TONI COLLETTE (‘Sandy’):
This seems to be the year we’re interested in Japan – “Lost in Translation,” “The Last Samurai,” and “Japanese Story.” What do you think is the appeal of that culture?
Oh God, put me on the spot. I don’t know. I think there’s some kind of collective consciousness that gets out there and people kind of delve into the same areas at the same time. I remember when I did “Emma,” everyone was doing Jane Austen. So perhaps that’s it. I think it’s probably just coincidental.
I think that the Japanese culture is one of the very few cultures left that is its own entity. They’re just so traditional and so specific in their ways. It’s kind of untouched, it’s not Americanized. I remember when I was trekking through Nepal. I was on a mountain looking down at the roof of a shack and it said “Coca Cola” and I was devastated. I love that the Japanese stick to their guns. They are who they are. It’s a very old culture and I don’t think it’s really going to change much except for all those kooky, fruity, teenage people dressing up like crazy people, which I find very interesting. There’s that whole crazy side of them, as well. I think because they’re so rigid, it kind of has to pop out somewhere and reveal itself.
Were there any communication or cultural problems when you first met your co-star?
His name is Gotaro Tsunashima, I call him Go because it’s so much easier (laughing). I first saw him on tape. The director, writer and producer, I think, all went over to Japan and put a whole heap of people down on tape. I remember watching them all. There was just something about him which is just very similar to the tone of the film in that he was very subtle yet powerful. There is something quietly strong about him. He was the one I voted for.
We first met in the rehearsal room. Rehearsal wasn’t your average rehearsal. It was more about just getting to know each other and feeling more comfortable with each other, so we didn’t have to jump straight into a more intimate setting. We had kind of a gradual friendship build up. His English wasn’t so good, initially. He had a great translator who was there for the whole film. But we both knew what we were there for. We were both there to tell a story and we both knew our parts. We both wanted to have a good time with it. It was nothing but positive.
In the movie, Sandy is clueless on how to greet a Japanese person. Did he bow to you when you two first met?
Oh no. He’s a cool cat. He lives in Tokyo, he drinks and he parties. He’s got women hanging off of him. I think he’s of a much younger generation and it certainly wasn’t like the film.
I think [Sandy and Hiromitsu] are quite similar in the film. I think they’re both shutdown as people, maybe kind of emotionally numb. Go’s character, Hiromitsu, has come to Australia on a personal venture not quite knowing what to expect. He’s open to change and Sandy is certainly not. She’s just closed. I think she’s a workaholic; I think she’s emotionally numb. They really dislike each other and I think it’s probably because they can see themselves in each other. Ultimately they have to not only learn about each other but depend upon each other. Their lives change because of it.
Did you actually film in the desert?
We were there for six weeks and it felt like six years. It is very isolated. We stayed in three main towns. They were all very small; basically they were just mining towns. We had two weeks rehearsal in Sydney, then six weeks out in the desert, and two weeks shooting in Perth, which is the capital of Western Australia.
Being in the desert was brilliant and it was hard. It was inspirational and beautiful and my relief amongst telling this emotionally-charged film. But at the same time, it was so isolated. We were just covered in dirt the whole time. It was so hot – and that was in winter. I can not imagine what it’s like in summer and how the people who actually live out there survive. I learned a lot. I’m glad that I did it. I’m glad that it was so physical and so isolated. Sometimes it was so quiet, it’s frightening. It really prioritizes things.
PAGE 2: Toni Collette on Love Scenes, Critical Acclaim, and "Connie and Carla"
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