Lauren Bacall: with that voice, that look, and above all that spirit, it's no wonder this legendary actress is so expert at making waves—and riding them. And as her performances in two daring, cult-ready new movies prove, she's not about to rest on her laurels

Interview, April, 2004 by Brad Goldfarb

BG: Some people have suggested that the film is anti-American.

LB: When we were in the midst of press conferences, that question was always asked of Lars. They said, "How can you make a movie about America when you've never been there?" And, of course, Lars's answer was perfect. He said, "That is the best way to make a movie about America." Lars doesn't travel, you know. He doesn't fly, and he won't go on boats or trains. So he's not seen a lot of other things and other places, but that's why he's so creative. But I don't think Dogville's an actively anti-American movie at all.

BG: What about the complaint that he's a misogynist, something else that's been said of him.

LB: I don't really know. It's very hard to figure out how a man's mind works, especially a mind as complicated as Lars's. [laughs] I never really saw the misogynist side of him. I think maybe women are objects to him in a way. Well, we are to a lot of people still. The feminist movement--forget it.

BG: You also have the film Birth coming up.

LB: Well, that couldn't be more different. The film was directed by Jonathan Glazer, this really wonderful young English director who did the film Sexy Beast [2001]--I love that movie. Birth is a very off story as well. I have a hell of a lot better part in it than I do in Dogville, I will tell you. I play Nicole Kidman's mother, something I'm thrilled to be, I must say. She's my oldest daughter and my pet, and she's engaged to Danny Huston. Then this boy, Cameron Bright, comes on the scene, claiming that he's Nicole's dead husband. So I am very heavily featured in trying to straighten her out.

BG: Mmm. As any mother would. [laughs]

LB: Yeah. And how. It's a pretty far-out notion, you must admit.

BG: How was working with Jonathan Glazer?

LB: I think he's extraordinary. I find that there are certain directors like Lars and Jonathan who have creative notions that don't compare with anyone else's. And I guess there's a reason for that. Maybe it's because they've been exposed to art films, so they're less interested in hype and money than we are. I mean, we have some talented directors in this country, don't get me wrong. But that kind of far-out creativity does not come from an American mind because we've been so schooled in the buck, and that's to our peril. This year has not been a good one for American movies. I think there have been a couple wonderful ones, but for the most part not.

BG: That's interesting because I feel like there were more films this year than usual that really stood out in terms of artistry and performance--Mystic River, Monster, 21 Grams.

LB: I like those. I think Clint Eastwood is an amazing talent and much more profound than he's given credit for. I mean, he produced [Mystic River], he directed it, he composed the music--not bad for a giant star like him. I'd love to work with him, but the thing with directors like that is that they have their own concept of what they want and they like certain kinds of people in their movies. I've tried to convince Marly Scorsese that I would make a great hood, but he looked at me and said, "You know, you're not Italian." I tell you [laughs], you're losing to begin with. But their work is certainly worth seeing. Be: Of course, staying in the game is a real challenge for women beyond a certain age. Has that been a struggle for you?