Post by Librarian on Jan 18, 2004 0:43:36 GMT -5
I just found this. It's Luke interviewing Diane Lane. He does good interview.
www.findarticles.com/cf_dls/m1285/9_32/92233490/p1/article.jhtml
Diane Lane: back on the hot list after playing 2002's steamiest housewife.(Interview)
Interview, Oct, 2002, by Luke Wilson
Child star. Teen queen. And now, leading lady. In an industry where adolescents seem to have a use-by date, one-time prodigy Diane Lane endured. For the bulk of her adult years there were more misses than hits, but Lane remained important, always better than the mediocre projects she sometimes appeared in. Then, in 1999, she took A Walk on the Moon and launched the greatest chapter in her long career, climaxing this spring with the release of Adrian Lyne's Unfaithful. Here Lane talks to colleague Luke Wilson about sex, drugs, Los Angeles, future projects and happy endings.
LUKE WILSON: Hi there, Diane. You'll have to excuse me--I'm very nervous, but nervous in a good way. It made me prepare, which is good. So I want to ask you about Adrian Lyne. You guys were covering fidelity, being unfaithful and being in love but still having the desire to be with someone else, and I picture him as a guy who would talk to you a lot about your own feelings before you shot a frame.
DIANE LANE: Well, let's put it this way: He was rather forthcoming. And then it was my turn to speak. [laughs] I sort of felt like I wasn't really qualified to answer because I hadn't found myself in those positions. I was glad that I didn't have anything to offer. [laughs]
LW: So you weren't rehashing anything that you've actually experienced. That's good. Richard Gere [Lane's co-star] has always been one of my favorites. In addition to Unfaithful, you guys also worked together on The Cotton Club [1984].
DL: Yeah, it was our 18-year reunion. And I think for Adrian, it was like he had a cheat sheet, because Richard and I had a familiarity and a kind of intimacy from being friends from before. It was one less layer of pretending that an actor has to go through.
LW: And a huge one--the kind of texture that you can't get in two weeks of rehearsal. I've been reading about The Cotton Club lately in relation to The Kid Stays in the Picture. Did you come into contact with Robert Evans on Cotton Club [which he produced]?
DL: Oh, yeah. There was a party at his brownstone and there were some things going on there that were over my head. I extricated myself after the canapes and the martinis. I guess it's best if I stay nebulous, for politically correct reasons--especially now that he may be a potential employer again. [both laugh]
LW: So you live in Los Angeles now?
DL: That seems like such an oxymoron, but yes.
LW: How long have you lived there?
DL: Well, I didn't really admit that I lived there until my daughter started school and I knew I couldn't pull up and leave when I felt like it. When I first came to L.A., I would buy those T-shirts that said "Nuke the Valley." I didn't know what the hell I was talking about, but hating the Valley was the cool way to slip into L.A. It turns out, of course, that the Valley is really sweet and--
LW: --has a lot of families.
DL: Exactly. It's a community. It's not like an airport lobby nobody maintains. You know? It's not just for profit. It has a culture, a generational passing of the baton and a real history.
LW: Are there any movies that really typify L.A. for you?
DL: Less Than Zero [1987]. I guess it's because Robert [Downey Jr., who stars in the film] is a peer of mine. His performance is so poignant, and it was dealing with something that was all around me at the time.
LW: You must have had it within you that that just wasn't something that interested you.
DL: Truly. I'm just not comfortable feeling out of control. Being in an altered state held no solace for me. And because you have to drive everywhere in L.A., it means you can't drink. [laughs] So now I'm left with cigarettes, and I'm trying to scrape that off my shoe and then I'll be done. [both laugh]
LW: That's sounds like a tough one. I've never gotten started on cigarettes.
DL: You've got the voice.
LW: Yeah. My morning voice.
DL: It's really bad when I order room service and at the end they say, "Yes, sir." [both laugh] You're like, "Oh boy, I'm halfway to Brenda Vaccaro!"
LW: [laughs] I hear you're headed to Italy to make a film called Under the Tuscan Sun. When are you off?
DL: I'm leaving in early September and I hope to be back by the end of November. It's tricky for me because I need to get my daughter situated into fourth grade and then run off and leave her for a couple of months. But being me, I'll probably start house-hunting. Can I retire now? Have I squirreled away enough to get out of L.A.?" I can be one of those retired actors who paints.
Oh, God! [both laugh]
Luke Wilson will next be seen in Old School. Opposite and page 173: Diane Lane wears a dress by DIOR. Fragrance: DIOR J'ADORE "MATTE GOLD" LIMITED EDITION. Styling: L'WREN SCOTT. Hair: ODILE GILBERT/L'Atelier(68). Makeup: STEPHANE MARAIS/Studio 57. Special thanks: SMASH-BOX, L.A.; THE BEVERLY HILLS HOTEL. Fashion details page 195.
