I really have to read everything two or three times to make sure this is what I want to do. And to be honest with you, step one was like this: First, when I joined the drama workshop of Tehran it was a place where you could work and study at the same time. I started acting in theater but within a year or two I was approached by a [famous screenwriter]. I read his script two times and he was so insulted. He called and said, “I heard you read it two times.” I said, “Yes, I had to find out what it was about. The message of the thing is very important.”
You bring both strength and compassion to this character. What did you do to prepare for this particular role?
I put all my strength and all my information that I’ve gathered all through these years. I’ve seen these women in Iran, abroad, not necessarily Iranians – Americans that have been abused and are voiceless and desperate. I put [out] all the strength that I could have in my body. One thing that I kept talking about was this play about “Mother Courage.” “Mother Courage” takes care of the children and if necessary she would take care of the whole village as well. That was the sort of feeling I had for this role.
I loved the scene where you see Jennifer Connelly as Kathy needs help and you reach out to her.
She’s a rescuer. By nature she’s been brought up… In Iran, not modernized people but the majority, when girls are getting married what their mother tells them is, “You are entering this marriage with a white gown and exiting with a white shroud.” Which means that you are there to serve and rescue and do whatever you can do to save this family. So she’s learned it by nature. The moment she sees Kathy like a wounded bird landing at her door, she becomes useful again. “Let’s take care of her. Let’s make an American friend. Maybe this is the daughter that I’ve longed for since my daughter’s been married off and now she’s living away from me. Maybe this is the daughter I’ve been looking for.” She has that kind of feeling for Kathy.
In your view does this movie reflect the Middle East point of view?
In the very first layer, and then it goes deeper and deeper and deeper. At one point to me it becomes much more universal than just the U.S. It’s the encounter of cultures. I love the question of land here. To me it’s not just a house, it’s not just a shelter. Shelter is important to all immigrants. As soon as you arrive, the primary things you are looking after are shelter, bread and my kid. Those are the most important things.
I think it’s Andre Dubus trying to ask questions. He doesn’t solve anything. That’s another thing that I like about this story. It’s the universal question of man’s quest for a piece of land.
Do you know any Behrani types here in the United States?
Yes, yes lots of them. As a matter of fact, there are generals and colonels and every first day of the month they gather in Orange County and they have lunch. Because of this movie, I wanted to see their wives. They all like me very much, thank God, they accepted me. I went to see their gathering first, and then I went home to see their wives, to see how they are behaving.
What was it like working opposite Sir Ben Kingsley?
Perfect. He’s a great actor, we all know. What I realized that it was the first or second week of rehearsal. Sir Ben did something and Vadim asked him - I don’t remember exactly what it was – but Vadim asked him, “Sir Ben, why did you do that?” And he said, “As an Iranian, I need to save my face.” I was like, “This guy knows everything about us. He’s absolutely right.” There’s nothing more important than saving your face.
ADDITIONAL “HOUSE OF SAND AND FOG” INTERVIEWS:
Sir Ben Kingsley, Writer/Director Vadim Perelman, Jennifer Connelly and Ron Eldard
ADDITIONAL RESOURCES:
"House of Sand and Fog” Photo Gallery
"House of Sand and Fog” Trailer, Credits, and Movie News
