. The dynamic between Anthony Hopkins as Hannibal Lecter and Foster as the trainee FBI agent was a key factor in the success of the film, but Foster’s portrayal was particularly remarkable.
In the final scene, Clarice is navigating the killer’s dark house while he observes her with night-vision goggles. Her hand, holding a gun out in front of her, trembles with nerves. This goes against the typical portrayal of a confident FBI agent. It raises the question: was this detail suggested by Jodie Foster or director Jonathan Demme?
“I came up with the concept.” Figured! “It resonated with me. There was an element of surprise with Clarice – that she possessed strength, yet was also vulnerable and small. She acknowledged her lack of physical power, and it never crossed my mind that it was a groundbreaking idea. You’re portraying a character who typically fits the male archetype – the action hero. But she’s not; she’s Clarice.”
Foster may be characterizing herself. The juxtaposition of being small yet powerful is a key aspect of her charm and is also evident in her skill at setting boundaries behind the scenes. “I don’t excel at multitasking. I’m a unique individual who is highly focused. On a spectrum, that’s where I fall. It doesn’t matter if there are airplanes flying overhead or if someone is calling my name, once I’m focused on something, I have the ability to politely decline and not engage in other tasks.”
She will not be swayed or taken advantage of, and at this stage in her life, she refuses to feel guilty about any of it. As an actress, she has developed a thick skin not only for criticism, but also for being told what to do: “Can you move your body there? Can you be emotional here?” She has learned how to handle these demands, and she will not give in. For years, Foster faced public criticism and lectures on how to do her job differently. But now, she states pointedly, “I will do it for my career, but I won’t do it for you.”
Source: theguardian.com
