Alternatural Thoughts: Vanessa Redgrave’s ‘Fever’ dream realized

A phone chat with Vanessa Redgrave and Carlo Nero

(Published Oct. 24, PDI-Entertainment)

By Oliver M. Pulumbarit
Contributor

The original HBO movie “The Fever” stars the illustrious Vanessa Redgrave as a wealthy woman who comes face-to-face with disturbing injustices outside her comfortable life. The 71-year-old actress, who has accumulated Oscar, Emmy, Golden Globe and SAG awards through the years, considers the project a special endeavor, as it speaks of causes dear to her and son Carlo Nero’s hearts.

“’The Fever’ was based on a play by an American playwright named Wallace Shawn,” said Nero, who co-wrote the script with Shawn, co-executive produced with Redgrave, and directed the movie. “My mother had seen the play before and had actually performed the role herself. She really fell in love with it to such a degree and in such a profound way that a few years later she realized this might actually be a foundation for quite a great and unusual film, something we can do together.”

Redgrave’s fellow humanitarian Angelina Jolie briefly appears in a pivotal role and crusading filmmaker Michael Moore appears as a war correspondent. Playing an unnamed woman who gradually questions her life and complacency in a foreign country was an unusual journey. “It’s a journey a woman makes into herself,” Redgrave says. “But I’m not the same kind of woman the woman in the story is,” she notes, “Because I’ve always been very involved in many human rights campaigns.”

To elucidate on some points, “The Fever” utilizes a few animated scenes and “fourth wall”-breaking monologues (where Redgrave talks directly to the camera and, therefore, the viewers).

Following are excerpts from a roundtable phone interview with Redgrave and Nero arranged by HBO Asia:

How would you describe your rapport and trust during filming?

NERO: It was very natural and straightforward because we both have mutual respect. I certainly have respect for my mother not only for her work as an actress or an artist but also for her incredible campaign for human rights. So really, I myself take a very keen interest in these issues. It was an intense collaboration. We listened to each other. We’re really all part of something bigger than ourselves; that’s how natural it felt, not to say that there weren’t difficulties along the way. It’s not always strawberries and cream, but we kept focused on the objective.

REDGRAVE: Also, we had a wonderful young American producer named Jason Blum. We sent him the script and he went for it. He has a terrific reputation as a film producer. He was passionate for this film. He made it happen; that was also an essential part of my relationship with Carlo because a director needs a really good producer. I could concentrate completely.

Was it much easier to work with Carlo than with unrelated people?

REDGRAVE: It’s the most difficult and inspiring story, so it’s more difficult. I’ve worked with a few really wonderful directors. Each one is different; each one carries their own quality and caliber. What was different in this was that Carlo and I have the passionate respect for what we were doing. It was bigger than ourselves.

Like the woman in “Fever” and as artists, are you both good listeners? Did that help you understand her better?

REDGRAVE: For me, it’s something I still have to work on… It’s always having to tell myself, “Listen, listen, listen. Just shut up for a minute. Listen, Vanessa!” Carlo, he really listens. You can’t be good with words if you can’t listen. I think listening is the most important thing of all.

NERO: Listening is fundamental. It’s the way to understanding. Through understanding comes compassion; through compassion comes love. For me, the cornerstone of how you could find relations and opening our hearts as well as our minds--listening is fundamental to that. Listening is the key.

What new things did you learn about acting and directing while filming?

REDGRAVE: About acting, I’ve never played direct-to-camera. I learned a lot. I learned how difficult it is. And I had to learn the most important thing, which is to be really, really close to your inner self, and not act.

NERO: It was an extraordinary experience. I found myself being open enough to listen. It called for me to be aware of what was around me; that was a big education, too. To be able to focus and be aware, that was very satisfying and very fulfilling.