Emma Stone was deliriously tired when Indiewire called her up over the
weekend to discuss her performance in "Birdman or (The Unexpected Virtue
of Ignorance)," Alejandro González Iñárritu's surefire Oscar contender
that's been a hit with arthouse audiences in recent weeks. And
rightfully so. On Tuesday, the actress officially took over for Michelle
Williams as Sally Bowles, in Broadway's hit revival of "Cabaret." When
we when we spoke to her, she was in the midst of final rehearsals before
her big night.
Her Broadway debut marks another astonishing achievement for the
26-year-old, who at this point in her still young career has already
worked with Woody Allen (twice), hosted "Saturday Night Live" and been
nominated for a Golden Globe. If the awards prognosticators are to be
trusted, she'll likely earn her first Oscar nomination for her fiery
performance as Michael Keaton's troubled daughter in "Birdman."
You must be in crazy rehearsal mode for "Cabaret."Yeah, I start Tuesday. The show starts Tuesday.
I caught you at a really exciting time, I'm sure.
Yeah. [Laughs.] Yeah, an overwhelming and exciting time. How are you?
I'm good!
Good.
I'm, I guess, a little delirious. It's not even exhaustion. It's just
kind of delirium. I feel like I'm hallucinating all the time. [Laughs.]
[Laughs.] Why's that?
It's
probably good for Sally. I mean I guess because the process of it is
so—you come at it at so many angles. Like I'm about to leave and work
with a speech teacher to keep working on getting to the back of a
theater and there's all these different facets that I'm working on and
there's always something else to do. But, it's so great. I'm having the
time of my life and it's been really positive. I'm just—I feel like I'm
on acid. [Laughs.]
What's surprised you about the experience of taking over for Michelle Williams in an already-opened production?
Well,
the thing that's probably been most surprising is how not challenging
they've made it feel for me because obviously I am coming in and they've
been incredibly sensitive to that. But, they also have been—I don't
know if this company is just spectacularly nice or warm, but they have
sort of been going out of their way to make me feel welcome. That's been
the most surprising thing because I thought I was gonna come in and
just keep my head down and start on Tuesday. But, they've been—we had a
few put in rehearsals and they did a full show with me on Friday with 25
people from the house staff watching in the audience because they won't
have any previews. And then they did a show that night and two shows on
Saturday. It's been really—everyone's been really welcoming. It's been
really crazy.
I love that I just saw you in "Birdman" and now you're on Broadway. It's ironic!
[Laughs].
I know! I think it's been the running joke. We did a Q&A and
someone in the audience was asking if any of us now as actors that do
movies would dare to do theater and I was sitting on the end of the
panel. I was at the end of the line of all the actors and everybody's
head turns toward me and Michael Keaton just goes "‘Em? Wanna answer
that?" [Laughs.] I was like "oh shit, well I guess I really am my
father's daughter." I am Riggin Thompson or something. Although, it
doesn't really feel like I have half the balls that character does
because I'm not Kander and Ebb -- I don't have to write or direct it.
You're also not a washed up actress by any means.
[Laughs.] Well, that depends on who you ask. But, yeah it is pretty hilarious though. The timing could not be better.
For
"Birdman," you and the cast underwent an intensive rehearsal process to
map everything out given how it was shot to look like one long,
continuous take. Did that experience in any way prepare you for your
first Broadway show?
I've done a few interviews with Edward
Norton so far and everybody asks the question 'Did making it feel like
theater?' And he always says 'No' and I always bite my tongue because I
don't like to argue in the midst of an interview [Laughs.] But, it did
feel like theater because the rehearsal process was so—not that that
would be an argument since it's an opinion and no claws would come out.
He'd probably be fine with me feeling differently. But, now, being in
rehearsal, I think this sense that you have of relying on the whole
company, on relying on the cast and crew to put their prop in the right
place so you have it for the next scene, or for the emotional logic to
make sense to lead you into the next thing where a bunch of people are
going to come onto the stage -- you need to pick up where you left off. I
think that was really really -- that was a huge resonating factor of
"Birdman." No one could drop the ball and if someone did we had to go
back to the very beginning, which in some ways was more pressure-filled
than doing theater.
