Author: dailycastsocal

Elizabeth Olsen has often been characterized as an old soul. While this notion has always resonated with her, her latest film, Eternity, has clarified her reflections on the theme. In David Freyne’s whimsical romantic comedy, Olsen portrays Joan Cutler, a matriarch of 90 who passes away just a week after her husband, Larry (Miles Teller). Both find themselves at the Afterlife Junction, resembling a train station leading to a vast convention space and adjacent hotel. They have a week to decide where they wish to spend eternity. However, complications arise when Joan’s late first husband, Luke (Callum Turner), reappears. The narrative quickly turns into a love triangle, forcing Joan to choose between her devoted but unremarkable spouse of 65 years, Larry, and Luke, the war hero who postponed his eternal choice to reunite with his bride after 67 years. In this unique portrayal of the afterlife, characters manifest at the age of their peak happiness, which means Olsen embodies a 90-year-old woman in her youthful 30-something form. Surprisingly, she couldn’t envision it any other way, believing a modern romantic comedy wouldn’t suit her. “This may seem odd, but at 36, I can’t picture myself in a contemporary romantic comedy. I feel disconnected from this era’s pop culture,” Olsen shares with The Hollywood Reporter in anticipation of Eternity‘s theatrical release on Nov. 26. “Yet, I felt capable of tackling this romantic comedy as a 90-year-old in a younger body, presenting a unique opportunity I might not encounter again. It resonates with my personal feelings in many ways.” Eternity is A24’s latest addition to the trend of love triangles. With Celine Song’s Past Lives (2023) and Materialists (2025), it joins the ranks of last year’s Babygirl and the forthcoming Marty Supreme. For Olsen, this resurgence stems in part from our technology-driven desire for options. “We’re in an era obsessed with choices. We seek the perfect option for everything: ‘What’s the best life hack? Which toothpaste should I select?’” Olsen observes. “In today’s world, where we can input loads of information into [ChatGPT] seeking flawless answers, storytelling can reflect the various paths we could explore. We live in a time that craves endless possibilities.” Below, in a recent exchange with THR, Olsen articulates how Eternity has deepened her thoughts on aging and mortality. *** I had an intriguing experience at my Eternity screening. Upon arrival, my chaperone informed me that her sister would also be watching. Afterwards, as I offered my thoughts, my chaperone expressed regret for not previewing the plot. Her sister’s husband had recently passed; he was diagnosed with stage 4 cancer and was gone within a month. Oh my goodness. Her sister had stepped away to gather herself but returned to discuss her emotional triggers. However, she concluded on a hopeful note, expressing appreciation for Eternity’s message that life’s twists serve a purpose. So, it received a thumbs-up from a particularly poignant test audience. Wow. I was just on the Today Show, and Sheneille [Jones], who was on during my segment, mentioned, “Not to bring down the mood, but I lost my husband earlier this year. I watched your movie yesterday. I truly enjoyed it, and it offered me a sense of comfort and healing.” Those responses are rare, and it’s meaningful to know that people are having such experiences. <div class="lrv-a-crop-16x9" style="padding-bottom:calc((730/1296)*100%);"> </div> </div> <span class="a-font-secondary-s lrv-u-margin-r-025">Elizabeth Olsen’s Joan Cutler reunites with her first husband, Luke (Callum Turner), in the afterlife — 67 years after he died in the Korean War.</span> <cite class="a-font-accent-uppercase-xs lrv-u-color-grey-dark">Lea Gallo/A24</cite> </figcaption> Has Eternity increased your contemplation of mortality? I constantly ponder mortality. However, Eternity has intensified my realization that aging is a privilege, and I genuinely wish to grow old. This thought has crossed my mind, especially since I wasn’t fortunate enough to know more than one grandparent. We never know if we’ll have the chance to age, as life is unpredictable. Yet, if we have the opportunity, it’s vital to recognize how fortunate we are. You recently pointed out that your non-franchise choices reflect your personal preferences. In what aspects does Eternity align with your tastes? The script reminded me of films my mother would have introduced me to as a little girl. It feels akin to an entertaining classic she would adore while retaining contemporary sensibilities. The blend of screwball humor with universal themes offered a wonderful opportunity. Though it may sound misguided, at 36, I can’t envision myself in a modern romantic comedy. I feel distanced from today’s pop culture, but this film allowed me to explore a romantic comedy through the lens of a 90-year-old who’s lived a full life. It presented a singular opportunity I might not encounter again, making it deeply connected to my understanding of timeless aspects within the script. Have you received questions about which version of yourself would appear at the Afterlife Junction? (Writer’s Note: When characters die and arrive in this particular afterlife, they appear at the age of their happiest self.) I have! While it’s a clever narrative rule, it’s challenging to define our happiest moments. We nostalgically reflect on the past and optimistically consider the future while struggling to stay present. I possess distinct memories where I felt immense happiness, but I prefer to believe my happiest self exists somewhere in my future rather than being a relic of the past. When discussing your ideal world in eternity, what has been your standard response? My standard reply has drawn mockery from a British journalist. (Laughs.) I’ve romanticized the British countryside, and now I feel silly for saying that. I love the scenery of cliffs and sea, ideal for a cozy town with great people and one extraordinary restaurant. Yet part of me wonders, “Should I simply say Venice, Italy in February?” Perhaps that’s an easier choice because it actually exists. <div class="lrv-a-crop-16x9" style="padding-bottom:calc((730/1296)*100%);"> </div> </div> <span class="a-font-secondary-s lrv-u-margin-r-025">Elizabeth Olsen’s Joan, Miles Teller’s Larry and Callum Turner’s Luke in <em>Eternity</em>.