Haley Bennett on beauty: I don’t believe in perfection.



It’s impossible to do business in presenting and leaving the physique out. However, Haley Bennett, who played Roxanne in both the stage and film version of the show “Cyrano,” directed by Joe Wright for the big screen and starring Peter Dinklage in the title role, has told Inquirer Entertainment that she had tried to get”perfect” out of her vocabulary “perfect” out of her speech.

“Cyrano” is the story of a prominent and brilliant dwarf (Peter) who isn’t able to convey his feelings for his girlfriend (Haley), who he likes due to his anxiety regarding his body’s “imperfections.”

As an artist, Haley admitted that taking lessons from “the process of making” is more enjoyable than simply thinking about how to “get things done.”

“I do not believe in perfection,” the actress declared. “But I am a firm believer in trying your best. Every single scene of the film was crucial to me however, I was in the act of making which I loved more. I was enthralled by exploring and I don’t only speak of acting, but also the satisfaction of telling true stories.”


Haley’s Q&A. Haley:

Did you need to be taught throughout your life that the appearance or the physical appearance of a human being don’t matter?

What we appear like, I believe that’s an issue for everyone. There’s always something about us that we think is seen as unattractive to the person we love or to the world.

The movie musical started as a stage production that Joe could attend because you were part of the show. Can you tell us the process that led you to do this?

I did an essential reading of the play in the beginning. I was within New York at the time, and I contacted my agent and explained to him that I was interested in participating in theatre as it was something I’d never tried before. I told him, “If an opportunity arises could you think of me?”

The next day says, “I have this opportunity to invite you to participate in this reading. However, it’s still being developed.” At this moment, Erica Schmidt (playwright and director of the play and Peter’s spouse) was already writing the play’s script, and the songs were being written by the group The National. The band’s manager said, “Peter Dinklage will be in the theater as the character as Cyrano,” and I thought, “Oh, wow! It sounds like an interesting concept.” That’s why I set off and played the role for seven days.

Thank goodness, Erica reached out to me a few months after that and asked me, “Would you like to take part in the stage production, and to perform this show in conjunction with the Goodspeed Theatre in Connecticut?” I responded, “Absolutely! I would be delighted to.”

And then, Joe, my partner, was at the very first performance and was in love with the play, just like we all did. He asked my permission to meet in conversation with Erica to discuss ways of adapting the work to screen.

As you moved from screen to stage, did it require you to learn something new to make the film? How did you manage the endless possibilities?

It was not a monopoly (laughs) … since we recorded during the height in the spread of the disease … within Italy! This was an exciting test. The fascinating thing about the transfer of stage performances to film is the intimacy level you can’t capture on stage.

In a film, the camera is allowed to be very close. The audience gets to enjoy a show differently, particularly in the music composed by The National, which has a highly personal, in-depth quality. Additionally, in the film adaptation,, it was unnecessary to show as much.

You participated in each stage show as well as the film adaptation. What process were you most interested in doing the most?

I enjoyed both processes. We didn’t think about the film as much differently than we did for the stage production. Joe is a theatrical filmmaker. Rehearsals for him are crucial. In the stage production, along with Erica and me, we were able to practice and feel choreography, the spatiality of the stage, and the bodies … it was an excellent experience for me as an actor.

When I made the film with Joe, We also had three weeks of practice. This way, you become very at ease with the plot. As we were either on a film set or location in Italy, the whole process became second nature to me. This was a significant aspect of the stage production and the film.

What do you think that younger generations will be able to connect with your character, an updated version of Roxanne?

I needed to make an individual Roxanne. She’s an individual on her own. She’s not an accessory to the man. I’m not a fan of women as only an appendage of menand; I’m sure that most women feel this way. For me, it’s crucial to push the boundaries of what this persona is.

Roxanne isn’t weak. She’s romantic. However, she’s not an idealist. She’s not an innocent victim. I truly admire her. She’s a person who is not just the writer of her work. She also wants to be the writer of her personal life. She’s looking to be seen uniquely as an individual. As a woman of today, these are the things I can relate to.


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