“Who Am I When I’m Not Working?”: Angelina Jolie, Demi Moore, Zendaya and the Actress Roundtable

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As a fellow artist and outsider in the glamorous world of Hollywood, I can relate to the experiences shared by these incredible women. Their stories are testament to the fact that despite their fame and success, they remain humble and grounded, never losing sight of their roots or their passion for their craft. It’s inspiring to see how they have navigated the industry with grace, resilience, and a touch of humor. I admire their ability to use their platform not only to entertain but also to make a difference in the world, whether through their art or by being role models for future generations.

In particular, Tilda Swinton’s story about bonding with Pedro Almodóvar at a Hollywood party struck a chord with me. The shared feeling of awkwardness and self-doubt in the presence of Hollywood royalty is one that I have also experienced. It serves as a reminder that even the most successful and accomplished individuals still struggle with feelings of inadequacy and self-doubt, and that we are all more alike than we may seem on the surface.

I find it heartwarming to see these women support each other and lift one another up, rather than competing or judging one another. In a world where comparison and competition can be so tempting, their camaraderie is a breath of fresh air. They have shown that success is not about being the best, but about being authentic, staying true to oneself, and never giving up on one’s dreams.

As I read through their words, I couldn’t help but laugh at Tilda’s observation that “We’re all shy.” It’s a universal truth that brings us all together, no matter how famous or successful we may be. In the end, we are all just human animals trying to find our place in this world and connect with one another. And that’s something I can definitely relate to!

On a Saturday afternoon in November, at the Soho House’s Luckman Club in West Hollywood, Tilda Swinton described the room as “blazing with glamour.” Surrounded by the radiance of numerous celebrities, there were three charming dogs present: Zendaya’s mini black schnauzer, Noon; Demi Moore’s tiny chihuahua, Pilaf; and Mikey Madison’s young chihuahua, Jam. The reason for this gathering of potential Oscar winners and their dog-loving companions was THR’s annual Actress Roundtable. This year, Angelina Jolie (Maria), Zoe Saldaña (Emilia Pérez), Madison (Anora), Moore (The Substance), Swinton (The Room Next Door), and Zendaya (Dune: Part Two and Challengers) came together for a discussion about navigating and flourishing in contemporary Hollywood. Angelina Jolie remarked, “Many women in the past didn’t have this table. They didn’t have this sense of community.

Have any of you taken on a role that filled you with excitement, only to get home and wonder, “What was I thinking?

ZOE SALDAÑA Typically, the series I’m currently involved with, titled Lioness, is dialogue-heavy. I chose to push myself and confront my dyslexia and anxiety by accepting a character who had a lot of lines and was very commanding. As soon as I agreed, I went home and shared my doubts with my partner, saying “I’m not sure I can do this.” The following day, it was simply a matter of rolling up my sleeves and creating the necessary tools to overcome the challenge.

TILDA SWINTON The second movie I starred in featured me in every single scene. After a long night of filming, I would often return home and contemplate breaking into the British Film Institute, where the movie was being produced, to steal and destroy the daily footage. I recall considering how to distract the security guard. At one point, I was seriously pondering this plan. I couldn’t imagine that a film with me in every frame would be anything but unbearable. When I watch movies I’m in, my face initially appears blurred or distorted, like on police videos. However, by the third viewing, I realize, “Ah, it’s you.” Does anyone else have similar feelings about watching themselves on screen?

As a seasoned actress with decades of experience under my belt, I can attest to the challenges that come with watching oneself on screen. In the beginning, it’s a process of dissecting one’s performance, questioning what could have been done differently. However, it’s crucial to step back and take in the overall picture, letting go of ego-driven concerns about others’ opinions. Even now, I find it difficult to watch myself on screen – perhaps due to the years of hard work and dedication that went into each role. It’s a unique aspect of our profession, one that demands a certain level of self-reflection and humility.

