Sigourney Weaver is a film legend. We might know her from the legendary Alien franchise, which redefined science fiction, as Dian Fossey in Gorillas in the Mist, or from her performance in James Cameron’s Avatar film series (she just finished filming Avatar 2). Now, the three-time Oscar nominee shines in a new feature film, The Good House, which hits theaters on September 30.
The Good House is a romantic dramedy based on an Ann Leary novel, and Weaver plays a recovering alcoholic named Hildy Good, who is an older, sometimes bitter but always wry New England realtor in her 60s. She rekindles a romance with an old high school flame, Frank (Kevin Kline), and drowns her sorrows in bottles of pinot noir. The film puts a middle-aged, divorced woman squarely in the spotlight, something we don’t see often. Good isn’t sidelined by a younger starlet — the character is a real woman trying to get through her day-to-day, even when her kids try to send her off to rehab.
The film, directed by Maya Forbes and Wally Wolodarsky, shows the nuances of addiction through Weaver’s role. The star, who turns 73 next month, talks to Shondaland about addiction, shooting in small-town Canada, and photo shoots with Helmut Newton.
NADJA SAYEJ: What did you think when you read the script and the book by Ann Leary? Which came first, reading the script or reading the book?
SIGOURNEY WEAVER: I read the script first, then the book later, which I am glad about because they’re quite different. The script is more of the story of Hildy; you’re in her life. At the end of the day, when she goes home, kicks her shoes off and unhooks her bra, and has a glass of pinot noir, you think, “Yeah, you have earned this glass of wine.” When I read the book, it’s really more of a journal of someone who knows they have a drinking problem. I liked the fact that I didn’t see Hildy like that, as there are people in my own family who have some alcohol use disorder. I would never begrudge them the first couple of drinks. It gives them so much solace. Like Hildy, it makes them feel like it makes them more themselves. Going beyond those two drinks and knowing where to stop is a much grayer area. You have fun with Hildy as if you’re at the bar with her, hearing her side of the story. She’s a smart, funny woman who is perceptive, but not perceptive about her own problems.
NS: What made you fall in love with Hildy as a character?
SW: Her sense of humor is dry. She’s pissed off at this point of her life. Her husband dumped her for another man. Her kids have sent her to rehab. Her ex-assistant has taken all her clients. All the things that have been working for her suddenly aren’t there anymore. It’s that slippage down that slope, and her being at this crossroads is interesting. Hildy is an engaging, likable woman. I couldn’t help but root for her. I wanted her to be okay and figure this out.
NS: Your style in the film is stellar — silk pieces, elegant blazers. What can you say about comfortable style? And working with the costume designer on The Good House?
SW: It’s wonderful you mention this; [the costume design] was done by my good old friend Ann Roth. She’s probably the best costume designer. I met her when I first came to New York. She designed my wedding dress. Ann is in her 90s. I did Working Girl with her. We’ve worked together a lot. She did my whole wardrobe for about $5. I think Hildy looks put-together in a realistic way: a woman who doesn’t have a ton of [money to] spend on clothes but looks tip-top.
NS: What was it like shooting in Chester, Nova Scotia, a small town on the east coast of Canada? Was there anything super-Canadian about it?
SW: What was really Canadian, they were the nicest people. They used to put up signs in the street that said: “We’re so happy you’re shooting in our town.” It’s a tiny town; we used almost all the houses in it for various locations. We had such an intimate experience. The whole town was behind us there. It’s also a story about a small town too. I had never been to Nova Scotia before, but wow, it is so gorgeous, and to be there in September and October, I’d love to go back.
NS: What was it like breaking the fourth wall and talking to the camera? Usually, we see this on TV but not so much in film.
SW: It’s such an emotional thing. Hildy has this brave front all the time. She’s presenting this public face. It’s almost an emotional thing where she has to reach out and tell the audience about what’s going on from her point of view. And crack a lot of jokes, frankly. It’s almost as if you’re at the bar together. Just being able to tell a story from an older woman’s point of view is already so unique. The fact that she’s funny is what made me fall in love with her. Comedy to me is always the most important thing.
NS: On the note of comedy, are there any women comedians you admire?
SW: All the time. I’m terrible at coming up with names. Women comedians are so refreshing. They don’t take themselves too seriously. We are the first to call ourselves out. We’re very hard on ourselves — to be able to articulate this is great. It’s a thorny thing in the film that adds pressure; her ability to have a few drinks every day and not think it’s a big deal. It’s very real.
NS: This film is a step forward for older women, who usually get cast in stereotypical mother-in-law roles. Why has the industry shied away from giving women in their 60s a realistic voice in cinema?
SW: I do think this film is a game changer. Part of it might be because the audience has become so sophisticated now with long-form TV, getting to know characters [and] appreciating all their nuances. [It’s] their appetite for character and understanding that older people have more character, not less. If you would have told me four of the best roles I’ve ever had would be when I was turning 73, I would have said you’re crazy. That is what happened. There is an appreciation for all the great actresses in my generation, and good characters, period.
![new york, new york may 02 sigourney weaver attends the 2022 met gala celebrating in america an anthology of fashion at the metropolitan museum of art on may 02, 2022 in new york city photo by theo wargowireimage](https://hips.hearstapps.com/hmg-prod/images/gettyimages-1664395578.jpg?resize=980:* "The 2022 Met Gala Celebrating "In America: An Anthology of Fashion" - Arrivals")
NS: What was it like working with Helmut Newton on photo shoots? You’re in many of his retrospective books and exhibitions as a subject he photographed, and today he’s remembered as one of the greatest fashion photographers of our time.
SW: When I first met Helmut, it was for Italian Vogue, I think. I hadn’t done any modeling. He kept telling me what to do — turn here, go there, put your shoulders out. Do this, do that. By the end of the day, I said: “That was such an un-fun experience; all you did was boss me around. I’m an actor, not a puppet.” We went back to the Chateau Marmont with Helmut and his wife, June Newton, and had some champagne. We became very good friends after that. We did all kinds of shoots. We would kind of get together and brainstorm about the maddest thing we could think of, and we would do it.
I miss him terribly. My favorite moment with Helmut was doing a poster for the 1994 film I was in, Death and the Maiden. I was assured that because the T-shirt I was wearing was wet, you could see my nipples. He said, “Well, let me see.” He pulls out nipples from his shirt pocket and says, “Well, try these; maybe these ones are better.” I put them on. He said, “No, yours are better,” and put them back in his shirt pocket. All of this was very much normal to Helmut. This was very much the world he lived in. There was nothing creepy about him, nothing leering about him. He was very matter of fact of what he was going after. He loved the female body, and you can tell from his photos, he loved women.
Nadja Sayej is an arts and culture journalist based in New York City who has written 5 books, including Biennale Bitch and The Celebrity Interview Book.
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