Venice (Italy), Sep 8 (EFE) .- American actress Jamie Lee Curtis closed a circle today at the Venice Film Festival with the presentation of a new installment of the iconic and blockbuster horror saga “Halloween”, with which she debuted at the cinema in 1978, and tonight’s reception of the Golden Lion honorific to his career.
A direct descendant of the Hollywood aristocracy – she is the daughter of Tony Curtis and Janet Leigh – Curtis is considered a “screaming queen” since she first played Laurie Strode in John Carpenter’s original film, but today she confessed that she was not she likes the genre as a spectator because it has a hard time.
“My success in the genre is because I get scared easily, this natural connection with fear has allowed me to look scared on screen without the need to act,” said the actress, who has appeared in the press room wearing glasses by Peggy Guggenheim.
“Halloween Kills” is the second installment of a trilogy by David Gordon Green (“Joe”), responsible for the return of Jamie Lee Curtis to the horror universe of the monstrous and invincible Mike Myers.
The first, called “Halloween” like the original, raised 255 million dollars (216 million euros) worldwide. Curtis revealed that he read the script for the third part on the plane that brought him to Venice and that he could not sleep an eye the whole way.
“If I fall asleep here it is because of David”, he assured, “it is an extraordinary way to finish the trilogy”.
“Halloween Kills” is set minutes after the end of the previous film. Laurie Strode, her daughter Karen and her granddaughter Allyson have left Michael Myers caged in a burning house, but he manages to escape and re-spread terror in the town of Haddonfield.
Curtis appreciates Gordon Green’s ability to delve into the plot and characters and to connect with the present. If in “Halloween” he put his eye on “the ability of women to understand their trauma and manifest it” now draws a wider circle of terror and points to the system.
“We have seen all over the world how people rise up with anger against the system and that is reflected in the script, there is a phrase in which someone says that the system is broken and that is so, the system is broken all over the world and there are people all over the world saying that the system is broken. “
“I think it is a film that speaks to our time, we are a divided world, America is a divided country and evil seems to be gaining ground, but we have been there before, I hope the film is a mirror for the world and also a entertainment for fans of the saga, “he stressed.
As for the success of her character, the indefatigable Laurie Strode, she believes that it is because anyone can identify with her. “We have all been bruised and mistreated, we have all risen and moved on. It is Laurie’s humanism, you identify with her because you are also hurt and you fight your demons.”
For Gordon Green, about to shoot for HBO a series based on another horror franchise, “Hellraiser,” watching “Halloween Kills” can be a cathartic experience.
“With all the frustration in the world and your own tragedies, being able to walk into a room full of people, friends and strangers, and scream, let it out, is an extraordinary opportunity,” he said.
In relation to the honorary Golden Lion that he will receive tonight at a gala at the Lido Cinema Palace, Jamie Lee Curtis pointed out as the three key films of his career “Halloween” (1978), “A fish named Wanda” (“A Fish Called Wanda “, 1988) and” Risky Lies “(” True Lies “, 1994).
“I’ve also done some shit that we can talk about if you want,” he joked. Later he added to the list of highlights “Between crooks the game is on” (“Trading Places”, 1983) by John Landis.
At 62, he assured that he continues to adore his work, not for the public facet but for teamwork. “There is something about the collaboration that deeply moves me and I love it,” he said, “the team is the most important thing to me, it’s the magic of the movies and I feel that way from the first time I stepped onto a film set.”
By Magdalena Tsanis
(c) EFE Agency
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Jamie Lee Curtis brings the endless horror of “Halloween Kills” to the Mostra