One of the most successful actresses of our time, the muse of Woody Allen and Brian De Palma, Scarlett
Johansson brought her directorial debut to the 78th Cannes Film Festival.
“Eleanor the Great” (2025) is the story of 94-year-old Eleanor Morgenstern, who accidentally joins a Holocaust
survivors’ circle, passes off her deceased close friend’s biography as her own – suddenly finding herself at the
centre of attention from the local community, the media, and even a popular TV show.
An innocent lie triggers a chain of consequences that become increasingly difficult to escape. “Eleanor the Great”
is already tipped as a potential contender for the attention of the American Film Academy at the next Oscar
nominations. But most importantly, the popular actress has made a significant step in her career, stepping behind
the camera and choosing a new creative identity.
When did you first realise you wanted to be a director?
I’ve dreamed of being a director since I was a child. The first time I understood what it meant to be a director was when I was 12, filming in “The Horse Whisperer” (1998). I remember watching Robert Redford and observing how he directed scenes. That’s when I said to myself, “This is what I want to do.”
Later, when I was 19, I became fully focused on acting and somehow set the idea of directing aside – it was no longer my priority. About six years ago, I founded my own production company and became more involved in producing. I talked myself out of directing for a while, convincing myself it was too demanding – you’re constantly solving other people’s problems. Although somewhere deep down, I hoped that one day I would come across the perfect project. When the script for “Eleanor” arrived, the timing wasn’t ideal, but I felt ready. I had the confidence and emotional maturity to take on that responsibility. Moreover, there are more women directors now. The path has been paved, and I felt I no longer needed to break down walls on my own.
What drew you to this script?
This story really touched me. It reminded me of the films I loved watching in my youth, in the 90s and early 2000s – heartfelt and deeply personal. I also liked the idea of showing New York as a character in its own right. I have a complicated relationship with this city: I can’t live there for very long, but I miss it so much when I’m away. I love its energy, rhythm, and the feeling that you’re always part of something in motion. I miss its mobility – it’s such a convenient place to live sometimes; everything is always accessible, and the lifestyle is very pampering. What also inspired me was the chance to work with actors in their eighties and nineties. I absolutely adore older people – they carry so much life experience, incredible wisdom, and a unique way of seeing the world. When they’re willing to share, it’s truly priceless. Over the years, I’ve read hundreds of scripts, and it’s rare to come across one as cohesive as this. It had a clear structure, a unique concept, and real emotional depth. It felt like one of those rare cases where the story chooses you.
What have you discovered about yourself as a director?
Directing has felt like a natural extension of my 30-year acting career, as well as my more recent work as a producer. However, I had no idea how to direct actors. And suddenly, on the first day on set, I realised that we all speak the same language. It was a revelation, a great relief, and allowed me to gently and respectfully lead the team in the right direction.
How did you begin your journey as a producer?
I initially tried my hand as an executive producer. But last summer, I presented my first full-fledged producing project – a romantic comedy “Fly Me to the Moon” (2024). It’s about NASA’s image crisis in the 1960s, when the U.S. became the first country to send a man to the moon. I also starred in the film as a marketing specialist, with Channing Tatum as my co-star.
He turned out to be nothing like I’d imagined. I always thought he was this moody, reserved, and serious guy, but on set, he revealed himself as a completely unpredictable joker. One moment he’d jump out from behind a corner to scare me, the next he’d be there making strange noises right in my ear or sneaking a finger under my wig... In short, there was never a dull moment with him.
My production company handled the financing for the project, but convincing people to give us money turned out to be quite a challenge, even if you’re a famous actress with office hits to your name. In this regard, I’m still selling ideas every day, constantly convincing people.
I think the question of whether you’ll continue your acting career is not worth asking – after all, you attended the Cannes Film Festival with Wes Anderson’s “Phoenician Scheme”. What makes this director so special?
This time, I played a small role, a mysterious character called Cousin. The whole story is full of grotesque humour, which is something I really enjoy in Wes’s work. I also love how he creates a space where you can be fully present in the moment.