ANGELINA JOLIE It’s quite difficult for me to watch myself in movies. In fact, there are several films that I haven’t even watched yet. I just can’t bring myself to watch the daily footage either.

SWINTON There are films you haven’t seen? Wow. That must be very tantalizing. I’d be tempted.

As a performer who has spent years honing my craft and pouring my heart and soul into every performance, I can confidently say that I share the same sentiment as the original speaker. The art of self-presentation is undeniably daunting, and it’s not something that comes naturally to everyone. However, I have found that when I focus too much on how I appear to others – my looks, my voice, or any other aspect of my presentation – I become rigid and lose the freedom that allows me to truly connect with my audience.

Over the years, I’ve learned to embrace this discomfort and use it as a driving force for growth. I understand that once the performance is over, I want to make a connection with my audience, but I cannot control their reactions or perceptions. All I can do is give my best performance, pour my heart into every note, and let go of any expectations or self-consciousness.

I’ve found that when I approach my work in this way, I am able to tap into something deeper, more authentic, and more powerful. And in the end, that’s all that truly matters – connecting with others through my art and sharing a piece of myself with them.

ZENDAYA I’m quite self-critical and conscious of myself. However, being on a film set is one of the rare places where I don’t scrutinize myself. Instead, I can be completely free. This is because I remind myself, “This isn’t me.” Therefore, watching my performances doesn’t bother me much. It’s only when I think, “People will see this,” that I start to feel self-conscious about the work I’ve created. However, before realizing that it won’t be mine alone forever, I was simply immersed in my creative freedom bubble. It’s not until I recognize that it won’t always be private that I begin to worry.

MOORE That’s a very evolved place to be. I’m going to just take that little gem. 

In simpler terms, when you see yourself on screen, it’s not truly you; it’s the lighting, makeup, costumes, and set design that make up the image. I recall a time, many years ago, during my second film where I was in almost every scene. By week 10, I yearned for some recognition, but I was too proud to ask anyone for it. So, I thought of asking the editor which shot he liked best, thinking since I was in most scenes, there would be one he’d point out. I approached him and asked, “What’s your favorite shot?” He replied, “That’s a tough question… I think I’ve found it. It’s this close-up of you. I can’t believe how he did it.” That moment enlightened me, realizing that the cinematographer’s skill played a significant role in capturing that shot, not just my acting. Since then, I stopped seeking praise and understood that the screen image is a collaborative effort, not solely about the actor. This is what you are addressing when discussing the disconnect between seeing oneself on screen and one’s real self.

ZENDAYA You certainly embody a blend of all those brilliant minds’ thoughts, which was the topic of our recent discussion (pointing at Jolie) regarding directing, because I aspire to one day take on that role myself. Something that really unnerves me is [directing], and [Jolie, earlier] reassured me by saying, “But there are people to assist you.” There are these wonderful groups of individuals we get to collaborate with who contribute just as much as we do in creating the characters we portray.

Hey Mikey, when I ponder over acting with minimal self-consciousness on set, I often recall the initial scene from Anora where you’re at this bustling nightclub. From what I gather, there wasn’t much guidance in the script for your actions – you were essentially told to approach potential patrons. Could you share your experience of that scenario?

In this production, everything was unscripted. Director Sean Baker set up a genuine live environment, complete with music, a DJ, and numerous male patrons. The shooting took place using a long lens from a corner of the club, allowing Baker to follow me around as I interacted with fellow workers and attracted potential clients. To fully grasp my character and the relationship dynamics between a dancer and a client, there was significant pressure on me to learn everything involved. I conducted extensive research by observing dancers at clubs and consulting experts. We filmed continuously for 30 minutes, then condensed it into just a few minutes – the introduction to Ani’s character.

What was the most useful thing that a dancer told you about what that life was like? 

