De 28 años de edad la actriz es la elección de las piezas con un ojo en cómo van a afectar a su vida. "Quiero ser una mujer en la pantalla porque quiero ser una mujer en mi vida. Yo no quiero ser una niña, "ella dice. Natalie Portman Natalie Portman se encuentra en la nueva versión de "New York Te Quiero", una colección de viñetas breves. (Carolyn Cole / Los Angeles Times) Natalie Portman posa en un taburete en el mostrador de un restaurante vegano en el centro de Manhattan, mordisqueando un bocadillo de queso de soja y cuidando su propio negocio. Lo mismo no puede decirse de sus patronos compañeros, dos de los cuales sonrisa de suficiencia, imaginando que no se detectan haciendo fotos de ella - aún en maquillaje completo de una sesión de fotos y envuelto en una gabardina - con sus teléfonos celulares. Colgando de la barra detrás de Portman se enmarca testimonio de cómo a menudo se produce esto: Un paparazzi tiro de los 28 años de edad duende, que es la celebración de una botella de jugo del restaurante, mientras que sus errores del perro de su pierna por una boca de incendios. Capacidad ¶ Portman elegantemente a ignorar este tipo de atención - en primer lugar obtenido por su debut en "The Professional", a la edad de 12 y llegar a la manía en la segunda de "Star Wars" trilogía - está a punto de ser puesta a prueba. Este año, ella tiene una serie de películas que cualquier actriz de su edad estarían encantados de acumular durante toda la vida. En primer lugar el viernes es "Nueva York, Te Quiero", una serie de entrelazar cortometrajes, uno de los cuales Portman escribió y dirigió, en el que un padre de un niño pastores por el parque y se confunde con una niñera. Ella aparece en un segmento dirigido por Mira Nair, jugando un Judio ortodoxo que se conecta con un proveedor de joyas indias, ya que el intercambio de historias culturales. Drama de Don Roos "Love and Other Impossible Pursuits", que mostró en el Toronto International Film Festival, va a seguir, y el 4 de diciembre, que se verá frente a Tobey Maguire y Jake Gyllenhaal en "Brothers de Jim Sheridan." Y eso es sólo el principio. La primavera pasada, se filmó el indie "Hesher", que también produce, a continuación, pasado el verano en Belfast en su primera comedia, la fantasía real "Su Alteza", antes de regresar a Nueva York para cuatro meses de rodaje "de Darren Aronofsky Cisne Negro ". Por último, ella paso a la primavera en el Santa Fe, NM, un conjunto de "Thor". Después de eso, "voy a tomar una siesta - por igual, de dos meses", dice con una risa. "Ahora mismo, estoy trabajando, probablemente más que es bueno para mí, pero a veces es bueno para superar sus fronteras y se extienden a ti mismo". A pesar de la disparidad de los proyectos, que se unifican en mostrar comodidad recién Portman como un adulto de pleno derecho. "Así como lo que estás sintiendo en tu vida afecta a su calidad, lo que sin duda afecta a actuar en lo que estás sintiendo en tu vida", dice con delicadeza típica. "Y si lo quieres o no, y aunque usted no lo sabe, que sangra en su vida. Hice" calor "cuando tenía 14 años y tuvo una niña que murió", continúa. "Un año más tarde, me metí en una pelea con mi madre y corté. Yo nunca había hecho antes y nunca lo hice después de eso, pero creo que mis muñecas con sangre en una película sin duda afectó a mi psique." Una década de la turbulencia de la adolescencia, ella es ahora la elección de roles en donde puede mostrar sus puntos fuertes o emocional, como director Sheridan dice que "ella es el tipo de mujer te gustaría volar el avión". En "Hermanos", ella es una joven madre llorando por el amado esposo ella cree que ha muerto en Irak, mientras que en "Love and Other Impossible Pursuits", ella es una madre de luto por la pérdida de su bebé de días. Y en "Nueva York", tanto en el segmento que dirigió y la una en la que está dirigida por Mira Nair, que explora la universalidad del amor y compromiso. "En este momento", dijo Portman, de las partes que apelan a ella: "Quiero ser una mujer en la pantalla porque quiero ser una mujer en mi vida. No quiero ser una niña." Agrega Sheridan, "pensé que era una revelación en 'Closer'", una película que le valió Portman una nominación al Oscar y un Golden Globe. "Pero ella