Seydoux had to skip Cannes and quarantine in Paris (where she lives with her partner and their toddler son). Next is a family drama, Mia Hansen-Love’s “One Fine Morning,” which she partly shot over the summer, before acquiring a Covid-19 infection on set. The plot? “It’s a dystopian future where people eat plastic. She just filmed David Cronenberg’s “Crimes of the Future,” with Viggo Mortensen and Kristen Stewart. Seydoux isn’t shying away from new adventurous roles. “I don’t need to suffer to give the best of myself,” she said. But she did realize something about choosing directors. She said proudly that she would do it again. Other actors might have wobbled after the grueling process of making “Blue Is the Warmest Color.” The notorious shoot involved repetitive takes of lengthy sex scenes and, she told me, Kechiche’s numerous threats to fire her. There’s no mistaking Seydoux’s core of determination in her career. Her briskness and wit keep up the comic tempo. 22), Seydoux plays a caretaker and lover to a great incarcerated artist, Moses (Benicio Del Toro). I was interested in working with her nature to build an artificial character.” (“France,” also a New York Film Festival selection, opens in December.) When I asked Dumont about her performance, he put it simply: “Léa Seydoux brought Léa Seydoux! I liked how natural she was.
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But Seydoux freely shifted from Bond talking points to off-handed analysis of her roles.
This was not what I expected to hear in the “Bond bubble,” as her publicist referred to the film’s press operation at the hotel. And she’s conscious of her own alienation.” But she’s conscious of the fact that she’s also a tool of the system. “And she wants that - that was her ambition. “She knows she’s part of the capitalistic system,” Seydoux mused about her character, France de Meurs, a TV journalist in crisis. Her first comments weren’t about Bond, or “Wes,” but rather the existential critique in Dumont’s “France.” At a Midtown boutique hotel, she paused frequently, at times trailing off into silence, yet she beamed with affability and curiosity.
“Spectre” in 2015 brought her into the Bond franchise, following a “Mission: Impossible” installment.ĭespite her sometimes imposing roles, Seydoux in conversation marches to the beat of her own drummer. The 36-year-old actress first broke through in art-house circles in 2008 with the French student-teacher romance “La Belle Personne.” She shared the Palme d’Or in 2013 at Cannes for the explicit “Blue Is the Warmest Color,” with her director, Abdellatif Kechiche, and co-star, Adèle Exarchopoulos. The wild array makes it hard to have a single image of Seydoux herself. “The French Dispatch” screened last week in the New York Film Festival and premiered last summer at Cannes, alongside three other Seydoux-starring films: Arnaud Desplechin’s Philip Roth adaptation, “Deception” Ildiko Enyedi’s period piece, “The Story of My Wife” and Bruno Dumont’s satirical drama “France.” The long-awaited Anderson picture follows the equally long-awaited juggernaut, “ No Time to Die,” starring Seydoux as Madeleine Swann opposite the outgoing Bondsman Daniel Craig. This year has been anything but boring for the actress. “It’s so great! It’s exactly the image that an American can have of the French: they are just so bored,” Seydoux said with a laugh. Léa Seydoux - who plays a prison guard who models for an inmate - finds the name hilarious. The stories in Wes Anderson’s “The French Dispatch” take place in the fictional town of Ennui-sur-Blasé.
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