[ ↑ 是誰那麼貼心做成這樣>///<]
AVC: You’ve said you spent a lot of time immersing yourself in Mormon literature to try to understand where Nicki’s coming from. Do you feel like you now have a more organic idea of who she is?
CS: I think she’s so fully realized on the page. Of course, most of the literature I read was anti-[polygamy]. There was one called Favorite Wife: Escape From Polygamy, where she writes a lot about the positives, or what she liked about polygamy. I try to draw on those more. But I’ve been playing the character for so long. [Laughs.] Before last season, I read [Carolyn Jessop’s] Escape and Favorite Wife and one other one, just trying to get back into the swing of it. To get back into that mindset, back in Utah. I also read Executioner’s Song, just get back into a “Mormon Utah” vibe. So they can be very diverse, what I read to get back into the swing of things.
AVC: In a recent NPR interview with Terry Gross, you talked about how the clothes have a lot to do with how you define the character—the braid, the posture, the buttoned-up collars. But now that Nicki is loosening up—
CS: I hate loosening up! It’s so much harder! [Laughs.] I prefer the braid. Yeah, yeah. I don’t know what’s going to happen next season with all the new outfits. I’m kind of scared. It’s just not as easy to fall into the character. With the mini-skirts and the short hair and stuff, I think it’s going to be a whole new ballgame.
AVC: After you won the Golden Globe, you were quoted as saying you hoped the show would bring attention to polygamist sects—that you thought the women in them were repressed and should be helped. Do you think that’s the ultimate message of Big Love, that polygamy is wrong?
妳得小金球之後阿，有人引用妳說的話：妳希望大愛劇場更重視一夫多妻制這塊 － 妳覺得這種制度中的女人太壓抑了，需要幫助。所以，小克從大愛劇場領悟到的最終訊息是，一夫多妻是個錯誤？
CS: No, absolutely not. I think there are more parallels to gay rights and alternative lifestyles within Big Love—more so than “Polygamy is wrong.” I think they actually condone people who decide to live this lifestyle outside of fundamentalist sects. I wish they would bring more attention to people like the character of Rhonda.
AVC: Yeah, what happened to Rhonda?
CS: [Laughs.] Yeah, who knows? I wish there was more focus on those stories—or my daughter, and where she was coming from, and the compound. I wish there was more showing the injustice of what happens on the compound. I think they tried to do that a little bit with the “lost boys” storyline, and Bill telling about his own experiences being a lost boy. I think that they’re trying to show a little bit here and there, but I don’t know. Maybe it’s too depressing. [Laughs.]
AVC: Something that’s always dominated interviews with you is this struggle to get away from the whole “It girl”/“indie girl” thing. Do you feel like Big Love has finally marked that transition?
CS: I think so. I mean, it’s had so much exposure. I think more people have probably seen one episode of Big Love than all of my movies combined. So I think it’s kind of proven something for me.
AVC: Do you think the “It girl” thing has been a curse? It seems like it would be hard to keep progressing after someone dubs you “the coolest girl in the world” when you’re only a teenager.
CS: Well, I am cool. [Laughs.] But I think that the “It girl” label is for girls who don’t really do anything—as I’ve said before in every interview, and what more can I say on it? It’s just girls that are like at parties, or rich girls, or girls of the moment. I don’t want to be of the moment. I feel like I haven’t been. I feel like I’ve proved that. I’ve been around for years now. I’ve been acting since I was 19; I’m 35. It’s beyond that. I feel like the press focuses on these things over and over again. It’s so boring to me. Youth is very exciting, obviously, and dynamic, and they want to know “What was your youth like?” Terry Gross focused so much on my teen years. I was like, “Are you fucking kidding me?” How many times have I said these stories again? Is it really that interesting—those club-kid years or whatever?
But I guess ’90s New York was interesting to a certain extent to a lot of people, and my publicist was like, “This is a new audience, they haven’t heard about these things. You have to talk about it again.” I’m like, “Ugh.” [Laughs.]
Yeah, I hope I’ve gotten away from the “It girl” thing. But people are always going to reference it. And I’ve done interviews myself. I’ve interviewed Deborah Harry. I’ve interviewed [Depeche Mode’s] Dave Gahan. So I’ve been on the other side. I know what it’s like. But I tried to find things that I’d never heard about before, or focus on newer work. With Deborah Harry, I was like, “You were in a play on Broadway with Andy Kaufman? Like how many people know that? What was that like for you?” Try to talk to her as an actress more, because people don’t know that much about her as an actress. I don’t know, I just feel like a lot of times, journalists can be a little lazy, and they just focus on the same things over and over again. Not to dis you or anyone in particular, but why the “It girl” thing always? What do you think is the appeal? Why do they always bring up this “It girl” business?
Ms. Deborah Harry♥
AVC: Because you’re in a unique situation. For one thing, there aren’t many other actresses who are victims of the whole “hipster backlash” that’s suddenly so prevalent.
CS: I feel like I’m old enough that I’m not a hipster. I was pre-hipster. I was an alternative kid. I was a skater kid. I went to hardcore shows. My older brother was a hardcore kid. I was pre-hipster. It was when they were more specifically defined youth cultures. And now, for some reason, I don’t know. I think that, just because of the time that I came to or something, maybe having to do with X-Girl and that was the beginning—the Beastie Boys apparently are the godfathers of hipster-ism, or whatever you want to say. I don’t know the terminology, because I don’t adhere to it. [Laughs.] I don’t even know. Why am I thought of as so hipster?
AVC: As you’ve said, you’ve been a part of many different trendy cultures. You’ve been at this unique nexus of cool, and maybe people see that as trend-hopping. But it’s never about being fair when you’re called a hipster. There’s usually no rhyme or reason to it. You just know a lot of “cool” people, ergo you’re a hipster.
CS: I mean, I was just living in New York City, and these were the people that surrounded it, and the interests that I’ve had. So what, there are no other actresses that are hipsters?
AVC: Surely there are, but you’ve been called the “Matron Saint of Hipsters.” If you Google “Chloë Sevigny” and “hipster,” you get something like 25,000 hits.
CS: Whoa! So, yeah. So people don’t like me because I’m a hipster. But I’m on a TV show on HBO. How hip is that? [Laughs.] I feel like it’s really commercial. Or actually, it’s not really commercial. I mean, the “hip” movies I was making in the ’90s or whatever—just because the ’90s were hipper—I don’t know, I feel like that hasn’t carried over so much. I don’t know. What was the question?
AVC: Do you feel like it’s a stigma you’ll always carry—not unlike The Brown Bunny, which obviously you’re sick of talking about too, but it’s something that will probably stay with you forever.
CS: Brown Bunny was my way of self-sabotaging my career. I know everyone wants to be really famous or do really commercial work, so I… I feel like maybe I’m a masochist.
AVC: So what keeps you coming back for more punishment?
CS: [Laughs.] Well, I have to make a living. And I love film, and I want to work with filmmakers I love—like Chris [D’Arienzo]—and do this kind of work. I feel like maybe [Brown Bunny] was just my way of separating myself from the rest. But I don’t know. I don’t know what the hell I’m doing.
Harper's Bazaar Russia April 2010