MADISON Goodness gracious, comprehending the psychological aspect of being a sex worker is truly eye-opening. It’s not just a physically taxing profession, but it requires mental fortitude as well. You have to approach someone and quickly establish a connection, which can be challenging. Add to that, spending long hours on your feet while wearing high heels, which demands incredible stamina. Getting to know the sex work community has been one of the most influential experiences I’ve ever had. I hold them in the highest regard for their resilience and bravery. Ani would have been a completely different character if I hadn’t prepared by immersing myself in this community.

I initially held a different perception about them, but once I got the opportunity to truly understand and interact with them, I found that they were quite different from my initial assumptions. Their real personality emerged as we spent more time together, revealing a depth and complexity that had not been apparent before.

MADISON Absolutely. The persona you observe in the club or with clients is indeed a performance. It’s a sexualized aspect of herself she portrays. She adapts a facade to suit each individual she encounters. I believe that my acting background allowed me to identify this and comprehend that being an effective dancer requires excellent listening skills.

Hi Zoe, could you share your feelings about returning to dance with Emilia Pérez, the studio where you first started in this field?

SALDAÑA It was a genuine blessing. I received the chance to rediscover aspects of myself that I had unknowingly left behind. As a New Yorker, you’re born with jazz-infused hands, only to spend your life de-jazzing them. I can recall being a child and passing by Lincoln Center with my grandmother, who would exclaim, “Look, look, look!” as she smoked her cigarette, pointing towards the building, saying something like, “One day, one day you’ll be there.” At the time, I couldn’t comprehend her words. However, it was incredibly moving when things came back around. But I do think that one must actively make these dreams a reality.

How exactly did you manifest this?

SALDAÑA My strong desire propelled me into a continuous autopilot mode. I found myself involved in highly successful films that eventually evolved into franchises, and I have no regrets about it as they brought so much to my life. However, these projects are quite demanding with time. All the while, I was starting a family, which made my longing to expand, break through any glass ceiling I felt trapped under, intensify over the years. A few years before landing the role of Emilia Pérez, I created a list with my team, stating, “Here are the top five directors I aspire to work with.” Jacques [Audiard] was among the top three on that list. The opportunity to dance and sing made it even more appealing.

Angelina, what did you learn about yourself from singing as Maria Callas?

BEAUTIFUL For a long time, someone close to me told me that I couldn’t sing. I didn’t realize the impact it had on me until later. I was unaware of my own vocal capabilities and how life experiences can transform one’s voice. Life events like childbirth, loss, love, illness, or any other circumstances can affect our voices and our being as a whole. We often carry past hurts within us, unconsciously altering our behavior. Somewhere along the way – I’m 49 years old – I lost my singing voice. Therefore, these seven months of training were a precious gift, allowing me to rediscover my voice with guidance and encouragement. Singing opera is unique because it requires the full use of your physical body, vocal abilities, and emotions. As women, we are seldom asked or encouraged to express ourselves fully. We often adapt to our surroundings, our children, and societal expectations, which leads us to hold back. Maria Callas, a renowned female opera singer, spent much of her time alone in her craft, as was common for many women in the past who didn’t have the same opportunities or support systems. Today, I was struck by the realization that there are many women out there who share similar journeys, even though we may not have met before. It’s a strange feeling to know that we’ve been aware of each other but never connected.

In our artistic journey, there aren’t numerous chances for us to bond within a community and introspect. Sometimes, it feels quite solitary or secluded.

SALDAÑA Was it once thought that solitude was the ideal state for personal progress, with an emphasis on self-reliance rather than seeking or offering help?

As a woman with years of experience in the film industry, I can’t help but feel frustrated by the persistent myth that women don’t make movies or don’t have strong bonds with each other like men do. It’s a mirage, a misconception that has been perpetuated for far too long. Women have been making films as directors since the very beginning of cinema, and yet our contributions are often overlooked or forgotten.

I remember Lois Weber, the first female director in 1904, who paved the way for countless women to follow in her footsteps. Yet, the industry still seems to be under a strange sort of mesmerism that makes us all forget this reality. It’s as if we are supposed to believe that women don’t support each other or work together effectively, which is simply not true.

