Anjelica Huston is an American actress and occasional director. She's had roles in movies such as Prizzi's Honor, The Witches, The Grifters, The Addams Family (and its sequel), Choke, as well as working frequently in Wes Anderson's films (The Royal Tenenbaums, The Life Aquatic with Steve Zissou). Here she is talking about her directorial debut, Bastard Out of Carolina:
What type do you think she is? These two interviews may provide clues... I think she's some sort of FJ, given quotes such as these:
I think with Clark being an actor, he went more for the character in the piece, and for the humanistic moments. Which I think is a good thing, too, because it softened some of the harsher aspects of the material...which is not lovable, it's far from lovable. But I think, you know, there's a fine line between repulsive...and something else. And it shouldn't just be repulsive, it has to be thought-provoking, and it has to push the edges...but it can't just be horrible. It can't just be disgusting, even though there are, in fact, everything but bodily fluids in this movie. You don't want to send people howling from the theater, and on the other hand, you have to negotiate this very dangerous edge of what will make people run from the theater, and what will, in some way, attract them, and lure them, and hypnotize them.And remember that I've also already played the craziest mother, although I thought she was a great mother...Morticia Addams [laughs]. She was a wonderful mother to play, because everything is about the antithesis of what it should be. "Oh, you're looking so ill, so pale. How wonderful!!"Your thoughts?I think much more for the patient is for the person who loves the patient, or the Victor Mancini side of the couple who takes it to heart, who can’t believe that he’s not recognized by his mother, the woman he loves and who loves him. There’s a wonderful quote that I’ll paraphrase, in Joan Didion’s book, about loss and her mother which is like, “Who will know me, now that my mother is dead? Who will recognize me? Who will ever know me in that way?” That’s, I think, the basis of the problem between the child observing the parent losing their way or the lover watching his lover drift.