Mexico City — At 53 years old, Edward Norton He no longer wants to devour the world of cinema film after film: now he prefers to eat it calmly, in bites.
From a few years to now, his presence on the screen has diminished, and if his appearances are dropper, he meditates on a telephone chat, it is because he no longer accepts banal or insubstantial projects, just for being active.
“As I’ve gotten older, I prefer to wait for those recurring proposals that don’t leave my head. Sometimes with some, after a while, you realize that they have vanished”, explains the actor from American History X. “To decide what I will do, I am guided by artistic ideas that haunt me like ghosts, that get under my skin.”
Something like this happened to him with his work in Glass Onion: A Mystery of Knives Out, a comedy mystery film that premiered on Netflix this week and in which he plays Miles Bron, a billionaire in the technology industry. Behind this megalomaniac character, there are those who have wanted to see a parody of the controversial Elon Muskfounder of Tesla and owner of Twitter, who every two by three appears in the news.
“These people with a big ego, or who hold themselves in high esteem, can be terrible, dramatic, frightening. In a comedy, they’re funny,” says Norton. “Really, [Miles] It is a distillation of many people who are in social conversations”.
A native of Boston, Norton is one of those actors who could have his ego tank 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 publicity, which does not lose power.
“A History we wanted to make it timeless, because rage, fury and its effects are timeless. The ideas that we express there are now more mainstream, when before they were perimeter. It’s heartbreaking,” explains the actor. “In fight clubthe idea was about entering adulthood, how corporate life turns us into cogs, the effects of advertising and people’s desire to be authentic and not part of the scenery.
The interpreter emphasizes that he feels blessed by the privilege of earning a living in something that, well seen, could be child’s play: dressing up and pretending to be someone else. However, he criticizes that society has turned actors into celebrities and not just storytellers.
“Actors get too much attention,” he complains.
Just as he has learned to delay choosing jobs, Norton, married with two children, points out that he no longer has his career on a shrine.
“Of course I enjoy the job, but I am lucky, I have a family and my life involves more than just my career. I can keep it in balance. When you are younger, you can feel like a slave to your career. I like the idea of it being just part of a larger tapestry more.”
Three years ago, Norton premiered motherless brooklyn, a film based on the novel by Jonathan Lethem, only his second directing credit. Norton promises that he will be back in the chair at the helm of a production, though it may be a long time before that happens.
“My kids are young, so I feel like if I’m away for two weeks, a lot has already changed quickly. Time is precious and directing something is not to be taken lightly,” she explained. “I talked 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 must always be present in everything. It consumes you. But yeah, I’ll do it again.”