“Oh, I just wear heels!” Well, that’s so true. (Laughs). But what I was trying to do with the flapper dress is make it so people could see the heel of my shoe. So you could say, “I’m not wearing a shoe; I’m wearing a flower.”
In an interview with The Guardian in 2002, you revealed that you had wanted to play the lead role of Marlowe since the beginning. What is behind the interest in a possible film?
No. It’s not something that was the driving force. I really don’t know. I wanted to do the opera. In fact, I started writing my second opera – “Il Mio”, which will be performed around the country. And then I thought about the story of a young married man and his son who are engaged to be engaged. I think they were in love, but the father goes away, doesn’t come back and they don’t really find out. And I thought about how that’s so touching and that I felt as the father, when I think back, I think I was thinking about how I couldn’t help loving them both.
As a matter of fact, the last time I went to France, I met that wonderful young actor that I wanted to work with, so that’s why I wanted Marlowe. It was a wonderful project – I was very happy to do it.
Did you think at all about the kind of role you were playing?
Actually, not really. I didn’t think about the part until the day of the day that I was playing it. And then, I thought, well, what do I say! I’m going to do the part and I’m going to be a part of it, but then it’s a bit weird trying to say anything else. So I said: “Look, when I read the scenes, I just thought, I have to be Marlowe. You couldn’t do more of me.” I thought – and still do – that if you read the scene and you think all the time, you’re not really thinking. You’re just reading the words and that’s what’s required sometimes. And of course the other side of that is that you have to say to yourself, if I don’t want to play this part then it’s all good – you know – we’ll do it elsewhere. But I think that really the whole time the idea was, there is definitely another actor – he’s just reading,
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