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Yet it is angelicata. Able to make a diva entry even in a Sabbath, resistant to all effects of the "terrible" that the director Luca Guadagnino built around her and the other ladies of Suspiria (Tilda Swinton, Mia Goth, Sylvie Testud, Angela Winkler), Dakota Johnson actually exudes delicacy. In the cruelty of history of which the film is nourished (six acts and an epilogue set in Berlin in 1977, close to the Wall, in the background the tug of war between the German government and the kidnappers of the head of Confindustria Hanns-Martin Schleyer, ex-officer of the SS) she brings beauty: in the den of witches that is the Markos Tanz Company enters dancing. Dance macabre, of course, but very powerful. Susie/Dakota hovers higher and higher and, at every jump, a more ferocious blow hits the body of a poor unhappy woman who dared to doubt the power of witches.
Power and repression, the mother as an archetypal figure (that of Susie the bubble right away, in the distant Ohio from which it comes, as "seed of evil"), the oblivion of the past (the great German removed) and the need to understand it , even psychoanalyzed: climb on the carousel of the film - which is a horror but, to want us to do the accounts, is more scary when you have already left the cinema - gives dizziness. Yet Dakota Johnson, pedigree and experience, knows that she will have to come down to earth and answer questions about magic and mystery and she does it with grace and discipline: "As a child I believed and believe in it now...but not abracadabra...Oh my God, how can I say it without being extrapolated from the context and someone titles:" Dakota Johnson is obsessed with magic"? ».
They just gave her a pregnancy for freeing blue balloons (so it was a boy) on her birthday with her boyfriend Chris Martin. They had given her a nervous breakdown for working in a film like this, "psychologically intense". Yet there is no joke that those lips can not pronounce. As a professional: atrocious and merciful, as required (the essence of dance? "Like fucking." "A man?" "I thought of an animal" the answer).
Spectators and critics come out of Suspiria's projections with mixed feelings, fear, certain discomfort, but also an unexpected sadness. Would you have expected it?
Power and repression, the mother as an archetypal figure (that of Susie the bubble right away, in the distant Ohio from which it comes, as "seed of evil"), the oblivion of the past (the great German removed) and the need to understand it , even psychoanalyzed: climb on the carousel of the film - which is a horror but, to want us to do the accounts, is more scary when you have already left the cinema - gives dizziness. Yet Dakota Johnson, pedigree and experience, knows that she will have to come down to earth and answer questions about magic and mystery and she does it with grace and discipline: "As a child I believed and believe in it now...but not abracadabra...Oh my God, how can I say it without being extrapolated from the context and someone titles:" Dakota Johnson is obsessed with magic"? ».
They just gave her a pregnancy for freeing blue balloons (so it was a boy) on her birthday with her boyfriend Chris Martin. They had given her a nervous breakdown for working in a film like this, "psychologically intense". Yet there is no joke that those lips can not pronounce. As a professional: atrocious and merciful, as required (the essence of dance? "Like fucking." "A man?" "I thought of an animal" the answer).
Spectators and critics come out of Suspiria's projections with mixed feelings, fear, certain discomfort, but also an unexpected sadness. Would you have expected it?
Dakota: Suspiria speaks of an autumn. Of Germany, of Europe, and of its sense of guilt. My character comes from afar, from a religious community closed to the outside world, the two stories are born of mourning. There are many reasons for sadness. But there is plenty of blood, on the set we had to be careful not to slide over...
In the film, dancing is acting. And dancing is suffering. How did you get there?
Dakota: With much training, a lot of study. With the choreography of Mary Wigman, Martha Graham and Pina Bausch (which the character of Tilda Swinton clearly inspires, ed). And so many films to see, Red shoes on everyone. My character is a very good dancer, but she has not received training, her movements are instinctive, not studied. So her dance had to be an amalgam of different styles, things she had seen, heard, read, introjected almost without knowing it. So, during the preparation, I was listening to very different music: Nina Simone, the Jefferson Airplane, The Carpenters...music that Susie would have had available in Ohio in the '70s, during adolescence. I studied for six months with Damien Jalet (author of the choreography of Suspiria, ed) and during the shooting the training continued: it was very tiring, but wonderful.
It is your the second film with Luca Guadagnino. Do you remember how your pre-meeting was held?
Dakota: Luca had summoned me to Crema, to his house. While walking through the streets of the city I was able to go with him to Pantelleria to film A Bigger Splash (film of 2015, ed). I remember that I asked myself silently, "Who are you?" , I couldn't really frame him, the rest is history, I reached him on the island, but I felt very fragile, as if I were on holiday, I couldn't concentrate, I wanted running away, I was terrified, I didn't want to waste the time of all those people, but Luca and Tilda persuaded me to stay, they did well, and since then we have conspired together constantly.
Did you immediately notice that it would be more than work, that you would become friends, that something had been taken?
Dakota: Since I started working with him I understood clearly that I will do it forever. And I know that for him it's the same thing. Now we are family.
