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SALMA HAYEK (Frida Kahlo)
At what point did you ask Edward (Norton) to help out on writing the screenplay?
Julie [Taymor] had come on board. We needed to shape the movie to her taste and rewrite the movie, and do another movie that would be Julie's vision. We had been working with a writer that we all liked very much - his name is Rodrigo Garcia, he's so talented and such a lovely man - but at the time he was directing a film. It takes a long time. So, Edward offered to do it.
Did he say offer to help you out or did you ask him?
He volunteered completely. I did say, “Oh noooooo! Rodrigo can't do it.” Because for me the most painful part of that whole process was finding a new writer. You don't know what it's like. You have to read 100 scripts or samples. I never like any of them. I have to pick 10. Then you meet all of them and you like them all because they're all so nice and smart. You don't know which could do a better job than the other. This with a lot of people deciding with you. Then, you decide on one after many fights. Then you spend weeks with this person, telling them your vision of your film, giving them research, calling and tormenting them with all this information. You have such high hopes and they go away. They're never on time so you have to keep waiting. Then they give you the script and it's terrible. You have to go to the rewrite and they're very upset because you didn't like it. I went through that for seven years.
Was it worth it?
It is worth it. For me it was a great learning experience.
Was it a relief to just act in it after going through the process?
Oh, it was such a relief after seven years. I'll tell you why it was a relief: I was 100% convinced and had 100% faith in this director. This director was the right director [and] she was going to make an amazing movie. So, I had no doubts. I said, “Here, take my child. Do something with it.”
You've directed a film. What did you learn from Julie Taymor?
Number one, they offered me this film before I did "Frida." I said, “No, I'm not capable of directing.” And after seeing Julie direct, I was inspired by it. She motivated me to do it. We don't have enough role models as woman for directors.
How would you describe yourself as a director?
Naïve, new, passionate about what I do, and lucky. It turned out pretty well and I had a great time.
Julie called you woman's woman. Why do you see yourself that way?
Because I feel a sisterhood with all women. I don't see women and look at them as competition or with judgment. Women really move me. I feel connected to all kinds of women. I am angry because I think we've been mistreated throughout history in different countries - in America too. So, I admire women.
Is it hard to leave this film alone?
No. I've already moved on to the next thing. I directed a movie [and] now I'm going to do the editing. Of course, it's hard to leave it behind when you talk about it 24 hours a day in these interviews. It's different. You do it
from a place of peace. Maybe my frame of mind is a peaceful one. Because, you know, I did it. I'm proud of it. It's getting a lot more attention than I thought.
You have to realize when I did this film, it was a small movie. I never thought about having big stars in the movie. It still is a small film; it's a very small film. It only got a lot of publicity because of gossip. This movie started having publicity when other people wanted to do it. People became interested in things that were never there, that I didn't bring up. I was quietly working on this for seven years. Somebody else brought on this attention to this project that was a small project.
What do you think of the Oscar buzz?
I don't want to get excited about it. It doesn't intimidate me. I have to stay clear in my mind and stay in the place where I am today, which is I'm proud of the film. I really am disappointed that there isn't more controversy because I thought Frida and Diego are so controversial, there's going to be a lot of controversy. There hasn't been, but wait until we go to Mexico and let's see. If it does well, then it's a good thing. If it doesn't do well, it's a good thing because I like the movie. But I do have a personal fantasy about the Oscars. I think it would make Frida so happy that through her life story, for the first time a female director wins an Oscar.
What would Frida think of this movie?
I don't know. I have no idea. I have no idea, but wherever she is she knows I tried really hard to make her happy with it.
What about working with Robert Rodriguez again?
I just worked with Rodriguez. It was fun. He called yesterday. I think he wants me to sing a song in the movie. I've got to call him and see what the hell that's about.
Was it fun working on "Once Upon a Time in Mexico?"
Oh, yes. I will always work with Robert Rodriguez. Always, always, always. He's the first person who gave me my first opportunity and it is thanks to him that I'm here today. He believed in me when nobody else believed in me and I will never forget that. I'm very loyal.
Does he kill you off in "Once Upon a Time in Mexico?"
Oh yeah. I'm dead. I'm a ghost. I'm dead before the movie begins. I'm a memory. I'm a distant memory.