ha sido la Lolita y la ingenua sexy. Ahora está crecido, y es comprensible que quiere aprovechar eso". Casting como una madre requiere poca fe por parte del director, que dice: "Ella es una persona muy fuerte, y es evidente de inmediato. Lo más extraño es que si me miraba, se diría que era un actor técnico, pero es absolutamente emocional. La única ayuda que le di fueron técnicas cosas como, 'Sus ojos deben ser más alto. " No hay muchas personas en el mundo como Meryl Streep, que puede verdaderamente habitan en las personas diferentes, pero que puede. Creo que hay mucho que hacer con Natalie no hemos visto ". Portman parece estar de acuerdo. Recientemente cambió de vegetarianismo para el veganismo después de leer el trabajo de no ficción próximo Jonathan Safran Foer, el "comer animales", y está planeando en hacer más explícito sobre el tema de los derechos de los animales. -Hay ciertas cosas que usted puede tener opiniones diferentes, pero luego otras cosas, como animales torturar, [son] simplemente equivocado ", dice ella. Ella es discutir cómo aumentar la conciencia internacional de la importancia de la educación de las niñas con FINCA, una organización de microfinanzas sin fines de lucro para la que se ha ofrecido durante seis años. De hecho, Nair reunió por última vez con su "estrella de Nueva York" el verano pasado en Uganda, donde Portman viajaba para FINCA y donde el director vive la mitad del año. "Natalie es una estudiante del mundo, y el sentido de que en la pantalla", dice Nair. "Ella tiene una empatía y una apertura, que doten a sus personajes." Y en el frente de cine, además de su nueva compañía de producción, Handsomecharlie Films, que poco a poco bordes hasta la posibilidad de dirigir algo más de un corto. "Trabajar con Mira, en Nueva York, yo estaba tan emocionado de ver una directora, y no se puede pedir un modelo mejor que ella," dice ella. "Para mí, la dirección no es un plan de copia de seguridad, porque realmente me encanta. Al final del día, es su producto, que no recibe cuando está actuando. Incluso buenos resultados son reconstruida por buena directores. Usted da mucha mala toma, y poner juntos en la sala de edición ". En cuanto a cuando podría asumir ese reto particular, "No me encanta decir que voy a hacer algo antes de que lo hago porque siento que esa es una fórmula para la audiencia, 'Nunca hice lo que me dijo que iba a ' ", dice ella," pero me gusta mucho dirigir ". Y aunque admite que algunos temen que la intensificación de detrás de la cámara y fuera de su zona de confort ", que es intrínseca a todo lo que haces como persona creativa. Estás poniendo constantemente a sí mismo hasta que haya en la papelera. Si lo pensaba demasiado , que acababa de ser mutilado. Prefiero crear ". |
 Natalie Portman is in the new release " New York I Love You," a collection of short vignettes. (Carolyn Cole / Los Angeles Times) |
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Natalie Portman perches on a stool at the counter of a vegan restaurant in downtown Manhattan, nibbling on a soy-cheese sandwich and minding her own business. The same cannot be said of her fellow patrons, two of whom grin smugly, imagining they go undetected snapping pictures of her -- still in full makeup from a photo shoot and wrapped in a trench coat -- with their cellphones. Hanging by the counter behind Portman is framed testimony of how often this occurs: A paparazzi shot of the 28-year-old pixie, who is holding a bottle of the restaurant's juice while her dog mistakes her leg for a fire hydrant. ¶ Portman's ability to elegantly ignore this kind of attention -- first garnered for her debut in "The Professional" at the age of 12 and reaching mania during the second "Star Wars" trilogy -- is about to be sorely tested. This year, she has a spate of films that any actress her age would be delighted to accumulate over a lifetime. First up on Friday is "New York, I Love You," a series of intertwining short films, one of which Portman wrote and directed, in which a father shepherds a child through the park and is mistaken for a nanny. She also stars in a segment directed by Mira Nair, playing an Orthodox Jew who connects with an Indian jewelry dealer as they exchange cultural stories.