And on the island you started talking about Suspiria: was it the first time that you were involved in a project from the first moment?
Dakota: Tilda has been involved for a long time, but for me it was all very exciting right away. I feel the responsibility of this film on my shoulders in a profound way. Today, at the thought of the interview, for example, I have nerves on my skin. First class nerves! And it is as if I had left my brain at home, I lost my passport, I lost the plane, when I managed to take it I forgot about the dress, I left the phone in the nagno of the airport...
Perhaps because it is a film of women only, which speaks of the incredible and terrible power of women?
Dakota: I am very proud of the women in this film, the image of women coming out of it. And doing it was fabulous, I feared that there would be envy, some strangeness, but all were sympathetic and supportive. When women get rid of this dated idea that they have to compete, everything is possible.
Fraud is just a male fantasy.
Dakota: Well, in the movie there are guys...
The witches enchant them and then make fun of the size of their genitals.
Dakota: Exactly.
Have you arrived in Suspiria directly from the set of 50 shades?
Dakota: Difficult transition, eh?
What did you expect from the trilogy? Something different from what was then?
Dakota: We all knew what would happen. We didn't expect the applause of the critics, even if the first film is something else than the two that followed. For Suspiria, on the other hand, we expected criticism to polarize: so it was. And I find it to be fantastic. Art must provoke. It must make us think. You must not seek unanimous consent.
Not many think so much: provocate, arouse reflections is scary.
Dakota: It is true, there is a fear of being rejected, of not being understood, of failing economically. I too have these fears. But, as an actress, working with those fears, keeps them at bay is very exciting.
What are your idols like an actress?
Dakota: I grew up worshiping Gena Rowlands, Michelle Pfeiffer, Elizabeth Taylor, Sophia Loren. My grandmother (Tippi Hedren, ed) loves Sophia Loren, she made a movie with her, A Countess from Hong Kong, she was obsessed with it.
Do you remember the moment when you decided you would be an actress?
Dakota: I do it every day, I re-decide it continually, weird...it should be obvious. Actually I think I've always been. There is a picture that my mother (Melanie Griffith, ed) gave me recently on the set of Milk Money (film with Ed Harris, 1994, ed). My mother was the protagonist of the film, my visiting grandmother had settled on her chair and I am on the picture with her. I'm wearing leather jeans and a fur collar. Bold, as if it were already my show.
It was obvious, surrounded as it was by people making films.
Dakota: I love movies, I love people who make them, I love their passion, their incredible brains. I love being on the set, the attention to detail of the work you do on set. And I love watching movies on the big screen. I would go to the cinema more if I had time. I love watching movies with people around.
Perhaps because it is a film of women only, which speaks of the incredible and terrible power of women?
Dakota: I am very proud of the women in this film, the image of women coming out of it. And doing it was fabulous, I feared that there would be envy, some strangeness, but all were sympathetic and supportive. When women get rid of this dated idea that they have to compete, everything is possible.
Fraud is just a male fantasy.
Dakota: Well, in the movie there are guys...
The witches enchant them and then make fun of the size of their genitals.
Dakota: Exactly.
Have you arrived in Suspiria directly from the set of 50 shades?
Dakota: Difficult transition, eh?
What did you expect from the trilogy? Something different from what was then?
Dakota: We all knew what would happen. We didn't expect the applause of the critics, even if the first film is something else than the two that followed. For Suspiria, on the other hand, we expected criticism to polarize: so it was. And I find it to be fantastic. Art must provoke. It must make us think. You must not seek unanimous consent.
Not many think so much: provocate, arouse reflections is scary.
Dakota: It is true, there is a fear of being rejected, of not being understood, of failing economically. I too have these fears. But, as an actress, working with those fears, keeps them at bay is very exciting.
What are your idols like an actress?
Dakota: I grew up worshiping Gena Rowlands, Michelle Pfeiffer, Elizabeth Taylor, Sophia Loren. My grandmother (Tippi Hedren, ed) loves Sophia Loren, she made a movie with her, A Countess from Hong Kong, she was obsessed with it.
Do you remember the moment when you decided you would be an actress?
Dakota: I do it every day, I re-decide it continually, weird...it should be obvious. Actually I think I've always been. There is a picture that my mother (Melanie Griffith, ed) gave me recently on the set of Milk Money (film with Ed Harris, 1994, ed). My mother was the protagonist of the film, my visiting grandmother had settled on her chair and I am on the picture with her. I'm wearing leather jeans and a fur collar. Bold, as if it were already my show.
It was obvious, surrounded as it was by people making films.
Dakota: I love movies, I love people who make them, I love their passion, their incredible brains. I love being on the set, the attention to detail of the work you do on set. And I love watching movies on the big screen. I would go to the cinema more if I had time. I love watching movies with people around.
Would be great to get rid of all pictures of Jamie Dornan on all of Dakota's web sites!
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