Tale of Tales: Salma Hayek never knew there were so many ways to eat a heart
April 23, 2016 - accent chair
Matteo Garrone’s Tale of Tales (in theaters and on VOD now) is a film of fantastic, wealthy visuals, yet ever since it premiered to intense reviews during final year’s Cannes Film Festival, one picture has stood out. It’s a stop-you-in-your-tracks shot, used on a movie’s poster, of Salma Hayak eating a heart that’s a distance of a carry-on suitcase.
Based on a 17th century collection of angel tales called Pentamerone by Italian poet Giambattista Basile (a remarkable change on a Brothers Grimm), a film starts with a predicament of a childless queen, played by Hayak, whose father (John C. Reilly) is assured by a seer to carve out a heart of a sea monster. The heart promises to satisfy a pregnancy — after a black has eaten it. And Hayek, 49, an Oscar-nominated singer never antithetic to risk, relished a event to play a role, even if she lacked a ardour for a film’s large moment.
ENTERTAINMENT WEEKLY: How did we turn concerned in this project?
SALMA HAYEK: It was a angel story of a possess since we was a large fan of a director, this good Italian executive Matteo Garrone, yet I’d never met him. we never suspicion he knew me, since he’s famous for operative with dilettante actors. All my Italian friends who are actors, they dream of operative with him yet he frequency calls.
But he called you?
One day we was pushing around in L.A. and we got this “No Caller ID” call on my phone, that we never answer when we see that. But for some reason, this one we answered. And there’s this man says, “Hi, this is Matteo Garrone, is this Salma Hayak?” And we said, “Huh? What? Yes.” He pronounced he was scheming a new film and he wanted me to be in it. I’m used to carrying to quarrel for a good roles with a good directors, and many of a time we don’t get them. And now here was one of my favourite directors and he’s job me on my personal phone.
What did he tell we about a film?
He pronounced it was 3 dim angel tales intertwined together. But it was in a 1700s and that was all we indispensable to hear. I watch anything that is a duration piece. And all a BBC stuff, anything historical. And I’ve always had a unhappiness in my heart that we was never going to wear one of those extraordinary dresses since we was innate too distant divided from where all those classics took place. You have to possibly be British or French or Russian to get into one of those dresses. And he said, “You play a queen.”
And a bad queen, too.
Well, she’s not a bad queen, we don’t think. She’s a sad, waste lady and she feels that a usually thing that can make her happy is a child. And she’s peaceful to do anything to have one and afterwards anything not to remove him. we would contend she’s recurrent some-more than bad. Also, it depends on who we speak to about her. we gamble if we asked a Mexican mom or an Italian mom or a Jewish mom or a Spanish mother, they competence not consider she’s all that crazy [laughs].
Did being a mom yourself have an impact on personification a role?
Yes. we unequivocally wanted to be a mom and we didn’t have my daughter until we was 41. we infrequently suspicion we would never have a child, so those feelings were unequivocally alive within me. And afterwards a fear of losing that child in any way. Oh, it’s profound. And so even yet a film is abnormal and set in a 1700s, it’s also contemporary.
For sure. And Garrone plays around with creation a mood feel contemporary during times.
He does. we remember a integrate times we’d be environment adult a stage with pleasing images and he’d say, “Stop, we consider I’ve seen something like this before.” He’s so specific about, “Not this chair! Not that table!” And we’d take down all a lights and pierce a whole organisation somewhere else. He never wanted to do anything that seemed too period-piece or too familiar.
And a dialogue has that quality, generally between a dual boys in a film, one who plays your son and a other play’s a maid’s son. Their dialogue sounds like they’re vocalization today.
Exactly. They are real-life twins, Christian and Jonah Lees. They’re so wonderful.
So a stage with a heart. It already seems like something of a classic.
When we review it, we have to admit, we suspicion it was unequivocally too grotesque. And when we arrived, we saw a set and it was unequivocally Rococo. So afterwards we pronounced to him, “Um, how do we eat this?” And he said, “I wish we to eat a heart looking aroused yet hopeful.” And we did that. Then a subsequent take he said, “I wish we to eat a heart with stress and desperation.” we did that. Then a subsequent one, he said, “You are frail and we hold a heart with tenderness, it’s like you’re kissing a baby.”
How many times did we do it?
Nine takes like this! He had to cut twice since we was gagging. But we never knew there were so many ways to eat a heart.
What was a heart indeed done out of? Was it beef?
It was a multiple of many opposite products. But what done all a many outrageous is that they wouldn’t tell me what it indeed was.
Did we ask?
Of march we did. This are the Italians for we [laughs]. They asked me if we was allergic to anything and we told them. And afterwards we asked, “What’s in a heart?” and they pronounced [in a unrelenting Italian accent], “Nothing that we are allergic to!” And we said, “I know yet what is it?” And they said, “We told you! All things that we are not allergic to.”
What did it ambience like?
It was sweet. Everything was lonesome in that super honeyed film blood, so it done my teeth hurt. Garrone wanted a inside to be biologically accurate to a heart in textures and shapes. So these bad people had to build it so that we would feel a arteries as they mushed apart. There was one square that my daughter dynamic was a marshmallow. But we was still curious. we mean, maybe there were smarts in there. we pronounced to them, “Guys, am we eating worms?” And they said, “No, no, no, no, no, no…that partial has passed.”
Oh, that’s funny.
I was swallowing that stuff. But afterwards Valentina, my daughter, gave me a tip. She said, “In this partial we can seem like we are eating yet afterwards we can go off camera and separate it out.” So that helped.
But vocalization of eating, you’re also in Sausage Party, in that we play a taco shell.
[Laughs] I’m embarrassed. Just when we contend a title, I’m blushing. we play a very, unequivocally disobedient taco. She’s a bad girl. It was mortifying yet it was liberating. we never yet I’d ever say some of a things we contend in this movie. And I’m broke to acknowledge we makeshift a lot of it. But what can we say? That’s how we like them. Weird and out of a box.