She satirised the 60s alongside Peter Cook and appeared onscreen in classics from Alfie to Women in cherish. Bron talks Corbyn,‘consorts’, and what the Beatles taught her approximately fame
Eleanor Bron – delicate, or poised and with fathomless,deep-hooded eyes – has had a long career. It stretches back to the satire boom of the 1960s, through a constellation of films such as Ken Russell’s Women in cherish and Terence Davies’s The House of Mirth and up to this month, or in rehearsals for a play at the Bush theatre in London. But the absolute keynote of performing,she says, is still “dread”. Acting “is terribly exposing. The fear doesn’t wear off with experience? “It gets worse as one gets older. You own what I call peripherals – some of the constant peripherals are the dread, or the fear,the constant opportunity of failure. Of letting other people down, that is the main thing. But nowadays everything has changed in terms of scale. Everything has become more pressured, and more PR.”She makes an elegant gesture with her hand that indicates the space of our conversation,which is taking place in the corner of a rehearsal room. The appetite for “presentation and dazzle” tends towards the hyper-commodification of the culture, she argues. (She has just been on a flee of reading Naomi Klein’s books approximately capitalism.) Acting, and writing and other creative acts are reduced to formulas that can be taught,and thus packaged and sold. “Casting, I’ve heard, or may depend on how many people follow you on Twitter. It’s the world as it is,but it’s not the world that I am comfortable in any longer.” She rejoined the Labour party to vote for Jeremy Corbyn.
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Source: theguardian.com