The final time Naomi Watts noticed David Lynch was in late November.
“We had a beautiful lunch at his house,” she recollects of a day spent with the director and fellow Lynch muse Laura Dern. “I knew he’d been unwell but he was in great spirits. He wanted to go back to work — Laura and I were like, ‘You can do it! You could work from the trailer.’ He was not, in any way, done. I could see the creative spirit alive in him.”
Watts says all this with a heat, unhappy smile, as if nonetheless dwelling on this ultimate reminiscence of the filmmaker who modified her life by casting her in “Mulholland Drive” — not only a visionary however somebody near her. Then she sighs. “So deeply, deeply upsetting.”
Grief, it appears, has by no means been removed from Watts’ door. Her father died when she was 7, a demise she refers to as “the big grief,” one which has stayed along with her. The lack of two grandmothers final 12 months — one 99, the opposite 101 — and a household canine lower deep. That grief has steadily discovered its means into her movies. A number of of Watts’ most indelible characters are in mourning.
And so forth this cool Saturday afternoon on the Huntley Lodge in Santa Monica, loss is on her thoughts, not simply due to Lynch’s current demise however as a result of the complexity of claiming goodbye is on the middle of her touching new film.
Opening March 28, “The Friend” stars Watts as struggling New York creator Iris. She has no kids or accomplice, however this isn’t some clichéd tearjerker through which our protagonist should fill the outlet in herself with a child or a lover. Primarily based on Sigrid Nunez’s 2018 novel, the bittersweet comedy-drama follows an impartial girl who, within the wake of the suicide of her mentor and greatest buddy, Walter (Invoice Murray), discovers that his final want was that she take care of Apollo, his beloved 150-pound Nice Dane.
Naomi Watts and Bing within the film “The Friend.”
(Matt Infante / Bleecker Avenue)
Iris recoils on the request. She likes cats, not canine, and her cozy, book-lined, rent-controlled condo is in a constructing that forbids pets. However as she begins to bond with the large, temperamental animal, Iris realizes that Apollo echoes most of the conflicting qualities she related to Walter: demanding, unimaginable, achingly soulful. Her buddy left with out clarification, however perhaps Apollo can present the closure Walter’s demise by no means will.
“I’ve played grieving mothers, wives, everything,” Watts says. “But this felt different because there was something so lovely at the core. [Iris is] not solving her grief but managing her grief through this connection with this magical creature. What is it with dogs that makes us so enamored? They’re so deeply loyal — it did feel different for that reason, like there was hope. The stories of grief that I’ve done before feel a lot darker.”
Carrying a black swimsuit jacket over an ivory shirt and blue denims, Watts, 56, is open, welcoming and filled with light humor. Endearingly self-deprecating, she admits to a case of impostor syndrome, her life a continuing triumphing over doubt and anxiousness. “Honestly, I don’t know how I kept going,” she says of her profession struggles when she was in her late 20s, earlier than Lynch made her identify in Hollywood. “All I can say is I knew resilience — I have that ingrained in me.”
When co-writers and co-directors Scott McGehee and David Siegel went looking for their Iris, they needed a performer who may convey vulnerability and a nuanced inside life. “When you look at her face,” says McGehee in a separate interview, “she’s one of those actresses that can do a lot, make you feel like there’s an interesting person inside.”
Naturally, in addition they wanted somebody who was a canine individual, which was actually true of Watts — a lot in order that it induced them a second’s hesitation.
“I knew I could make my friends laugh,” Watts says of her anxious years earlier than breaking out. “I knew I could be sexy. But I just believed everyone else’s voices more than my own.”
(Jennifer McCord / For The Occasions)
“Around the time we first started talking about her, she had a dog that she was very close with that she lost,” McGehee says, referring to Watts’ 20-year-old Yorkshire terrier Bob, who died in 2021. “We were concerned that having just lost a dog that maybe there’d be an emotional thing that would be hard for her. But that wasn’t the case.”
“There’s no parallels with me,” Watts acknowledges when discussing how little crossover there’s between her and Iris, although she provides, “I could relate to her loneliness, not feeling connected enough to the people around me.” Not like her single, solitary character, Watts is married — to actor Billy Crudup — and the mom of two youngsters from her earlier marriage to actor Liev Schreiber.
Her stardom, now so obvious, hardly felt preordained. She was born in Shoreham, Kent, in England, her dad and mom separating when she was 4. Her father, a sound engineer and tour supervisor for Pink Floyd, died in 1976 from an obvious heroin overdose. When Watts was 14, her mom took her and her youthful brother, Ben, to Australia, the place Watts loved some native success, touchdown a task within the 1991 Australian comedy-drama “Flirting.” However she dreamed greater.
Then got here the fruitless years. Watts tried to make it in American indies, audition after audition main nowhere. She has made no secret of the truth that her brokers have been always advised that she wasn’t attractive or humorous sufficient.
“I knew I could make my friends laugh,” she says. “I knew I could be sexy. But I just believed everyone else’s voices more than my own.” Grappling with anxiousness, Watts thought-about giving up and transferring again to Australia. Her mother stopped her.
“My mother [was] staying with me at the time — I was living in an apartment in Venice, right on the canals. I came home in pieces, shredded, sobbing. I was late two months’ rent. I said, ‘I can’t do it anymore. This isn’t working.’” After Watts advised her mother in regards to the suggestions she’d acquired after yet one more disastrous audition, her mother replied, “Get a backbone. Just fight. That is not who you are. It doesn’t matter that you’re not brilliant in those rooms — you’re trying to be something else and you’re covering who you are, so just go in with what you are.”
Watts takes a second to gather herself after remembering her mother’s phrases, delivered with robust love. “It was one of the best pep talks of my life,” she says, “and it’s all I really needed. I’ll get a lump in my throat just thinking about it.”
