Toni Collette in “Muriel’s Wedding”, “The Sixth Sense”, “Heriditary” and passing on “Bridget Jones’s Diary”

Toni Collette never expected that acting could be her livelihood. The Australian native was a regular on the Sydney theater scene and had almost no screen credits, namely her feature film debut in the 1992 comedy Spotswood (known in the US as The efficiency expert) starring Anthony Hopkins and newcomer Russell Crowe.

In fact, Collette was delivering pizzas when she came in first place Muriel’s Wedding (1994), the undercover hit rom-com sensation that turned her into an international star. “It completely changed my life,” says the now 50-year-old performer of her title role as a socially awkward, ABBA-loving video store clerk who dreams of hooking up, in a new Role recall interview with Yahoo Entertainment (see above). “It opened so many doors and gave me so many amazing opportunities. It made me feel like I could really do this. I never thought I would have a career. I just thought it was a one-off, to be honest.”

In the 28 years since, Collette has become one of the most versatile — and respected — performers in Hollywood. She earned an Oscar nomination for playing the troubled mom of a boy who sees dead people in M. Night Shyamalan’s The sixth Sense (1999), and any cinephile will tell you that she was robbed of a second nod for her intensely terrifying turn as another mother dealing with the supernatural in Ari Aster’s play. Hereditary (2018). Moved by Jane Austen (Emma) to Brian Slade (Velvet Goldmine). He made an art form out of playing multiple characters (and won an Emmy and a Golden Globe) on the short-lived but beloved Showtime United States of Tara (2008-11) and helped create memorable, impactful performances from child actors Haley Joel Osment (Sixth Sense), Nicholas Hoult (About a boy) and Abigail Breslin (Little Miss Sunshine).

It can appear in a star-studded ensemble like Murder Mystery Knives out (2019), play against type as the New Agey Yas Queen and steal every scene she’s in.

Collette is looking for more gold in her new comedy The Estate. She plays a down-on-her-luck New Orleans woman who, along with her sister (Anna Faris), risk missing the family dinner when they do a project to challenge the inheritance of their loathsome dying rich aunt (Kathleen Turner). by their vulgar cousins ​​(David Duchovny and Rosemarie DeWitt);

“When I first read [the script], my husband said, “What’s going on over there?” Because I was crying with laughter and actually laughing out loud, which is very rare when you read a script,” says Collette. “It was really fun. Again, it’s an ensemble and all the actors were so fantastic. Anna, I had never met her. She is the sweetest. And we became an instant team.”

The actress shared memories of the making of many of her most iconic projects in our latest episode Role recall. Some highlights below:

She shed over 40kg for her lead role Muriel’s Wedding:
“I don’t know if I ate too many pizzas. I remember drinking a lot of Ensure Plus. I think it’s some kind of high fat drink they give to people in nursing homes. I had seven weeks to put on 43 kilos.”

On how he really feels about ABBA:
“I love ABBA. F**king love ABBA. I always have. And everywhere I go, when “Dancing Queen” comes on, I just think, “I’m so happy that this song follows me everywhere.”

About the role he shoots instead of The sixth Sense:
“I was actually in New York meeting with Martin Scorsese for a film called Bringing out the dead. And I was so in love with Marty and I obviously wanted it [work with him]. I knew about him. I didn’t know who Night was. So I was kind of focused on trying to work with Scorsese. Who wouldn’t be? I still want to work with him. … [Finally I called my agent back] and my agent said, “You’ve been offered—” and I screamed before he took it out. I thought he was saying “You’ve been proposed to Bringing out the dead“, and said, “You have been proposed to The sixth Sense.’ And I was kind of, [disappointedly]”Ouch.”

In this unforgettable Sixth Sense scene when Lynn (Collette) and Cole (Osment) are stuck in traffic
It felt like it was bubbling up inside me so much that I remember the night before I went to New York and I went to a Burt Bacharach-Elvis Costello collaboration, this live show that was being filmed, so I wouldn’t think about it. Because I thought, “I don’t want to get too involved in this. I just have to be present in the moment because if I think about it too much, it would be too much, too intense or something.’ And yet it was intense. And I remember when we did it, Knight shot Hayley’s side first and I was just bawling my eyes out. And he kept saying, “Toni, Toni, we’re not even with you. Just wait until we get back.” But I was so full and so present in what it meant to me that it was very therapeutic, actually, to do that scene.”

When turning down Bridget Jones’s Diary (2001):
I really couldn’t make up my mind. I’ve been busy doing a musical on Broadway called The Wild Party and I was not available. But sometimes I think about it and think, “I don’t know, this character looks so much like Muriel.” It might have been too close. And I try not to repeat myself.”

Playing the heavy role of a mother with cancer in the comedy About a boy:
“I mean I’m playing a suicidal woman who feels like she’s failing at being a good mother and failing the world, not being able to save the world. I remember thinking, “All you a**holes are in a comedy and I’m the one in a tragedy here.” I was really jealous of their experiences because mine, I think, was a little bit different.”

In her desire to do more United States of Tara:
“It was one of the most beautiful, profound, challenging experiences in all the right ways. … I mean, if they asked me to come back and do it tomorrow, I would. That’s how I loved it. I was so sad when it ended. It felt premature. And I think it happened before all this streaming stuff really took off. In some ways, he was ahead of his time. But the story, for a comedy, was so touching to me. I loved it, loved it, loved it.”

Drinking her head in Hereditary:
“Well, the story to me is just one Really sad story about a grieving family. And so when it came to doing this, which is a frankly horrible moment, I felt ridiculous. I was hanging up in the attic, and Ari Astaire, the brilliant writer-director, had a very specific idea of ​​the rhythm of how I use the piano string to pop my head off. So I was literally following him and he was moving the way he wanted me to move until he got faster and faster. So it was kind of technical in terms of just pleasing him in the rhythm of how that movement was. And it was fun, actually. It was fun to put on all the prosthetics and line up all the blood. But it felt like a complete departure from what the film meant to me.”

The video was produced by Kyle Moss and edited by Teri Keizer

The Estate playing now

Watch the trailer:

Leave a Reply

Your email address will not be published. Required fields are marked *