Charlize Theron enters this year’s Oscar race with “Bombshell,” a docudrama
about the sexual harassment scandal at Fox News. Theron plays a morally complicated
Megyn Kelly, suffering the personal consequences of becoming the news. Adam Driver
has as complex a claim to our loyalties in “Marriage Story,” in which his character,
Charlie, is forced to negotiate a divorce with an actor (Scarlett Johansson) whose
viewpoint audience members will sometimes support and sometimes oppose.

CHARLIZE THERON: I don’t
know Noah Baumbach’s writing
process, but I feel like he has ideas
in his head, and they’re there kind
of permeating for a long period.
Did he bring up the idea of “Marriage
Story” to you?
ADAM DRIVER: We’d been
talking about “What are we going
to do next?” for a while. But he
had already been taking notes on
this. And we talked about making
a “Company” movie — would
that work? Because it is kind of an
abstract musical, maybe you could
make it very cinematic. And the
more we’d just start talking about
it, the more I’m like, “We should do
that.” And then he started meeting
with me. It turned into a very
organic thing. I think the good
thing about working with friends is
you get things out of the way faster.
THERON: It’s like an unspoken
understanding.
DRIVER: There’s no worry about
“Does this person like me? Am
I giving them what they want?”
I know — not exactly what he’s
going for — but I know what the
boundaries are.
THERON: This is a very personal
story for Noah, right?
DRIVER: It is, but it’s kind of a
personal thing for everybody.
Everybody brought their history
to it. I think that’s where it kind of
started, and evolved into this thing
where it was easy for everyone to
make it as personal as possible.
THERON: Is your process always
the same? Is the material informing
you, or do you just rely fully on
your director? What was that process
like to find this character?
DRIVER: Well, for this, it’s so much
in the script. And because we had
been talking about it for so long —
I always feel like sometimes you
start a movie, and it’s not until you
put on a costume, or you’re a week
into shooting already, and you’re
like, “OK, now I know what I want
to do.” But because we had been
working on it for so long, day one I
felt everyone had a sense of what it
was that we wanted to do. I already
know with Noah: It is very much
like theater, that the script isn’t
changing. But he has designed the
schedule to give us a lot of takes
and a lot of different ways, because
I know there’s no right way to do
a scene.
THERON: So you do a lot of takes?
He loves to do a lot of takes?
DRIVER: Yeah, as do I. I love it
because it’s like a whole theater
run condensed into a day.
THERON: Do you feel like every
take, just a part of it changes?
DRIVER: It’s hard to say. I’m not
always the best judge of that,
because I think I would have
changed something and it’s been
like tectonic shifts. But it’s in
degrees. Sometimes we just do one
because we know this is not right,
but maybe it’ll open something
else up that we hadn’t thought
about. And I think you can only
really do that with good writing,
too, because good writing is so rich
and it does open your imagination.
If it’s bad writing, it’s that way.
THERON: Somebody said the
other day, “That’s when actors act.”
When the writing is bad, that’s
when actors act. But good writing
can also inspire other things
to kind of come out. Does that
happen? Is that allowed?
DRIVER: We’re militant with
what the lines are, but intention is
totally open.
THERON: Because there were
these amazing moments where
I felt like you and Scarlett were
finding thoughts and arguments.
And I could see you guys finding
it, which is crazy to think, because
I’m like, “They’ve had this material.
They’ve studied it; they’ve
worked with this.” And yet you
guys are doing it in a way where
it feels like I can see you coming
to the conclusion, or the argument,
or the point, which is so
impressive.
DRIVER: I lucked out on a scene
partner. And Noah is giving us
a note, or he’ll give her a note
that he doesn’t tell me — or the
Actors on Actors 91
opposite — that we get to do, that
when you really trust the people
that you are working with, and
the day is organized to help you,
because as you know, nothing is
really set to help you on a film set.
Nothing is in place to help you do
your job.
THERON: You have a moment
with Scarlett — it’s gut-wrenching.
You say that you’ve imagined
her getting an illness, and then she
dies. And in that moment, which
is so raw, because it’s completely
relatable — we can all relate to
that, right? And the shame after
we say that. But in that moment,
I literally in seconds experienced
hating you, loathing you. And by
the time you’re down on your
knees crying, so connected to you.
Is there a part of you as an actor
that worries sometimes, where you
go, “Is this a moment where somebody’s
going to emotionally tap
out if I say this?” Or do you look at
that as a moment of challenge?
DRIVER: Loyalty and switching
allegiance as an audience is something
that Noah and I had talked
about, that he had brought up: “I
really always wanted to make a
movie where your loyalty really
switches, where you’re with Scarlett
for the first half and you hate
that character, and then suddenly
you actually start to meet Charlie
and have it different.” It’s either
truthful, which is not for me to say,
and if it’s not, then it was unsuccessful.
But being liked is something
I don’t think about, or I
try not to. Do you put characters
away while you’re making them
or immediately after it’s over? Or
does it still live in you for a while?
THERON: It was hard. It definitely
took discipline for me to get to
that place. But I feel like now I’ve
kind of perfected it. And I do it for
many reasons. I do it because if
I stay in it for too long, I become
incredibly exhausted — emotionally
exhausted. That process is
very hard for me. … I’m not walking
around being Megyn Kelly, or
Aileen Wuornos, or any of the characters
that I’ve played before. I can
switch that off. And I can do it in
between too. I don’t speak in the
voice the whole time. I know I’m
emotionally much braver when I
don’t overthink it and I come from
a place that’s a little bit more raw.
DRIVER: Yeah. And speaking of
likability, did that come into your
thoughts at all?
THERON: I mean, I’ve built a
career on playing people that you
don’t like.
DRIVER: It’s not even an idea that
makes sense to me.
THERON: For me, it’s a very personal
connection that I have to
find with the person that I’m playing,
that has to make sense. I have
to get to a place where I can actually
say to myself, “This makes
sense to me. I relate. I understand.”
Megyn Kelly can be incredibly
polarizing. There are things about
her that live in the extreme. People
either love her or they hate her.
And she makes no excuses for that.
And so, those are the rules that are
handed to me. I have to obey those
rules. I have to listen to what she’s
saying. There’s a part of her that is
so amplified — she comes across
really abrasive sometimes, and
somewhat aggressive and cold. All
of these things that are not necessarily
qualities that make you
want to hug a person.
But I would be lying if I didn’t
say that I can relate to being a
woman on a different degree,
experiencing those same thoughts
about me. I have heard people
describe me as cold, or hard, or
a bitch. You know what I mean?
I can always find that thing that
might not be so attractive and
bring it back to just human circumstance.
That’s a human that I
know. The perfect stuff is hard for
me to relate to.
DRIVER: That’s one of my favorite
things about other actors, or
being an actor, is it forces you to be
empathetic. It forces you to exercise
that muscle in a way that I
think most jobs don’t ask you to.
THERON: Completely. And just
when you think you have it down,
the universe will kind of remind
you that you need to work harder
at that. And so this was definitely
a reminder for me, at this part of
my career, of just going like, “That
muscle needs to be worked a little
harder.” Megyn Kelly made it really
challenging for me.

Variety