Patricia Clarkson
had been holding onto the script of “Learning
to Drive” for about
seven years before it became a film directed by Isabel Coixet, now in limited release. Watching the film, you can see why—it’s
a sound vehicle for the actress, who bounds from indie projects (“Last Weekend”) to studio ones (“The Maze Runner:
Scorch Trials”) to even two
episodes of NBC’s
“Parks and
Recreation.” Written by Sarah
Kernochan, as based on an article by Katha Pollitt, “Learning to Drive” is a showcase for Clarkson’s
diversity, her ability to zig-zag from punchlines to crushing moments of
distress, and back again. A story as simple as an introverted NYC book critic
(Clarkson) trying to get her driver’s
license, and connecting with her Sikh instructor (Sir Ben Kingsley), is
certainly imbued with gravity once a name like hers is attached.
The Academy
Award-nominee (Best Supporting Actress, “Pieces
of April”) previously
starred opposite Kingsley in Coixet’s 2007 film “Elegy,” a dazzling
rumination on age and connection based on the Philip Roth novel “The Dying Animal.” In the film,
Kingsley played David Kepesh, an academic with no attention for commitment, but
an eye for his student Consuela (Penelope Cruz). Meanwhile, Clarkson was Kepesh’s wife Carolyn, who
shares with David a mostly physical relationship, to keep things their marriage
as rewarding as possible. The two actors now use their chemistry to tread a
very curious platonic ground in “Learning
to Drive,” where Clarkson is
now the relationship-challenged intellectual, coming to terms with their own
disconnection from the world.
I had the pleasure
of speaking to the very gracious actress right after meeting Kingsley, both of
them chewing on the questions I lobbed their direction with thoughtfulness and
levity. Clarkson got particularly excited when we touched upon the film’s sense of humor,
and the images of sexuality that this movie provides actors of a certain age.
We also touched upon her belief in platonic relationships, how independent
cinema is helping women tell their stories, the role that criticism as played
in her career, and more.
With this movie,
what was most important to you to express about a character like Wendy? What
did you want to share with the world about them?
For me, why I
wanted to make this film about a woman who fails to appreciate the life that
she had, and it’s
lessons that I need to learn also, and maybe they rang true to me. In ways that
are life and art merging in precarious, dangerous ways. But this is about a
woman not finding a better self, but finding a more selfless self. You know, my
generation of women, we’re lucky. We have it all. We really
do, a lot of us. Many of us didn’t have to choose. I have so many
friends who have jobs and partners and husbands and wives, children, multiple
children. Some of my friends are often the breadwinners in their families, but
I think we sometimes lose track of what’s right in front of
us. And the simple thing her husband says, “You
never looked up.” She’s a brilliant woman
who has done stupid things. But so I think it was just, “How do we take in
the life that is around us? How are we more present?” And I like that
journey. I like that she was flawed, deeply flawed and complicated. But I also
liked playing someone smarter than myself. This was an ode to my brilliant
writer friends. I have many brilliant, brilliant friends, a poet and a
playwright. I do seek higher ground, often, in my life. And that’s what I wanted.
How important was
this film’s sense of humor when you were clinging to this script for
so many years?
Crucial. The humor
in the script, and Wendy’s sense of humor is essential. She’s witty and urbane.
She knows how to turn a phrase. But she is, at the end of the day, a woman who
failed to live. Her husband was not perfect – it takes two to tango – but, him
having the affair is not the story. It’s a much larger
picture.
[An ambulance siren
whirs loudly outside the window of the hotel.]
My god is that my
ambulance? I’ve
been on this press tour …“Yes, I’m coming! I’m here! 816! Have the IV ready!” [Laughs]
In this film you
have a fair amount of jokes, but you also have scenes about or featuring your
character’s sex life. Was it
also particularly important for you to have those moments as well?
Yes, and it’s also refreshing
to have sex scenes. And you know, listen. Our business is innately ageist and
sexist, and it’s
valid. We do need beautiful young women on film, that’s just our business. It’s a great thing in our business,
beautiful young actresses. But we have to continue to see people of a certain
age naked on film, because we are naked! You continue to be naked as you age
with people. And so, I like that.
This and “Elegy,” with Sir Ben as
well. People have sex.
People have sex!
Of all different
ages.
Of all different
ages!
At the same time,
what do you think speaks to viewers about watching a platonic relationship?
In my life, I have
dear, very dear platonic relationships with several men in my life. It’s a beautiful
journey that you take in a platonic way with a man. I have very dear
girlfriends that I learn from daily, but when you don’t cross the path,
when you remain chaste, other things are allowed to blossom and happen. I highly
value my deeply platonic friends.
Rashida Jones once
told me in an interview for her film “Celeste and Jesse Forever” that she doesn’t believe a 100%
platonic relationship is possible. What do you think?
