Given that Krzysztof Kieslowski wrote the script before he died, was there a real feeling of prestige working on the project?
There was more self-respect. I'm not saying we were being pompous, but to approach it as a daunting task, in the way of living up to Krzysztof Kieslowski, when there are so many other daunting aspects to the film - like learning another language - would have been suicide. If you're going to go see the film, thinking you are going to see a Krzysztof Kieslowski film, you are going to be deceived. That's not to take away from the film, though. Tom Tykwer [the director] is an incredible film maker, and people should get excited about that.
It's hard for me to be objective, but I feel that people who have seen it are emotionally affected by it without it being lip-service. They're walking away having had an experience as opposed to some superficial roller-coaster ride, which is so common of the films from where I come from.
You had to learn Italian for the role. How was that?
It was really one of the more challenging things I've ever done with acting. It became a stronger focus than maybe it should've been. But I feel good about it and proud. The language wasn't as hard as learning the Roman dialect. Within the two week time-frame that I had, to say it became innate would be a lie. Playing a translator, I had to translate and follow another actor along. It wasn't like you could be glib with it. It was definitely difficult - but it shouldn't be the focus of the film.
Do you see the film about two lovers destined to meet?
I think there is that fatalistic aspect to it, but my concept is that people make decisions that maybe they're not aware of. Yet, with my character Filippo, it was a very conscious effort on his part to go against and forsake every aspect, every discipline, every tradition in his life, and devote himself entirely to Cate's character, Philippa. It does have that aspect but there is always this thing with Krzysztof Kieslowski's films where he'll have the grand religious philosophical concepts based and founded in this reality - this often Proletariat way-of-life. It's so great because it's not condescending to people. These people have dreams and a spirituality - which seems to be the subtext to this gritty way of life.
Can you explain why it's set in Turin?
Turin is an industrial city. You ask any Italian, they consider it the City of the Devil. It ends up going to Tuscany, which is God's Country, one of the most beautiful regions in the world.