I have been fortunate enough to have strong, supportive relationships with other women in the industry, and I know many others who share similar experiences. We must encourage these connections and collaborations, as they are essential for our growth and success.

It’s disheartening to see that we are still pitched against each other, as if competition is the only way to succeed in this field. But I believe that by supporting each other and working together, we can create something truly magical and break down these harmful stereotypes once and for all. Let’s embrace our sisterhood and make a real impact on the world of film.

ME I’ve learned throughout my life that it’s never a contest. The illusion of competition has been a persistent one, but when we lift each other up, we all prosper. It’s not about standing out, but rather standing together. This journey isn’t meant to be traveled alone; instead, we grow exponentially when we walk side by side.

As a woman who has spent my entire life navigating through a world often dominated by men, I strongly believe that the notion of only one being at the top may serve the interests of men or male-centric societies better, but it certainly does not align with the realities and capabilities of women. Throughout my life, I have witnessed and been part of numerous instances where women come together to collaborate, share ideas, offer support, and hold each other accountable – traits that are often essential for success in any field. This is a testament to our ability to excel in environments where we can leverage our unique perspectives and collective strengths.

Demi, The Substance is about the way women criticize our bodies. What drew you to that? 

The script offered a unique, unconventional perspective on the topic of aging, particularly focusing on self-inflicted harm and self-criticism. What struck me was its portrayal of this destructive side within us, something that in my personal life I’ve observed as more damaging than anything others may have done to me. The repercussions have always been self-imposed, a result of internal struggles.>

Or, if you prefer a less formal tone:

The script was a fascinating, off-the-wall look at aging, delving into the self-harm and self-criticism we can inflict. What really got me was how it depicted this destructive side within us, something I’ve noticed in my life is often more damaging than anything others have ever done to me. The consequences have always been self-inflicted, a result of inner battles.>

ALTERNATIVE As she checked herself in the mirror before heading out, the middle-aged woman muttered, “Good heavens.

As a mental health advocate and someone who has struggled with self-harm myself, I found the portrayal in SALDAÑA’s work to be incredibly raw and relatable. It’s a poignant reminder of the ways we can inflict harm on ourselves without even realizing it, through harsh self-criticism and negative self-talk. I could feel the emotions resonating within me as I observed the character’s internal struggle, as it mirrored my own experiences. This work serves as an important reminder that it is essential to be kind to oneself and seek help when needed, in order to break free from the cycle of self-destructive behaviors.

As an actor, I’ve never delved into the fact that most of my scenes were solo and devoid of dialogue. These moments became unique, intimate encounters with ourselves, often involving vulnerability as we strip bare, examine, ponder. It was a fascinating endeavor to breathe life into her character since I lacked another actor to interact with. Additionally, it presented a challenging blend of technical aspects and the sensitivity required for acting. Frequently, the technicalities overshadowed the actor’s process. However, it was exceptionally relatable, carrying an essential message that we all needed to reconsider our self-perceptions. This resonated particularly with me, being a father to three daughters. At one point, my middle daughter expressed, “I want to stop wasting time focusing on what I’m not, when I could be appreciating what I am.” Upon hearing this, I felt both proud and validated – she seemed to have internalized the message I had tried to instill in her.

If women do this to ourselves, how do we break out of it?

The essence boils down to self-acceptance. It’s about cherishing and understanding ourselves, acknowledging the changes we undergo. A woman once put it, she feels less constricted, more open. Would I prefer being more confined for the knowledge I’ve acquired and the woman I’ve become today? I don’t believe so – at the same time, valuing every aspect of myself that led me to this point, including the challenging parts. When we can view our victories as outcomes of our hurdles, our setbacks, we can perceive them as opportunities for growth and a success.

In the film “Challengers,” instead of portraying a child or teenager like in your previous roles, you’re depicting a fully-grown woman. Could you share what it was like for you to take on this more mature character?