Even though his approach is extremely detailed – camera movements, lines, mise-en-scène – everything is precisely calculated and gives a feeling of participation and freedom. Sometimes it’s even paradoxical: you feel like you are part of a perfectly tuned mechanism, and then suddenly you find yourself improvising inside this mechanism. This makes the filming process very dynamic. For example, there was a scene where someone had to hold a pair of shoes by a string. At first, I thought it was a weird idea – but then the props guy came in with the perfect rope, because if Wes has a vision, he’ll do it perfectly. We were in a sand pit, in the middle of nowhere, and yet Wes had everything ready. And it was really magical.
Do you remember your funniest shoot?
It was probably Jonathan Glazer’s “Under the Skin” (2013). The shoot was done using hidden cameras with regular people on the streets. At first, when the director suggested that I walk down the street and talk to passers-by, I thought he was crazy. How could I go out on the street and start talking to locals just like that? I shared my doubts with him and added jokingly that I could only do this if I were on another planet – and he replied: “You already are.”
Another funny story happened to me in Glasgow. It seems that they really don’t go to the cinema and are not familiar with Hollywood films. Once, when I had to fall onto the pavement, passers-by started helping me up, completely unaware they were being filmed. Although a couple of them did look at me suspiciously and asked if I had ever acted in films.
I like to look at my reflection
Convincing people to give us money turned out to be quite a challenge
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Do you feel pressure when you work with famous directors?
Of course! But it also adds adrenaline! When I first worked with Woody Allen, I was incredibly nervous. I remember how in the first scenes of “Match Point” (2005) I stumbled, and he shouted: “What are you doing? Pull yourself together!” That snapped me right back into focus, and everything went smoothly after that. Today, the main pressure I feel is to get up in the morning and get to work on time. I’m not an icon, a symbol, or a star – just someone who loves to work.
You often work on several projects a year. Doesn’t that exhaust you?
Of course, working in film comes with a lot of pressure, both emotional and physical. Filming can last up to 14 hours; sometimes special training is required. For instance, for the film “The Island” (2005), I started doing track and field and once ran 30 km. But for me it was more from idleness and from letting my ego get the better of me. It requires a lot of energy, but at the same time, it is like a drug that is hard to give up. The happiest moments are when I hear from the director: “Cut. That’s a Wrap. Excellent!”
Do you have any special rituals? For instance, how does your morning usually begin?
I wake up quite early. I have two children; my daughter goes to school. Unfortunately, as soon as I open my eyes, I immediately check my phone. I know I shouldn’t do it, but I just can’t break the habit.
After that, I wash my face, brush my teeth, stretch, and drink coffee with oat milk. Then I take my daughter to school. Besides my morning stretches, I try to exercise about four times a week. I used to be into weightlifting, but now I prefer Pilates.
You are often called a sex symbol and compared to Marilyn Monroe. Do you find that pleasant?
I like to look at my reflection and feel good about what I see. Sometimes I look in the mirror, check my hair, see how the dress fits and think: “Everything is fine.”
But I do not see myself as Marilyn Monroe, Greta Garbo or Marlene Dietrich. Before my role in Sofia Coppola’s “Lost in Translation”, I was mostly cast in small, episodic parts – no one was comparing me to Monroe back then. The attention came later, and while I appreciate it, it doesn’t define me.
I'm not an icon, a symbol, or a star – just someone who loves to work
- I don’t enjoy being naked in public, and I often criticise my body. But on set, no one cares about my insecurities, no one looks for flaws in my figure or appearance. The only important thing is performance. That helps me set aside my fears and focus entirely on the work.
- I don’t have a bodyguard because I want to be able to go shopping and enjoy my sandwich in peace, not under the eye of some scary guy in a leather jacket and dark glasses.
- I love to eat and believe a healthy, curvy body is feminine. However, after watching Morgan Spurlock’s “Super Size Me” (2004), I started eating less fast food.
The happiest moments are when I hear from the director: "Cut. That's a Wrap. Excellent!"
Interview: TATIANA ROSENSTEIN
Photo: PRESS MATERIALS