Don Roos' drama "Love and Other Impossible Pursuits," which showed at the Toronto International Film Festival, will follow, and on Dec. 4, she will be seen opposite Tobey Maguire and Jake Gyllenhaal in Jim Sheridan's "Brothers."
And that's just the beginning. Last spring, she filmed the indie "Hesher," which she also produced, then spent the summer in Belfast on her first comedy, the royal fantasy "Your Highness," before returning to New York for four months of filming Darren Aronofsky's "Black Swan." Finally, she'll usher in the spring on the Santa Fe, N.M., set of "Thor."
After that, "I will take a nap -- for like, two months," she says with a laugh. "Right now, I'm working probably more than is good for me, but sometimes it's good to exceed your boundaries and stretch yourself."
Despite the disparateness of the projects, they are unified in showing off Portman's newfound comfort as a full-fledged adult.
"Just as what you are feeling in your life affects your acting, what you act in definitely affects what you are feeling in your life," she says with typical thoughtfulness.
"And whether you want it to or not, and even if you don't know it, it bleeds into your life. I made 'Heat' when I was 14 and played a girl who died," she continues. "A year later, I got into a fight with my mother and cut myself. I had never done it before and I never did it after that, but I think having my wrists bloody in a movie definitely affected my psyche."
A decade out of the turbulence of adolescence, she's now choosing roles in which she can show off her emotional strengths or, as director Sheridan says, that "she's the kind of woman you'd want flying your plane." In "Brothers," she's a young mother grieving for the beloved husband she believes has died in Iraq, while in "Love and Other Impossible Pursuits," she's a mother mourning the loss of her days-old infant. And in "New York," both in the segment she directed and the one in which she is directed by Mira Nair, she explores the universality of love and commitment.
"At this point," says Portman of the parts that appeal to her, "I want to be a woman on-screen because I want to be a woman in my life. I don't want to be a little girl."
Adds Sheridan, "I thought she was a revelation in 'Closer,' " a movie that earned Portman an Oscar nomination and a Golden Globe. "But she's been the Lolita and the sexy ingénue. Now she's grown up, and it's understandable she wants to harness that."
Casting her as a mother required little faith on the director's part, who says, "She's a very strong person, and it's immediately apparent. The weirdest thing is if you'd look at her, you'd think she was a technical actor, but she's absolutely emotional. The only help I gave her were technical things like, 'Your eyes should be up higher.' There aren't many people in the world like Meryl Streep who can truly inhabit different people, but she can. I think there's a lot going on with Natalie we haven't seen."
Portman would seem to agree. She recently switched from vegetarianism to veganism after reading Jonathan Safran Foer's upcoming nonfiction work, "Eating Animals," and she's planning on becoming more vocal on the subject of animal rights.
"There are certain things you can have different opinions on, but then other things, like torturing animals, [are] just wrong," she says. She's discussing how to raise international awareness for the importance of girls' education with FINCA, a nonprofit microfinance organization for which she has volunteered for six years.
Indeed, Nair last met up with her "New York" star last summer in Uganda, where Portman was traveling for FINCA and where the director lives half the year. "Natalie is a student of the world, and you sense that on-screen," Nair says. "She has an empathy and an openness that imbue her characters."
And on the film front, in addition to her new production company, Handsomecharlie Films, she's slowly edging up to the possibility of directing something longer than a short.
"Working with Mira in New York, I was so thrilled to watch a female director, and you couldn't ask for a better model than her," she says. "For me, directing isn't a backup plan, because I really love it. At the end of the day, it is your product, which you don't get when you're acting. Even good performances are pieced together by good directors. You give plenty of bad takes, and they put it together in the editing room."
As for when she might take on that particular challenge, "I don't love saying I'm going to do something before I do it because I feel like that's a formula for hearing, 'You never did what you said you were going to,' " she says, "but I really love directing." And while she admits to some fear of stepping behind the camera and out of her comfort zone, "that's intrinsic to everything you do as a creative person. You're constantly putting yourself up there to be trashed. If I thought about it too much, I'd just be crippled. I'd rather create."