ZENDAYA I spent years playing characters younger than myself, long after I was no longer a teenager. Playing Rue on HBO’s Euphoria has been one of the most meaningful experiences of my life. However, there comes a time when you must move on to roles that reflect your current age and beyond. This was a daunting prospect. Challengers marked my first leading role and involvement in production, making it both thrilling and nerve-wracking. But when I encountered certain characters, I felt an immediate connection: “I can’t let this opportunity slip by to portray this woman.” She was intriguing to me because she doesn’t apologize for asserting control as her life crumbles or for living vicariously through others. Her traits resonated with me because I value my job deeply. I often ponder, “What if everything were taken away?” Her greatest passion was tennis, which was suddenly snatched away from her. She felt lost without this part of herself. This is something that has crossed my mind too: “As someone who’s been working since childhood, who am I when I’m not working? Do I have a life outside of this? What are my interests and hobbies? Who is Zendaya beyond her career?

MARTINEZ One aspect of your character that struck a chord with me is the emotions we often hide from ourselves, such as jealousy, which your character harbored towards those men who, in her perspective, did not deserve the gift or talent she possessed. It was captivating to witness a female character demonstrating an equal ability to men in terms of skill, talent, and intelligence. Her rivalry wasn’t with other women, but rather with the significant others in her life.

As a woman who has experienced loss and change in my own life, I can relate to Zendaya’s sentiments about the importance of allowing oneself moments to grieve and be a person. It’s all too easy for society to expect women to immediately move on and make “new plans,” but it is crucial that we are given the space to process our emotions and navigate the unfamiliar waters of a new phase in life, whether it be parenthood or marriage. We should not be expected to hold it all together at all times, as this can lead to burnout and emotional suppression. It’s essential that we prioritize self-care and allow ourselves the time and space to heal and grow, rather than being pushed into the next stage of life without proper preparation or reflection.>

SWINTON Our humanity revolves around success, which we often view as a kind of ultimate goal. For athletes, this concept is incredibly clear-cut. Other considerations usually come after that pursuit. But where does life truly unfold? For artists like us, it’s crucial because we need our lives to create our work.

Through my own personal journey, I have come to realize that the question of identity is indeed a profound one. I used to define myself solely by what I did, striving to achieve and excel in various aspects of my life without giving much thought to who I truly was at my core.

As I grew older, I began to understand that identity goes far beyond our accomplishments and achievements. It requires introspection, self-discovery, and a willingness to peel back the layers of ourselves to uncover the essence of who we are. This process can be challenging, but it is essential for achieving balance in life.

In the early years, I was so focused on what I could do that I failed to appreciate the importance of living authentically and finding harmony within myself. However, over time, I learned that it’s crucial to step back and evaluate whether my actions align with my values and beliefs. This separation from external expectations allows for a more fulfilling existence.

Life has taught me valuable lessons through its ups and downs, mistakes, and failures. The most important lesson, perhaps, is the art of survival. Each setback I faced helped me grow stronger, wiser, and more resilient. As I continue to navigate my journey, I find that life only gets better with time, as I learn to embrace my flaws, forgive myself for past mistakes, and strive towards self-improvement.

Have you managed to discover your passions outside of work and define yourself when you’re not engaged in professional duties?

ZENDAYA Onto the next question, I’m still figuring it out. Besides work, I find happiness in learning new things. Recently, I’ve tried pottery and other hands-on activities, even if they may seem silly. Now I can bake a decent scone! It’s all about exploring what my life is beyond the persona I present to the world.

SWINTON I suppose you’ve been working since your childhood, which is something many of us didn’t do. When did you begin working, Mikey?

MADISON I was about 16, almost 16.

SWINTON You two are still quite young, aren’t you? I truly admire you both. It’s quite impressive to be working at such a young age. It can be tough enough when you’re older, but for most of us, we were more likely climbing trees and not earning any money.

