Brooke Shields: Brave New Brooke
Q: You started studying acting in a more formal way a few years ago--what sort of study?
A: I wasn't loyal to any one method. Some teachers were only about the words, and some said forget the words. One focused on Jung and archetypes, complete with hours of meditation and obsessing over "shadow sides." I did interesting work with Second City and comedy improv. I must admit, though, that I've learned the most from working with talented actors and directors. I crave working with great talent now, because I'm clear that I can hold my own.
Q: It was obvious that you relished working with Robert Downey Jr. Are there other actors you're particularly eager to work with?
A: I often can't tell whether I just like to watch certain actors or if I actually want to work with them.
Q: How about directors?
A: I'd love to work with Francis Ford Coppola or Woody Allen or David Mamet, but I haven't been thinking as much about directors as about roles. Plus there are many new young directors I've been meeting that I'd love to work with. I'd love to be directed by Lili Taylor.
Q: You've made a number of independent films that are upcoming besides Black and White. What is your point in embarking on what seems to be a deliberate foray into independent film?
A: Independent films have allowed me to work with people like Gena Rowlands, in a movie called The Weekend, and Robert. The indie world seems to be much more open to overcoming stereotypes and allowing people to take chances. My point is clearly to be an actress. I have no objection to studio films--I did The Bachelor--but I haven't been able to take as many risks in studio films as I have in independents.
Q: Do you take pleasure in knowing that everyone knows who you are?
A: No. The pleasure is usually overshadowed by the lack of privacy. And up until now, I was only recognized for being recognizable. My fame had little to do with my work. That takes a toll. Now it's an ego boost to have people like my show. Yesterday I passed some kids on the street and one of them yelled out, "Hey! It's Susan! Love your show, man!" I said "Hi" and walked away feeling great that my work was recognized before I was.
Q: Now that your marriage to Andre Agassi is over, do you want to get married again?
A: Yes. Are you asking??!
Q: Well, I'm already married. Who else do you have in mind?
A: I don't know who he is.
Q: Who are you closest to in the world right now?
A: My dog.
Q: Are you interested in politics?
A: I've remained reticent about my political beliefs, and I've only spoken out where issues like rights of privacy or children's health are concerned. I've never been comfortable with practical politics. I admire people who can adamantly argue politics, but I often see both sides of the argument too clearly.
Q: How would you characterize yourself? Republican? Democrat? Socialist? Anarchist?
A: I was raised Republican, but now my tendencies are Democratic. I resent the fact that it appears to boil down to money. I agree much more with being a Democrat, but because of my business I feel more protected financially by Republican policies. So it's a dilemma.
Q: Let's talk about money. Of all the actors I've known, only Jimmy Caan and Warren Beatty are as generous in picking up tabs as you are.
A: Actually, since I've never felt that I was owed anything, I hate people who assume it's a free ride. It sickens me to see the way people expect Andre to pick up every tab.
Q: But when we had our first cast dinner for Black and White and the check came to several hundred dollars, you paid it before anyone knew what had happened.
A: I didn't want people to know it was me. True altruism is that which goes unrewarded.
Q: How much longer do you think you'll be doing Susan?
A: My guess is two more years. In the beginning, the show got me parts and the exposure has benefitted me tremendously. Yet, oddly enough, now because of its success, people are pigeonholing me once again, this time as only a TV comedy actress.
Q: Do you feel that the technique necessary for effective sitcom acting is at odds with serious, naturalistic film acting?
A: They are very different mediums, but both involve a sense of abandon and lack of pretension. Once the 22 minutes have been choreographed and the jokes timed out, you have to strip it all away to be funny. The same holds true for drama. Once the blocking is done and the lines are in place, you have to let the real emotions of a scene have a free playing ground.
Q: Do you want to direct films yourself?
A: At this point I'm not done in front of the camera. I'm still looking to be directed. I'll go to the wall for somebody as long as I know they have confidence in me.
Q: What did you discover about yourself from shooting Black and White?
A: That I have the guts for almost anything, that it takes a great deal to throw me and that only by being pushed or pushing myself will I grow. That my talent as an actress is finally being realized, by myself and by others. I've learned that I can't live without challenge. And that I'm proud of how I manage myself.
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James Toback's films include Fingers, Exposed, The Pick-up Artist, The Big Bang, Two Girls and a Guy and Love in Paris. He received an Oscar nomination for his script for Bugsy.
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