Respond to these rapid questions in our Woman In Gold quiz and we will tell you which Woman In Gold character you are. Play it now.
A portrait of Maria Altmann’s aunt Adele Bloch-Bauer I, which the Nazis stole from her family in 1938 and renamed “the woman in gold” after Gustav Klimt’s painting, “the woman in gold,” “Woman in Gold” is based on the true story of Maria Altmann, a woman who challenged the Viennese government for rightful ownership of Gustav Klimt’s famous painting. At her side is a young attorney from Los Angeles named Randol Schoenberg, who is the grandson of the well-known composer Arnold Schoenberg. He provides assistance to her in her battle against a government that refuses to give up what has become a national treasure. This film about historical justice was directed by Simon Curtis, and Dame Helen Mirren plays the role of Maria Altmann. She has lively odd couple chemistry with Ryan Reynolds, who plays a member of a generation that has been removed from the events of history and who learns the gravity of the situation.
After working as a theater director for the Royal Court Theatre London and then transitioning to projects for the BBC, Curtis made his debut as a film director with the production of “My Week with Marilyn” in the year 2011. The movie, which was produced by Harvey Weinstein, is about a young man (Eddie Redmayne) who gets to know Marilyn Monroe (played by Michelle Williams) beyond her star persona. The film received two nominations for the Academy Award for Williams’ performance, as well as one for Kenneth Branagh’s turn as Sir Laurence Olivier.
RogerEbert sat down with Curtis to talk about his most recent project, the challenges of recreating a Nazi-torn Vienna, the impact that producer Harvey Weinstein had on the film, and other topics.
What lessons did you take away from the process of developing Eddie Redmayne and Michelle Williams’ on-screen chemistry that you applied to the vision you had for this movie?
I’m sorry, but that’s not quite the question, Mr. Curtis. After “Marilyn,” the question that concerns me the most is probably, “What film should I make next?” In contrast to the scripts that were sent to me, both of these projects started with my enthusiasm for the story. And actually, it is rather ironic that after “Marilyn,” I was able to meet lots of producers and read lots of scripts, as well as lots of stuff that was sent to me, but the next thing I do is something that I pushed into production, like “Marilyn.” If I hadn’t gone to those 200 meetings, I would be in the same position now as I was before. On the other hand, the thought has occurred to me that perhaps there is a purpose behind the fact that the thing that I have a lot of enthusiasm for actually gets created.
Is it more of a coincidence, or is there something about these legendary women and the tales that lie behind their most well-known depictions that piques your interest?
I guess you could say that I enjoy peeking behind the scenes. After watching a documentary on this topic, I came away thinking that there was not only a great story, but also a great film that could take us behind closed doors, into the emotion of it, and show the history of it. Both movies are about a young man getting the go-ahead to enter a magical world; although the worlds are different, the protagonists are still two sort-of privileged men who get this break. Additionally, both of the protagonists are in an unconventional relationship with an older woman, and both movies are centered on a great actress playing a great character. Both of these films are excellent.
Before you started working on this movie, did you have much experience with Klimt’s paintings?
Not even close to that. I liked the painting called “Woman in Gold,” and I had seen it before, but I couldn’t say that I was an expert on any of the art in question. I was raised in a Jewish family in the United Kingdom, which is why those themes had a significant impact on me. The concept that the Jewish community and Vienna could be eradicated in such a short amount of time struck me as particularly potent. You should be able to tell from the movie that we cared a great deal about that particular family and the neighborhood they lived in. And I heard that Maria and [her husband] Fritz’s wedding was the last Jewish social event that took place before the Anschluss, and we tried to incorporate that into the dance by having them dance as if they are sort of aware that this is the last time they will be able to do so.
You mention that there is a source of inspiration for this material coming from within your own family. Is there any member of your own family or any aspect of your past that one might be able to recognize in this movie?
But you shouldn’t waste any more time and start this Woman In Gold quiz.
No, it’s not really that, although I have known and been around other women who are similar to Maria Altmann as I’ve grown up. But it’s not quite that straightforward. Because my entire family was living in the United Kingdom when World War II broke out, I do not have a personal account of the Holocaust. On the other hand, I have a strong sense of Jewish cultural identity, and I definitely identify with all of that.
What steps did you take to ensure that the scene depicting the Anschluss was authentically filled with hatred and violence? Do you have to keep a certain level of emotional distance between yourself and your work?
Yes, when it comes to that particular day, you will most likely find yourself thinking something along the lines of, “Oh my god, do we really only have until lunch time to get this shot?” But we shot those scenes in the Austrian capital of Vienna. Therefore, that was quite effective in its own right. I had no idea how that was going to turn out, but fortunately everything worked out very nicely. The residents of Vienna, both those who took part in the production as extras and those who watched it, were extremely encouraging, and this held true even when there were a large number of swastikas in the area. However, there is not a great deal of that violence; rather, it is only for a few brief instances. However, filming in Vienna was without a doubt one of the most memorable experiences of my career. I enjoyed being there very much, as well as the way that we were treated and the way that the location itself looks. It was an amazing experience.
What do you think the director’s duty to history is in terms of acknowledging what transpired when it comes to history and the difficult events that have occurred throughout it?
There is a conflict between authenticity… although one might reasonably ask, what exactly is authenticity? You just do your best. You put in as much effort into your research as you can. And in the case of this movie, when the Nazi cars come in, we recreated an actual shot. Additionally, when the Jews are painting on the wall, that was an actual photograph that you can find when you Google it, and we recreated it. In this regard, we are putting forth our best effort, but you also need to produce a film. And when you’re making a movie, you end up filming a lot of scenes that don’t even end up in the finished product anyway. As a result, when you’re in the cutting room, you’ll probably end up making an excellent cut. You don’t ever quite now. However, I am very pleased with the escape sequence that [Maria and her husband Fritz] executed because it focuses more on the physical than the verbal.