ZENDAYA My experiences with child acting are complex, as I’ve witnessed it causing harm in some cases. I’m deeply thankful for how things unfolded for me. I wouldn’t want to alter my path, but there are moments I wish had been more personal, if you understand. It’s challenging to grow and discover oneself under the public gaze. You feel like you’re trying to get it right, wanting to please everyone, yet you’re still uncertain about who you are and what you’re doing.

SWINTON I’m excited for you finding your fabulous life.

As a budding artist, I find myself constantly seeking guidance from those who have walked the path before me. Moments like these, where I can engage with experienced individuals and ask for advice, are invaluable to me. Often, my nerves get the best of me when it comes to reaching out and asking for help, but moments like this remind me that everyone started somewhere and every bit of knowledge shared is a step forward. So, thank you all for being here and sharing your wisdom with someone who truly appreciates it. Pottery and scones, indeed!

I genuinely find it rewarding to share the wisdom, resilience, and optimism I’ve gathered throughout my journey with others. It’s an enriching experience for me, too, so I always strive to extend a helping hand. Reach out!

ZENDAYA Oh, I will. I’m getting everybody’s contact information after this.

SWINTON I’ll help you set up the bakery.

MOORE And I can help you with the pottery.

ZENDAYA (Laughs heartily). I understand now, that’s hilarious! In fact, we did something similar on ‘Euphoria’. We recreated the pottery studio scene from ‘Ghost’.

Wow, that’s impressive! I must admit, my attempts at pottery were an utter failure – they resembled nothing more than craft projects made by kindergarteners.

SWINTON Oh my God, Demi, Ghost, Ghost! 

SALDAÑA I just got it, too.

Hey Tilda, I’ve noticed that Pedro Almodóvar works swiftly, often requiring just a single or two takes. In The Room Next Door, your scenes include extended monologues. Did you manage to get these in one or two takes, or did you request additional ones?

SWINTON He displayed two characteristics: begging and a clear sense of purpose. Admittedly, this made me uneasy, as I feared he was advancing too quickly for us to thoroughly examine the situation, which is something I enjoy doing. Interestingly, I collaborated with David Fincher, who, as legend has it, shoots up to 100 takes. Coincidentally, I share his appreciation for this method, since it ensures that everything is captured perfectly.

Does anyone here ever ask for another take?

MADISON Absolutely. With our movie Anora, there were instances where we’d secretly capture moments on film. We’d sneak a camera into restaurants, clubs, pool halls, and even the streets, attempting to snatch shots. Sometimes, it didn’t feel like we captured the essence of the moment. So there was this feeling of, “Let’s try once more,” but we couldn’t because the situation didn’t allow it. Additionally, due to our low budget, there were days when we crammed multiple scenes into one, trying to finish as much as possible. In those moments, I found myself yearning for just a bit more. However, upon rewatching, what we managed to get was perfect for the moment, given that the film is so chaotic and fast-paced. As an actress, it’s challenging to ensure you’ve captured the right moment, but in this case, there was no such thing as the perfect take.

SWINTON Letting things go and moving on is the toughest part for me in this job. Sometimes, despite our best efforts, success remains elusive and we must accept that certain tasks are simply unattainable. Angelina, as a director, you’ve experienced this too when a performer believes they’ve mastered their role, but it’s often the opposite take that was off-balance or seemed awkward that holds the real magic. The challenge lies in recognizing this hidden gem amidst our initial judgments and trusting the process enough to let go and move on. This requires faith, a quality essential for any creative endeavor.

Angelina, how does having directed shape the way you work as an actor?

As someone who has spent a significant portion of my life immersed in the world of acting and filmmaking, I can attest to the profound impact that transitioning from an actress to a director has had on my perspective. The shift from being just a piece of the puzzle to overseeing the entire production has been enlightening, to say the least. It’s not just about recognizing the importance of each actor; it’s about understanding their role as integral pieces in a complex mosaic.

