THE LOSS OF A TEARDROP DIAMOND Interview II

Bryce Dallas Howard in The Loss of a Teardrop Diamond

THE LOSS OF A TEARDROP DIAMOND Q&A with Jodie Markell: Part I

You come from a stage background. But what was it like directing actors for film?

Having worked as an actress in both mediums, I understand the similarities and the differences. The craft of acting for both film and theater is rooted in the same basic goal — to find the truth in each moment. And then communicate that truth to the audience — calibrating for the appropriate scale — whether it is a Broadway house or the lens of a camera. As a stage actress, I know the value of rehearsal and we were able to build into our schedule about five days of rehearsal, which is unheard of in an indie film. Those days proved invaluable for me and the actors, as we addressed questions about characters' through-lines and motivations.

We also explored how each character serves the story as a whole and how they reflect the underlying themes. Working with Williams' poetic language, like working with Shakespeare, carries its own challenges, its own rhythms and rules. So it was great to have the rehearsal time to analyze the unusual language and answer the actors' questions about it. We also worked with dialect coach Tim Monich, who was a great source of inspiration.

How did you get Ann-Margret and Ellen Burstyn to play small roles in the film? What was it like working with them? What about Bryce Dallas Howard and Chris Evans?

I think all the actors were excited by the opportunity to originate a Tennessee Williams' role. I don't think of Ann-Margret's role or Ellen Burstyn's role as "small" in any way. They are fully developed characters and quite appealing to an actor. Ann-Margret is a wonderful, bright, and adorable person who was a joy to work with. She has such an ear for language and a great sense of humor. She was very courageous to take on a role that is so different from her own personality. She played Blanche in a Streetcar on television in 1983 and she was very good.

Every actor I know looks up to Ellen Burstyn with nothing short of awe. She is a goddess. When casting this role, I knew that I needed an actress who could take us on an inner journey despite her character's stroke. She arrived on location having done a great deal of research on stroke victims, she even observed them in a hospital. And Ellen has a very strong spiritual center. She seems to glow from within, which was essential for a woman on her deathbed who is existing between worlds.

Bryce is very present and her work is deeply honest and grounded. And her commitment is fierce. I think she is the greatest actress of her generation. Many actresses make the mistake of playing Williams’ heroines in a very artificial mannered way that tends to keep the audience at a distance. I knew that Bryce would never fall into that trap. She is also a very hard worker and never showed any fatigue, never made any complaints. She and Chris Evans rehearsed even on the weekends.

Chris is a very talented actor and I believe he is the young leading man that everyone in Hollywood is looking for. He has been cast in action films and romantic comedies, but I think we will be seeing more range from Chris — and this film is just the beginning, He has such integrity on screen and he has the uncanny ability to smolder, which is not common among his peers.

Chris Evans, Bryce Dallas Howard in The Loss of a Teardrop Diamond

One moment that intrigued me — because I couldn't quite place it within the storyline's context — was when Jimmy knocks down an older, drunken (apparently gay) man in the bathroom. Was there some significance to that bit that I missed, or…?

It was very important to me to retain the scene in the bathroom because it serves several purposes: one is that you get a sense that Jimmy is not rejecting Fisher because he’s gay, but also because perhaps there’s a part of him that’s sensitive to maybe having homosexual tendencies. The man approaching Jimmy disturbs him so much that Jimmy has to hit him. I think Williams was fascinated by men who could go either way. Although, really, there’s no certain answer.

Williams didn’t like to answer those kinds of questions in a blatant way; he liked to pose the questions. He wrote once about the mystery of revelation of character and he wanted the audience to find their own answers. Also in 1957, I think that scene would have never made it into the film — which was another reason I really wanted to keep it in.

Any other projects in the works?

Yes. I have several projects in development and I just have to see which one takes off first.