COPYRIGHT 2002 Brant Publications, Inc.
www.findarticles.com/cf_dls/m1285/9_32/92233490/p1/article.jhtml
Diane Lane: back on the hot list after playing 2002's steamiest housewife.(Interview)
Interview, Oct, 2002, by Luke Wilson
Child star. Teen queen. And now, leading lady. In an industry where adolescents seem to have a use-by date, one-time prodigy Diane Lane endured. For the bulk of her adult years there were more misses than hits, but Lane remained important, always better than the mediocre projects she sometimes appeared in. Then, in 1999, she took A Walk on the Moon and launched the greatest chapter in her long career, climaxing this spring with the release of Adrian Lyne's Unfaithful. Here Lane talks to colleague Luke Wilson about sex, drugs, Los Angeles, future projects and happy endings.
LUKE WILSON: Hi there, Diane. You'll have to excuse me--I'm very nervous, but nervous in a good way. It made me prepare, which is good. So I want to ask you about Adrian Lyne. You guys were covering fidelity, being unfaithful and being in love but still having the desire to be with someone else, and I picture him as a guy who would talk to you a lot about your own feelings before you shot a frame.
DIANE LANE: Well, let's put it this way: He was rather forthcoming. And then it was my turn to speak. [laughs] I sort of felt like I wasn't really qualified to answer because I hadn't found myself in those positions. I was glad that I didn't have anything to offer. [laughs]
LW: So you weren't rehashing anything that you've actually experienced. That's good. Richard Gere [Lane's co-star] has always been one of my favorites. In addition to Unfaithful, you guys also worked together on The Cotton Club [1984].
DL: Yeah, it was our 18-year reunion. And I think for Adrian, it was like he had a cheat sheet, because Richard and I had a familiarity and a kind of intimacy from being friends from before. It was one less layer of pretending that an actor has to go through.
LW: And a huge one--the kind of texture that you can't get in two weeks of rehearsal. I've been reading about The Cotton Club lately in relation to The Kid Stays in the Picture. Did you come into contact with Robert Evans on Cotton Club [which he produced]?
DL: Oh, yeah. There was a party at his brownstone and there were some things going on there that were over my head. I extricated myself after the canapes and the martinis. I guess it's best if I stay nebulous, for politically correct reasons--especially now that he may be a potential employer again. [both laugh]
LW: So you live in Los Angeles now?
DL: That seems like such an oxymoron, but yes.
LW: How long have you lived there?
DL: Well, I didn't really admit that I lived there until my daughter started school and I knew I couldn't pull up and leave when I felt like it. When I first came to L.A., I would buy those T-shirts that said "Nuke the Valley." I didn't know what the hell I was talking about, but hating the Valley was the cool way to slip into L.A. It turns out, of course, that the Valley is really sweet and--
LW: --has a lot of families.
DL: Exactly. It's a community. It's not like an airport lobby nobody maintains. You know? It's not just for profit. It has a culture, a generational passing of the baton and a real history.
LW: Are there any movies that really typify L.A. for you?
DL: Less Than Zero [1987]. I guess it's because Robert [Downey Jr., who stars in the film] is a peer of mine. His performance is so poignant, and it was dealing with something that was all around me at the time.
LW: You must have had it within you that that just wasn't something that interested you.
DL: Truly. I'm just not comfortable feeling out of control. Being in an altered state held no solace for me. And because you have to drive everywhere in L.A., it means you can't drink. [laughs] So now I'm left with cigarettes, and I'm trying to scrape that off my shoe and then I'll be done. [both laugh]
LW: That's sounds like a tough one. I've never gotten started on cigarettes.
DL: You've got the voice.
LW: Yeah. My morning voice.
DL: It's really bad when I order room service and at the end they say, "Yes, sir." [both laugh] You're like, "Oh boy, I'm halfway to Brenda Vaccaro!"
LW: [laughs] I hear you're headed to Italy to make a film called Under the Tuscan Sun. When are you off?
DL: I'm leaving in early September and I hope to be back by the end of November. It's tricky for me because I need to get my daughter situated into fourth grade and then run off and leave her for a couple of months. But being me, I'll probably start house-hunting. Can I retire now? Have I squirreled away enough to get out of L.A.?" I can be one of those retired actors who paints.
Oh, God! [both laugh]
Luke Wilson will next be seen in Old School. Opposite and page 173: Diane Lane wears a dress by DIOR. Fragrance: DIOR J'ADORE "MATTE GOLD" LIMITED EDITION. Styling: L'WREN SCOTT. Hair: ODILE GILBERT/L'Atelier(68). Makeup: STEPHANE MARAIS/Studio 57. Special thanks: SMASH-BOX, L.A.; THE BEVERLY HILLS HOTEL. Fashion details page 195.
COPYRIGHT 2002 Brant Publications, Inc.