Eva Green, born on July 6, 1980 in Paris as the daughter of an actress and a dentist, celebrated her breakthrough in 2003 with Bernardo Bertolucci’s “The Dreamers” before she began shooting mainly in English-speaking those ants. Her best-known films include “Kingdom of Heaven” by Ridley Scott, the James Bond film “Casino Royale” or the sequels “300: Rise of an Empire” and “Sin City 2”. For “Dark Shadows”, “The Island of Special Children” and “Dumbo” she was in front of the camera of Tim Burton, and she was also nominated for the Series “Penny Dreadful” for the Golden Globe. On German screens, the Londoner-by-choice can now be seen in the leading role of the French production “Proxima”, which earned her a nomination for the César in her home country.
Miss Green, in “Proxima” you play an astronaut shortly before a one-year mission to the ISS. Have you ever dreamed of the stars in the past?
The stars, the planets and the unknown vastness of space actually fascinated me early on. Which I probably share with most other people. However, I never wanted to be an astronaut, not least because I have a terrible fear of heights. But excitingly, “Proxima” is not so much about the fascination of the stars. This is not one of those films that glorify the journey into space, but really a look at the hard everyday life and the tedious training of the people who in reality take on these hardships.
And it was this aspect that made you take on the role?
I found it at least as exciting that the love story between a mother and her daughter is told here. The fact that for this woman the passion for her profession and the love for her daughter have to be reconciled again and again and also stand in each other’s way, I found very interesting as a conflict.
Almost every film that tells of female astronauts also takes up the topic of motherhood. So isn’t the conflict perhaps a bit too obvious?
A mother who has to leave her child behind to fly into space – this is, of course, a very tangible picture of a situation with which many working women can identify. Because the compatibility of job and family is still an issue today, and many women feel a certain amount of guilt when the children have to stand back in favor of their career. And indeed, the conflict seems to be very present in space travel. I have spoken to several female astronauts who do not even say in their professional environment that they have children. They fear that they will then be labelled as weak and less resilient. Then the men in the circle of colleagues proudly show photos of the offspring and the women remain silent. How bitter! For my part, I think that women who want both and implement them are real superheroes, because our society still provides for something else.
You have often filmed with children. Is this such a big challenge as you always hear?
At least it always inspires me with a lot of respect. Simply because children are so direct – and you can rarely fool them. I always have to get used to it and that’s why I’m usually more nervous than the child actors at first. How well the work ultimately goes is usually less a matter of luck than depending on how much you can rehearse and how well you were cast. In the case of “Proxima” it was worth its weight in gold that our director Alice Winocour discovered little Zélie.