Quickly after, Lynch got here throughout her headshot whereas making ready “Mulholland Drive,” satisfied she could be excellent for Betty, a fresh-faced aspirant simply arrived within the Metropolis of Angels, able to run down her appearing fantasies. That now-famous headshot was taken by Watts’ brother, Ben, a photographer, who shot it free of charge. “We did it, I think, in my apartment,” she recollects. “He put a white sheet up. I did my own makeup. Ben is one of the best photographers. He knows how to capture me better than many fancy photographers.”
“He was not, in any way, done,” Watts says of David Lynch (pictured on the set of “Mulholland Drive”), whom she final noticed in November. “I could see the creative spirit alive in him.”
(Common Photos)
When Watts met Lynch, they hit it off, the director’s real curiosity calming the nerves she typically felt throughout auditions. Quickly, the function was hers, and her profession exploded. A 12 months after “Mulholland Drive,” she starred within the hit American remake of “The Ring.” Then got here 2003’s “21 Grams” and a lead actress Oscar nomination for enjoying Cristina, a recovering addict who plummets into drug abuse after her husband and baby die in a automobile accident. These subsequent elements demonstrated her box-office enchantment in addition to her capacity to grippingly painting characters riven by trauma.
“Even to this day,” she says, “people think of me as the woman on the verge of a nervous breakdown.”
“I was 36 when I was told I was close to menopause,” she says. “I had my 36th birthday on ‘King Kong’ — I was still playing ingénues. I was in total shock: I’ll never be able to play a leading lady again. It’s not just my fertility that’s going to vanish, it’s this career that’s just getting launched.”
The analysis, which got here a lot earlier for her than for most ladies and earlier than she had youngsters, left her reeling. (She in the end did give delivery to her two kids, though it required experimenting with completely different fertility remedies, about which she is refreshingly candid.) But it surely additionally made her surprise why, regardless of coming from a household of assertive girls, she was so uninformed about what to anticipate from menopause. For a very long time, Watts feared talking out about her signs as a result of she fearful how she’d be seen in an business that prizes youthfulness above all else.
“I had some cowardice,” she says. “I definitely hid, but to the point where it was too much hiding and too exhausting and too burdensome.”
Lastly, she had sufficient, which in the end led to her e book, “Dare I Say It: Everything I Wish I’d Known About Menopause,” launched in January. Half memoir, half sensible information, the e book takes us by means of her personal odyssey whereas additionally together with recommendation from medical specialists. It’s frank and humorous, very very similar to Watts herself. “I’ve always been a bit of an oversharer,” confesses Watts, laughing.
“You do get yourself back, but it’s a different you,” Watts says of dwelling with menopause, about which she’s written a refreshingly candid e book. “I see it as a new chapter that can be really empowering.”
(Jennifer McCord / For The Occasions)
“It was only in the last five years that I started properly understanding what was going on with my body,” she says. However for Watts, there has additionally been renewal. “It was so freeing that it did allow for confidence to build. I mean, I still have anxiety and things become more difficult, like learning dialogue or remembering people’s names. But you get used to it.”
She thinks about how menopause can go away one questioning: Do I get myself again? Who am I now? Watts has her reply: “You do get yourself back, but it’s a different you. I see it as a new chapter that can be really empowering.”
Watts is happy with her current work, together with her advanced, rueful Babe Paley within the 2024 FX collection “Feud: Capote vs. the Swans,” for which she earned an Emmy nomination. She’s cognizant of the ups and downs of her profession — and the way, of late, the downs had outnumbered the ups.
“There was a lull,” she admits, stating that she needed to work near house for a stretch to be close to her younger kids. That part is over now, nevertheless. “I did run into moments when I was doing the ‘Feud’ press where people were like, ‘Where have you been? It’s good to see you back.’ And I’m like, ‘I didn’t go anywhere.’”
Watts insists such feedback don’t offend her. “I had a really lucky and strong start after the David Lynch launch — that was a good five, six years where one great thing led to another.” Since then, she says, “It hasn’t been a clear upward trajectory, it’s been successes and failures. But they’ve all been experiences that have led to something.”
Watts bought to collaborate with Lynch after “Mulholland Drive,” first offering a voice cameo in 2006’s “Inland Empire” and showing in what could be his ultimate challenge, the acclaimed “Twin Peaks: The Return.” However simply as vital, they remained mates. “I thought I would see him in a couple of weeks [after that last lunch] because I was here in L.A.” Watts pauses. “There’s a lot I could share but I want to be private about it because of his family. But it was a really powerful meeting that filled me with just so much love and hope.”
Each in actual life and in “The Friend,” Watts finds herself selecting up the items after the departure of a mentor, reflecting on his impression. And though she is understandably guarded, there’s one reminiscence she doesn’t thoughts sharing.
“I took an accidental picture,” she says. “We took a picture of all of us, but then my camera remained open and I bumped it — it was a picture of the perfect architecture of his house and two palm trees. It just screamed L.A. and David Lynch. I sent the picture of the three of us, and then that random picture that said so much.
“It was a perfect blue sky,” she continues, musing in regards to the unintentional picture. “His house — he really loved that space. Blue skies, hope, magic, just dreamy. I sent him a text and he wrote back the most incredible David response.”
Watts laughs and says no extra, much less out of coyness than serenity. She has misplaced a lot alongside the best way. However as “The Friend” suggests, perhaps different issues are gained. The movie and her lilting efficiency in it present how grief can coexist with a sort of grace — a peace with the unknowability of what lies past. There’s nonetheless one thing mysterious about Watts, even for all her openness. She’ll save Lynch’s textual content as a secret for herself. It’s hers to maintain.