The other day, we went through the run-through
and I went to Linda Emond's dressing room, one of the amazing actors in
the play, and I said ‘I get to do this again tomorrow.' [Laughs.] I
fucked up in this one moment and didn't do what I was hoping I could
have explored and tomorrow, I will get to do that and if it doesn't
work, then the next day I'm gonna try a different angle. There's that
sort of gift in theater that you get to do it again and again. With
"Birdman" we did it again and again, but then there was always gonna be
one that was permanent and that couldn't be cut. So, it was this strange
-- what's the word I'm looking for? What's something that lasts for all
eternity? What's something that's kinda permanent? I was looking for a
word. Basically, you didn't get back and do it again. Once it was over,
it was over.
Everlasting.
Everlasting! There we go. It was everlasting.
You have this amazing scene in "Birdman" where you just tear into
your father in an extended monologue. The sequence had me on edge not
just because of your intensive delivery, but because of how Alejandro
chose to shoot it. If you flubbed it, the entire arc of the long
sequence would have suffered. How nerve-wracking was it to shoot that
scene?
Well, I think less nerve-wracking than it was if I came in and just had a little line in the end of a scene.
Oh really?
Yeah.
I think the things that were most pressure-filled were if you weren't
in the scene and then you had to come in just at the very end and bring
someone into another room and that was where the stitch was made.
Because then you were in the kind of unique position of not really being
in the scene, but having the chance to screw it up for everybody else.
[Laughs.] At least if you're in the middle of a monologue, you know
there's a little more time and you're not just this rogue person coming
in needing to deliver one thing. We did it a lot. Every day was
complicated. Every day was hard, but it also is the best feeling ever
whenever you get to the end of any day. So, I don't know if that
monologue scene was any harder than any other day really. But yeah, it's
a pretty intense scene.
I've seen the film twice and that's
the scene that kind of leaves the audience's jaws on the floor. You
can't hear a pin drop after.
[Laughs.] Oh boy. That's probably just because my eyes make me look like a strange alien. ‘How is that a person?'
[Laughs.]
Well, before coming onto something like "Birdman," you were more
well-known for your comic timing. Ever since you kind of broke out in
"Superbad" everybody's been labeling you as this generation's answer to
Goldie Hawn.
Oh my god! I could only wish. Please.
In
"Birdman," you got to play a pretty troubled character, something that
you hadn't really been able to do before just given the projects you
were in. Did you feel totally confident that you had the ability to get
under her skin?
No, never. It was wonderful and it was
really hard. There were times where -- because you're right -- I have
done comedies for the majority of time that I've been working, which is
652 years now. [Laughs.] No, it was hard and one of the things that was
probably the most striking about it was that there would be time when I
thought ‘That was really good and that was true and that felt authentic'
and Alejandro would look at me with this look in his eyes and tell me
to go again -- and I was realizing that this person has the world's
greatest bullshit meter and there was no fooling him at all, which was
sort of infuriating until you can break through to something that's
really true. And then you go home and you're like 'Oh, I just told the
whole truth and that felt really incredible and really scary.'
So,
I think because of working with somebody like him, that dramatic or
whatever you would call it -- although it doesn't really feel that
different from comedy in the moment that you're doing it. It doesn't
feel like this is drama or this is a different genre or anything like
that. But, working with a director like that who doesn't let anything
slide and doesn't let you rest on your laurels in any way was scary and
ultimately -- there's no way I would be doing something like I'm about
to do really with the kind of enthusiasm that I'm about to do it, if I
hadn't worked with somebody like Alejandro or on a movie like "Birdman."
So, it just sort of propelled me into wanting that scary truthful
feeling daily, rather than as like a once in a lifetime kind of thing.
Am I making any sense?
Yeah.
Sorry, I sound like an insane person! [Laughs.]
No, you're making total sense.
I feel like maybe I am half asleep right now.