There is also the story of Fritz, who was detained at the Dachau concentration camp before escaping with Maria. This narrative is included in their history. Was there any thought given to including this in the movie?
No, that wasn’t a shot that we took. I had a strong desire to have the past be acted out in German, but I also knew that in order for us to get away with it, it could only be a very small part of the movie. In addition, there isn’t a lot of talking that goes on in those scenes. It is highly visual in addition to all of that.
There is a scene at the beginning about another location in which the subject of Klimt’s painting says, “I worry about the future,” and then there is a cut to Los Angeles. After that, there is another scene about another location. How would you describe Los Angeles? Do you still reside there at this time?
Woman In Gold Quiz
No, I actually call London my home, but I’ve been to Paris quite a few times. My wife, Elizabeth McGovern, is originally from Chicago, but she moved to Los Angeles when she was ten years old. My wife is originally from Los Angeles. And including non-showbiz Los Angeles in this movie was something that was very important to me. The bungalow in which Maria lives was so charming to me. It’s not the one that Maria lived in, but it’s just down the road from 20th Century Fox, and it’s right up the street from the one that Maria lived in. And the fact that Randol lived in Encino, the same city as my in-laws’ parents, was something that stood out to me as significant. It was a very moving experience to go from Maria’s apartment in Vienna, where she was born, to the bungalow in Los Angeles, where she was living when she passed away all within the span of one week, when we were in the pre-production phase of the film. You seem to think that we are all on this trajectory, whereas her trajectory encompassed the entirety of the 20th century and brought her into contact with some of the most important developments of that era. Throughout the course of the movie, I realized the significance of this fact.
Also, you will find out which character are you in this Woman In Gold quiz.
In what ways did the apartment in Vienna stand out to you in particular?
The building’s structure. When you are inside that apartment in Vienna, if you were the owner of that apartment and you looked out the window, you would have had the impression that you were completely safe.
Why did the opportunity to collaborate with Ryan Reynolds appeal to you?
His work has always been enjoyable to me. He is in no way a carbon copy of Randy Schoenberg, but he possesses a great deal of intelligence and kindness, both of which I believe to have been possessed by the genuine Randy. But here’s the thing: Randy is also a world expert on his personal history, and that’s exactly the kind of thing that we didn’t want. We wanted our Randy to be more of the all-American guy, who goes on this journey and discovery with us in the film. Additionally, Ryan and Helen had the most wonderful relationship possible between the two of them.
When did Helen Mirren come on-board to the project?
Very early. I remember sitting with her going through the script, and hearing her take on the script, and why a certain scene needed something, or a certain line needed something, etc. I thought, “You’re not Dame Helen Mirren for nothing!” There was a really brilliant instinct that made the film better.
What kind of creative input did Harvey Weinstein provide this film?
With both of my films, he has been a huge influence. And in both of the cases, he personally has been really passionate about the subjects as much as me, which is kind of curious. He was on the set a lot with “My Week with Marilyn,” but not in this case. But he’s all about choosing the heads of development, and the cast. He’s a producer, but he wants some part of those conversations. And by the way, in the case of Ross Emery the director of photography, [Harvey] introduced me to him because he did “The Giver” for The Weinstein Company. He was a fantastic DP, so I was grateful. And then Harvey makes the call to Hans Zimmer, and then Hans Zimmer is doing the music for my film. You think, “My God, that’s fantastic!” And then he left us alone. Though he was watching the dailies, and sending emails that were very encouraging. But then he’s all about the cast as well. But the speed of this I think indicates how well it is has gone, in that way.
About the quiz
It is very interesting in that you’ve made your first film and now your second film with him.
Also, you must try to play this Woman In Gold quiz.
I think I may be the only person who has made two films, both with him.
You must have a very unique perspective on his influence.
I think I do. I think I might teach it in colleges [laughs]. “Harvey 101.”
You’re an executive producer on many projects as well. How has his unique grasp on the industry influenced your own approach to that job?
Yeah, but frankly I prefer to take notes from Harvey, who has had his name on dozens of the best films ever made, than notes I sometimes take from executive producers in television who have never done anything. And also, here I am thanks to Harvey, but one day I’ll make a film and I won’t be in Chicago talking about it, and I’ll wish I was.
What interests you about making a project like “Woman in Gold” that aims for a mass appeal?
I don’t know, I think a lot of the films that are made at the moment are not about anything. And this film is about something. I think the film has landed at a time where the spectrum of anti-Semitism is very much in people’s minds; it’s a reminder of when things go terribly wrong.
What have you seen lately that’s really jazzed you?
I was a great fan of both “Birdman” and “Boyhood.” I thought “Boyhood” was going to win, because of its emotional kick. It’s a once-in-a-lifetime experience. But I thought “Birdman” was a brilliant, technical triumph. But I wanted an ordinary American family to get the Oscar over Broadway actors.
When you watched “Birdman,” were you thinking about your experience in working with a story about actors in “Marilyn”?
Not really, no. I was thinking, “This is a great film.” And also, “How the hell did he do it?” I thought what Iñárritu did was sensational. And there’s such a gap in the market, because the studios haven’t been making that many [like that], and that’s why British films, there’s a place for that. They’re making films about people, and moments of history, at a certain price. You think of the success of those films recently, “The Imitation Game,” “The King’s Speech,” and so on. It’s because the studios aren’t making equivalent films as much. It was great to see two great American films at the heart of it all.
For more personality quizzes check this: The Duff Quiz.