Wow. Hmm. I do.
Maybe because I’m
a different age [laughs]. Maybe it is about not always wanting to take your
clothes off. But I do. I’ve had it. I’ve had a very
platonic relationship with some very straight male friends of mine.
With this movie and
“Elegy,” there is a nice
reversal between you and Sir Ben of who is playing the intellectual trying to
wade through a personal disaster. But there’s a question that
rings throughout both, and I asked Sir Ben this as well—do you feel there is
a definitive answer about marriage and fidelity, or is it always meant to
remain a question?
Oh, it will always
remain a question because it’s such an intimate and singular event.
It’s
unique to those people. It’s timeless and ageless why people stay
together, and why people fall apart. And I know so many people that are
divorced, that if they could wave a magic wand and make life whole again, they
would. Most people I know would. There are very few people who long for
divorce. I think we all want our relationships to succeed. We hope for the
best, we have to. Or why would we go down this road? I think the reason that
marriages work are infinite.
There’s so many parts of
it, including time. That bastard called time.
Time, time, time!
What is it about
working with Isabel [Coixet] that makes it worth returning to her for even a
25-day shoot?
25 days. Psychotic!
It’s
too much. But, this is the great thing about Isabel and Sir Ben. They’re workhorses, they
know how to rock and roll, they’re consummate professionals. Everyday
we showed up, we had no time, limited refunds. We had no time to explore and
think and discuss. We showed up everyday and had to make the most of every
single minute of every single hour of every single day. And we were shooting in
a very difficult city to shoot in New York City, but essential to the story.
And we couldn’t
fake things. Everything is real. Everyone is so surprised, they say, “You’re really driving!” And I say, this isn’t like Cary Grant
and Ingrid Bergman on a set. This is me in a ratty, little car, driving through
the cacophony of New York. It’s crazy.
Do you see a
progress in modern filmmaking better understanding women, and giving them
better roles and even directorial work? How do you see “Learning to Drive” as part of it?
Definitely. “Learning to Drive” has so many women
playing crucial parts in this. And it’s stunning. And I
love this film and had it been made by primarily men, I still would love it.
But the fact that it’s made by so many women who played the
vital parts in getting this made, is what makes me very proud. But I think it’s more the rise of
independent cinema becoming commercial that has helped us. I came about in the
heyday of independent cinema, the late ’90s, with all of those extraordinary
companies like October Films, Miramax, Paramount Vantage, all of those. But
oddly, independent cinema is more commercial these days. And more people are
going, and these films take hold of the zeitgeist now. Regular people now go to
independent cinema. It’s not just these hotbeds of culture,
these urban pockets. My brother-in-law is a banker, and he goes to art films!
But something has shifted, and that’s helped life more adult stories to
the forefront, and with those adult stories come stories about women, more
stories about women, of a certain age.
And in blockbuster
terms, I’m thinking of someone like Paul Feig, who is a male
director, but is giving more roles to women.
It is astonishing
how he’s
lifted women to a new high, just single-handedly. “Bridesmaids” is brilliantly
funny, it gives women a chance to shine in such staggering and comedic ways,
and it has opened new doors for a lot of actresses in this business, who are
now commodities. It’s so great, but there are a lot of
great men helping to lift women. Great creative forces of men who have chosen
to direct female projects. That’s what’s important.
As someone who
plays a book critic in “Learning to Drive,” what role has
criticism played in your career?
I do think
criticism is necessary, and I do think it is valuable. We need arbiters of
taste. I think it’s
just societal. We need opinions, we need subjective opinions, or objective
opinions about subjective work. We need objectivity because it is so
subjective. And we need a look from on high, so to speak. I know a few critics,
I am proud to know them. I think they’re ordinary people,
they have opinions, and many of them their opinions are valuable. I’ve received the
kiss and the slap, and it’s just if you can’t handle the heat,
stay out of the kitchen, baby. That’s the job we’re in. It’s brutal to read a
slash. But I don’t
read a lot of reviews when I’m in the middle of it. When I’m doing theater,
no. And even right now, I’m just not, because I’m on a roll, and
this film has been such a part of me for so long. I don’t want to know. But
I just want to know if they’re helping, and they are. Whatever
happens to “Learning to Drive,” there’s been some very
good things said, and I’m thankful, because they can sell
tickets. They sell tickets.
When you are making
a movie, are you trying to think critically of the story, its themes, etc?
No, I think it’s a very subjective
process for me when I shoot a film. I don’t even watch dailies, I don’t watch anything from behind the
camera. I only know the world that I live in, and that’s crucial to me, so
I try to remain in the world that the film is. And I try to, I think
ultimately, as actors, the less we come from the head, the more we come from
the heart, it’s
very helpful.