Don Roos' drama "Love and Other Impossible Pursuits," which showed at the Toronto International Film Festival, will follow, and on Dec. 4, she will be seen opposite Tobey Maguire and Jake Gyllenhaal in Jim Sheridan's "Brothers."
And that's just the beginning. Last spring, she filmed the indie "Hesher," which she also produced, then spent the summer in Belfast on her first comedy, the royal fantasy "Your Highness," before returning to New York for four months of filming Darren Aronofsky's "Black Swan." Finally, she'll usher in the spring on the Santa Fe, N.M., set of "Thor."
After that, "I will take a nap -- for like, two months," she says with a laugh. "Right now, I'm working probably more than is good for me, but sometimes it's good to exceed your boundaries and stretch yourself."
Despite the disparateness of the projects, they are unified in showing off Portman's newfound comfort as a full-fledged adult.
"Just as what you are feeling in your life affects your acting, what you act in definitely affects what you are feeling in your life," she says with typical thoughtfulness.
"And whether you want it to or not, and even if you don't know it, it bleeds into your life. I made 'Heat' when I was 14 and played a girl who died," she continues. "A year later, I got into a fight with my mother and cut myself. I had never done it before and I never did it after that, but I think having my wrists bloody in a movie definitely affected my psyche."
A decade out of the turbulence of adolescence, she's now choosing roles in which she can show off her emotional strengths or, as director Sheridan says, that "she's the kind of woman you'd want flying your plane." In "Brothers," she's a young mother grieving for the beloved husband she believes has died in Iraq, while in "Love and Other Impossible Pursuits," she's a mother mourning the loss of her days-old infant. And in "New York," both in the segment she directed and the one in which she is directed by Mira Nair, she explores the universality of love and commitment.
"At this point," says Portman of the parts that appeal to her, "I want to be a woman on-screen because I want to be a woman in my life. I don't want to be a little girl."
Adds Sheridan, "I thought she was a revelation in 'Closer,' " a movie that earned Portman an Oscar nomination and a Golden Globe. "But she's been the Lolita and the sexy ingénue. Now she's grown up, and it's understandable she wants to harness that."
Casting her as a mother required little faith on the director's part, who says, "She's a very strong person, and it's immediately apparent. The weirdest thing is if you'd look at her, you'd think she was a technical actor, but she's absolutely emotional. The only help I gave her were technical things like, 'Your eyes should be up higher.' There aren't many people in the world like Meryl Streep who can truly inhabit different people, but she can. I think there's a lot going on with Natalie we haven't seen."
Portman would seem to agree. She recently switched from vegetarianism to veganism after reading Jonathan Safran Foer's upcoming nonfiction work, "Eating Animals," and she's planning on becoming more vocal on the subject of animal rights.
"There are certain things you can have different opinions on, but then other things, like torturing animals, [are] just wrong," she says. She's discussing how to raise international awareness for the importance of girls' education with FINCA, a nonprofit microfinance organization for which she has volunteered for six years.
Indeed, Nair last met up with her "New York" star last summer in Uganda, where Portman was traveling for FINCA and where the director lives half the year. "Natalie is a student of the world, and you sense that on-screen," Nair says. "She has an empathy and an openness that imbue her characters."
And on the film front, in addition to her new production company, Handsomecharlie Films, she's slowly edging up to the possibility of directing something longer than a short.
"Working with Mira in New York, I was so thrilled to watch a female director, and you couldn't ask for a better model than her," she says. "For me, directing isn't a backup plan, because I really love it. At the end of the day, it is your product, which you don't get when you're acting. Even good performances are pieced together by good directors. You give plenty of bad takes, and they put it together in the editing room."
As for when she might take on that particular challenge, "I don't love saying I'm going to do something before I do it because I feel like that's a formula for hearing, 'You never did what you said you were going to,' " she says, "but I really love directing." And while she admits to some fear of stepping behind the camera and out of her comfort zone, "that's intrinsic to everything you do as a creative person. You're constantly putting yourself up there to be trashed. If I thought about it too much, I'd just be crippled. I'd rather create."
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