Mexico City — At 53, Edward Norton no longer wants to devour the world of cinema film after film: now he prefers to eat it calmly, in bites.
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In recent years, his presence on the screen has diminished, and if his appearances are a dropper, he meditates on a telephone conversation, it is because he no longer accepts banal or inconsistent projects, just to be asset.
“As I get older, I prefer to wait for these recurring proposals that do not leave my head. Sometimes with some, after a while, you realize that they have disappeared”, explains the actor of American history x. “To decide what I’m going to do, I’m guided by artistic ideas that haunt me like ghosts, that penetrate my skin.”
Something like this happened to him with his work in Glass onion: a mystery at loggerheads, a comedy-mystery film that premiered on Netflix this week and stars him as Miles Bron, a billionaire in the tech industry. Behind this megalomaniac character, there are those who wanted to see a parody of the controversial Elon Musk, founder of Tesla and owner of Twitter, who appears every two by three in the news.
“These people with big egos, or who hold themselves in high esteem, can be terrible, dramatic, scary. In a comedy, they’re funny,” Norton explains. “In reality, [Miles] It’s a distillation of a lot of people who are in social conversations.
Originally from Boston, Norton is one of those actors who could have his ego to the brim, having starred in several feature films whose resonance has traveled far and wide. For example in American history xfrom 1998, helped tell a story about the rise of right-wing extremism, while in fight clubfrom 1999, deals with the theme of violence, masculinity and the claws of advertising, which does not lose its power.
“A The story we wanted to make it timeless, because rage, fury and its effects are timeless. The ideas we express there are now more mainstream, whereas before they were peripheral. It’s heartbreaking,” the actor explains. “In fight clubthe idea was to enter adulthood, how corporate life turns us into cogs, the effects of advertising and people’s desire to be authentic and not be part of the picture.
The performer points out that he feels blessed by the privilege of earning his living in something that, if seen correctly, could be child’s play: dressing up and pretending to be someone else. However, he criticizes the fact that society has turned actors into celebrities and not just storytellers.
“The actors get too much attention,” he complains.
Just as he learned to put off his job choices, Norton, married with two children, points out that he no longer has his career on shrine.
“Of course I like the job, but I’m lucky, I have a family and my life is not just about my career. I can keep it in balance. When you’re younger, you may feel like a slave to your career. I like the idea more that it’s just part of a bigger tapestry.”
Three years ago, Norton created motherless brooklyn, a film based on Jonathan Lethem’s novel, only his second directorial credits. Norton promises he’ll be back to lead a production, though it could be a long time before that happens.
“My kids are young so I feel like if I’m gone for two weeks a lot has already changed quickly. Time is precious and leading something shouldn’t be taken lightly,” said he explained. “I spoke about it with Alejandro [González Iñárritu, su amigo y quién lo dirigió en Birdman]. He says that leadership is a total commitment: you can’t do anything else for a while, you always have to be present in everything. It consumes you. But yes, I will do it again.”