Casting, in particular, has become an intriguing process for me, having once been on the other side. I’m no longer searching for a perfect performance or a polished reading; instead, I’m seeking individuals with depth and character behind their eyes – people who are a bit messy, a bit brave. I believe that much of what makes an intriguing actor is rooted in their unique personal experiences.

I find myself pushing these actors, encouraging them to delve deeper into their roles, and rooting for them as they navigate the challenges of bringing their characters to life. The journey has taught me that true artistry lies not only in the polished product but also in the people who contribute to its creation – people who are willing to take risks, embrace messiness, and show courage in the face of uncertainty.

In “The Substance,” Demi, how did you feel about donning all those prosthetics to transform into the character? Could you describe the experience of applying them and performing in them?

It’s not as if you’ve rehearsed with everything turned on. Instead, you’re discovering things as you go along, on the spot. The time I spent in the chair ranged from six to nine and a half hours, which is quite a lot. But remember, Zoe, it appears less daunting on paper than the actual experience. Additionally, the time spent in the chair can be beneficial if you can achieve a state of calmness. It was a gradual process over that period. Eating or drinking isn’t possible because it’s so delicate. The most challenging part is having someone touch you continuously throughout.

SWINTON But taking it off is the really hard part, isn’t it? 

SALDAÑA No, it’s actually much quicker. You open a bottle of wine, put Sam Cooke on. 

In the movie “The Substance,” directed by Coralie Fargeat, it was frequently necessary to shoot scenes multiple times. For instance, removing my makeup for one scene required at least 15 takes, and I felt that fewer repetitions would have been preferable.

“In the grand space saga of ‘Dune: Part Two’, your role is centered around a romantic storyline. Can you share how you approached the challenge of expressing affection in such an extraordinary setting?”

ZENDAYA We could only film one particular scene for an hour each day due to sunlight restrictions, which made it challenging to recapture the tender feelings and those special moments. At first, Denis [Villeneuve] suggested a technique called “glances passes”, where we’d simply look at each other from across the room. I believe that a simple glance between characters can convey so much without words, helping to develop our love story convincingly. Overall, I felt incredibly fortunate to be involved in such an exciting project. From the outset, I was just eager to participate, regardless of the role – whether it was a tree, a sand worm, or anything else he needed. This experience was simply amazing!

How much does what’s going on geopolitically in the world affect your choice of projects? 

SALDAÑA From the very start of my career, I faced a few instances where, as a daughter of immigrants and a Latina in America, I felt a strong sense of responsibility to represent my community at crossroads I created myself. However, I chose to step away from that. I believed it would benefit my community more if I pursued my passions and personal growth as an artist, rather than taking on various social issues. Doing so often left me feeling overwhelmed. But when I connect with people within my community, I can tell them to follow their hearts. That’s the best way to help your community – by helping yourself first.

Tilda, I’d like to conclude by mentioning something you shared in an interview about your friendship with Almodóvar. In the interview, you discussed how you met at a Hollywood gathering, where you connected over feeling like outcasts. You described yourselves as being “shy, thrilled, and almost disbelieving, but not quite self-assured enough to approach someone like Angelina Jolie.”

Tilda, I’d like to wrap up by referring to something you mentioned in an interview regarding Almodóvar. In the interview, you spoke about your encounter at a Hollywood event where you related to each other as outsiders. You recounted that you were “timid, overjoyed, and slightly skeptical, but not bold enough to initiate conversation with someone as prominent as Angelina Jolie.

SWINTON (REPHRASED) She was in attendance. We hosted Liza Minnelli on one side, Sacha Baron Cohen on the other, and Angie was there as well. The spectacle left Pedro and me utterly awestruck. It was almost surreal to find ourselves among such luminaries.

BEAUTIFUL It’s likely that, since I rarely leave the house, I was quite isolated and unsure if anyone would initiate a conversation with me. If someone had merely greeted me, it would have brought me immense joy.

SWINTON And this is the truth of human animals: We’re all shy. 

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2025-01-03 17:27