</span> <cite class="a-font-accent-uppercase-xs lrv-u-color-grey-dark">Courtesy of TIFF</cite> </figcaption> The Assessment featured a very unconventional triangle. It’s not exactly a love triangle, but it certainly contained various complexities. (Laughs.) Indeed. Eternity embodies a more traditional love triangle, and this dynamic is experiencing a significant revival, largely thanks to A24. What are your thoughts on our fascination with this aspect? We are currently captivated by our options. We strive for the perfect choice in every facet: “What’s the optimal method for this? What’s the best hack? What’s the ideal toothpaste?” Now, we can consult ChatGPT for suggestions, pouring data into it, and longing for flawless answers. Thus, storytelling serves as a means to explore diverse paths we could take in a world perpetually yearning for infinite choices. Did both you and Miles Teller reference Anne Meara and Jerry Stiller for Joan and Larry, or was that primarily your idea? It was more my influence. When I broached the subject, he was still busy with another project and unprepared to discuss references. He subsequently watched Jack Lemmon and Tom Hanks and came in with his own perspective. I actually haven’t asked him if Meara and Stiller influenced his thoughts. What mattered to me was not their specific accents but their regional quirks and playful banter. Miles, being from the Northeast, naturally relates to that, but it may have been my personal obsession. <div class="lrv-a-crop-16x9" style="padding-bottom:calc((730/1296)*100%);"> </div> </div> <span class="a-font-secondary-s lrv-u-margin-r-025">Miles Teller’s Larry and Elizabeth Olsen’s Joan in <em>Eternity</em>.</span> <cite class="a-font-accent-uppercase-xs lrv-u-color-grey-dark">Lea Gallo/A24</cite> </figcaption> Speaking of accents, whenever I hear Callum Turner’s American accent, it reminds me of Chris Evans’ portrayal of Steve Rogers. Oh, interesting. You’ve collaborated with both of them; did this ever catch your attention? No, I never considered it. Yet, it’s amusing that many have remarked on how impressive his American accent is. It really is commendable. It’s amusing that it reminds you of Chris Evans. Personally, I don’t perceive them as having similar tonal qualities, but that might stem from my familiarity with Callum’s British accent. I hope I haven’t made it so apparent that you can’t unhear it now. Now I’m curious, so I’ll need to rewatch the film. The idea of Joan and Larry’s “ordinary love” is something I found intriguing. To me, all love is remarkable, especially one lasting 65 years; it’s hard to achieve and sustain. Do you believe ordinary love exists? When unfamiliar with a couple’s backstory, we might assume their lives on a typical American street seem mundane. Following a perceived routine may lead us to label those experiences as ordinary. Yet, it’s through intimate observation that we uncover the extraordinary nature behind every love story, which highlights the film’s point about “an ordinary love story.” Although their lives might seem typical, every love story is exceptional when viewed closely. Have you seen Sam Esmail’s Panic Carefully yet? No, but I have some ADR sessions this Friday, so I’ll catch a glimpse then. And how did the Martha Marcy May Marlene reunion with Sean Durkin go for the FX pilot, Seven Sisters? It was delightful—more enjoyable than I anticipated. It was wonderful to reconnect after 15 years of evolving in our personal and professional lives. It truly felt special. <div class="lrv-a-crop-16x9" style=""> </div> </div> <span class="a-font-secondary-s lrv-u-margin-r-025">Elizabeth Olsen in Sean Durkin’s <em>Martha Marcy May Marlene.</em></span> <cite class="a-font-accent-uppercase-xs lrv-u-color-grey-dark">Drew Innis/Fox Searchlight</cite> </figcaption> Do you think Martha is still troubled by her past? Will she ever find peace? As it may sound, I don’t typically ponder my characters beyond the final scene of their stories. If I think of characters I’d like to revisit, they are usually more lighthearted ones. With Eternity, I cherish the memories from its creation. The process felt so pure since we hadn’t experienced the film festival or promotional aspects before. It was a transformative moment in making art, and I wish I could observe the process again as a spectator, considering Eternity features an “Archive Tunnel” for reliving key experiences from your life. Last time we spoke regarding The Assessment, you expressed gratitude for my support of smaller projects, and I accidentally exited the Zoom before responding. (Laughs.) It was challenging to gain attention for The Assessment, so it meant a lot whenever someone chose to cover it. As I intended to convey then, I take pleasure in profiling smaller films like Martha, Wind River, and The Assessment. While I appreciate both big and small films, smaller projects tend to linger in my mind longer than blockbusters. Do you find that your memories of smaller projects resonate more than those from larger productions? It’s varied. Many memories stem from the life events surrounding production. I can’t categorize HBO Max’s Love & Death as small or large, but significant personal experiences occurred during that timeframe. Similarly, with Sorry for Your Loss, while I might not recall many on-set moments, the memories of that period are vivid because filming consumes a substantial portion of your life. Thus, my reflections span various experiences from Marvel to Assessment. Creating that film was a significant chapter for me. ***Eternity premieres in theaters on Nov. 26. Source link