Have you expressed to Alejandro what you just said? How working
with him kind of propelled you to take on challenging stuff like
"Cabaret" on Broadway.
I don't know if I've ever said it in so many words. It might be a good time to write a thank you card.
Did you make "Birdman" immediately following working with Woody [Allen] on "Magic in the Moonlight"?
I made it immediately prior to working with Woody.
How do you compare their two working styles? They sound totally
different from what you're saying about Alejandro and what I've read
about Woody.
Yeah, they're pretty much the opposite in
personality, other than the fact that they are both incredibly
disciplined when it comes to work. They both like to do a lot of things
in one shot. [Laughs.] With Alejandro, there was extensive rehearsal and
discussion. With Woody, there is little to pretty much none, there is
no rehearsal and really almost no discussion. But, you will show up on
the day and be told you're shooting a five or six page scene in one take
with Woody. For Woody, it was equally important to prep like I did on
"Birdman." Making "Birdman," it felt like I had been shot out of a
cannon no matter how well rehearsed the scene was. It definitely feels
like that with Woody. But, in terms of their personalities, they're
pretty dissimilar.
Saying those two names out loud, do you ever have "pinch me" moments anymore?
Oh
my god. Yeah. I'm obnoxious with "pinch me" moments. I think I'm always
crying and babbling on about how excited I am about things. There are
big moments where I feel very overwhelmed by opportunities and chances
to do things that I really love and really care about. Especially in the
last couple of years, it's just been surreal what's happened in the
last couple of years. That's probably the reason why I feel like I'm
hallucinating a lot of the time. [Laughs.]
I think I also have
this kind of non-stop neurotic awareness that it won't always be this
way -- and it hasn't always been this way. There have been periods of
time throughout it where it felt like sort of... the nature of being an
actor is you finish something and you feel like you're never gonna work
again and that doesn't ever go away. It doesn't really matter what it is
that you last did. It always feels like your fingers are crossed and
you're just waiting to see what's gonna happen next. So, I have a
healthy amount of not believing that anything will continue past the
next six months or something. Maybe that sounds horribly negative, but
it's probably, I don't know. I am just sorry. [Laughs.]
Why are you apologizing?
[Laughs.] I feel like I'm just saying words at you. And then I trail off at the end. Good stuff.
Well, I'm not gonna keep you much longer.
That's fair! You probably aren't getting much.
Stop,
stop! For somebody who is working with Woody Allen, Alejandro, on
Broadway, so many things are going so well for you -- you still seem so
grounded as a person. How do you do it? What keeps you grounded?
Wait
grounded? How do I seem grounded? I feel like a loopy cloud. Do you
mean in terms of not thinking like I'm a precious gem or something?
Yeah! [Laughs.]
Yeah,
that's easy to do. [Laughs.] You just have to actually look at the
reality of being a human being. I don't know. That's a tough question to
answer I think because I don't really know. I guess I don't know the
difference. But, no, I don't know. I feel like there have been very
amazing opportunities and that's been work. Work has been really
amazing, but there's this whole other side of life that has nothing to
do with work. I don't think work has ever really defined who I am, it's
just what I do. That's been really exciting over the past couple of
years, but it doesn't feel like that's all that I am. So, I guess the
other side of things. Remembering the other side of things is hugely, if
not more important in many ways, that's probably it. I don't know.
These are really special answers. [Laughs.]
That they are. So have you had time to have a life? How do you make time? You're so busy.
That's
a good point. Yeah. I'm talking about how there's life outside of work
and yet all I've been doing is working, so I'm completely bullshitting
you. It's all front. It's a complete visage. [Laughs.] That's a really
good point. No, I haven't actually been able to do that much outside of
-- especially for "Cabaret" because it was like I was saying before, it
seems like there's always something to be working on for this, just in
terms of getting stronger. So, I also just stay home a lot. A few people
come over and I watch movies and I read and that's pretty much all I
got outside of work. That's the life thing I was telling you about.
Pretty great. [Laughs.]
Well, thank you so much and have an amazing opening on Tuesday.
Thank you so much.
Go read a book!
Ok, I will!
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