Conversation with
Julia
Ormond,
on the March 22, 1997 broadcast of
the
Canadian Entertainment weekly,
"On
the Arts".
Question
Did actually shooting in Greenland
enchance what
you were doing?
Julia: Oh definitely. I mean,
Bille [August] and I went to Greenland actually
before in November, and spent about a week
to ten days there, and that was very important because
it was
important for me to establish a relationship with
Greenland and
an affinity with it as if it were a character, and
it does kind of
act as a sort of character, a character that is yearned
for by Smilla, that is missed, that is part of so
many of the characters lives.
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Question
The thing I was interested about
- I had read the book beforehand, and the book is densely written, and
the descriptions are very vivid - what kind of relationship did you have
with the book?
Julia: Well,
I read the book as well, obviously, and reread it
and reread it, but ultimately you work from the script,
but I felt
the script is pretty faithful to the book, faithful
to the spirit of
the book. Obviously there are things that can't be
included in
a two-hour film, but I think Bille worked quite hard,
and
Ann Biderman wrote a beautiful script in terms of
it.
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Question
It maintains an intellectual curiosity,
it's fascinating. Now, your character is the most enigmatic in the movie
- is that difficult to maintain throughout making a picture, a character
whose function
seems to be to keep the audience
slightly off-balance?
Julia: For me, the thriller aspect
of it on its own was not that interesting - if you hadn't had this complex
character being in the centre of it, then it really wouldn't
have been that interesting.
But because she is who she is, and because it's also
as much
as it is a thriller, it is an emotional journey for
her, where she resolves a lot
of things, it's about the falling of Smilla herself.
And she is a character who is quite tough and
quite
inscrutable at moments and that's because of her
vulnerability, she's sort of brought down all
of these barriers,
to just cope with the fact that as a child she felt
at a certain point
when her mother died she was put into a loveless environment,
and she associates love with pain, and she's going
to
prevent anybody from causing her pain.
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