We even had a jazz band so you could really get into the mood. It was so big with all the extras - and very colorful and vibrant. But with Dumbo, you felt like you were going back to the golden era of Hollywood.

Now most sets are very minimal with lots of greenscreen and just a few props. The sets were so complete, which is quite rare. I presume fully realized sets only complement your performance? With the exception of Dumbo himself, this film was mostly shot in-camera by way of practical sets and effects. It’s a very particular way of working, and it’s difficult to explain, exactly. You kind of understand what he wants with the vibe that he exudes. He is a more physical director he speaks with his hands. He’s not the king of words, and I, myself, am not the queen of words. Would you say that he’s an actor’s director? Does he spend a lot of time on performance?

He would draw and say, “This is how I see the scene.” Suddenly, off we go. He also has a very particular way of communicating as well. You don’t have the pressure or the tension that you might have on other projects. There’s never any judgement or anything like that. You feel safe as he always wants the actors to feel comfortable. What makes his sets such a fertile environment for you to create?įirst of all, he’s such a kind man. In a conversation with THR, Green opens up about working with Tim Burton for the third time, her reluctance to return to her native French accent for Dumbo, and her fondness for Bond producer Barbara Broccoli.Ĭlearly, you thrive alongside Tim Burton since Dumbo is your third film together. She’s a strong character she’s got cracks.” “So it wasn’t until they gave me the script that I realized it was a meaty role.

I said, ‘Ugh, a Bond girl? What kind of prissy girl is that?’ They also kept the script secret,” Green tells The Hollywood Reporter. By the time producers returned to Green, production was looming and Angelina Jolie and Charlize Theron were also in the running. Oddly enough, Green nearly missed out on her breakout role after turning down an audition nine months prior to actually getting the part. Green’s star-making role of Vesper Lynd helped launch the Daniel Craig era of Bond films, and her performance still has many 007 enthusiasts ranking her as the preeminent “Bond girl.” But she first broke out in a grounded and hard-edged reboot, 2006’s Casino Royale. This is Green’s third collaboration with Burton, and the actor has become known for stepping into highly stylized worlds.

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