Model, actor and animal behavioristIsabella Rossellinihas no regrets.
What made you want to be a part of this one?
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ISABELLA ROSSELLINI: The script was a page-turner.
Isabella Rossellini in ‘Conclave.‘Focus Features/Everett Collection
I read it several times, especially the ending.
But its also about corruption and personal ambition.
You see many layers of human nature.
Isabella Rossellini on set withConclavedirector Edward Berger.Philippe Antonello/Focus Features/Everett Collection
So, lets bow to what we dont understand, what we dont know, and accept it.
And the film ends again on that note, which I think is so powerful and moving.
DEADLINE: Even though Sister Agnes doesnt say much, the impact of what she knows permeates the film.
ROSSELLINI: I never imagined her different from the way I played it.
But then everybodys saying, Oh, you have such authority, while nuns have a more submissive role.
Is she just collecting the keys to their bedroom?
Shes listening, and thats so powerful.
I didnt even think about it.
DEADLINE: How did you approach preparing for a character with limited screen time as opposed to larger roles?
Is there a difference for you in the process?
ROSSELLINI: I took him to a restaurant run by nuns called LEau Vive.
But they left her alone when she went to this nun restaurant because the nuns had hardly seen films.
Its a lovely place where the nuns serve food, are very humble and sing.
There are also a lot of cardinals and priests, its a hangout for the Vatican.
DEADLINE:Conclavebrings up this notion about what youre passionate about vs. finding your own true calling.
Growing up in this acting family, was there another path for you?
I wish Id been a director earlier instead of just remaining an actress.
I attribute that to the fact I belong to a generation where there werent too many women directors.
DEADLINE: You have your degree in animal behavior.
Is zoology in your future?
The films that I make as a director are always about animals and ethology.
She has that line, I know my role is to be invisible.
Nevertheless, God gave me eyes and ears.
So, therefore, I see and hear.
Can you talk more about that scene?
ROSSELLINI: In hearing this, Cardinal Lawrence then denounces one of the cardinals lying to the others.
And she steps in to say, No, thats the truth.
And nobody doubts that what she says is correct.
Though shes not part of the process, she intervenes to say the truth.
She has nothing to gain and nothing to lose.
Her invisibility, though, gives her a lot of power.
DEADLINE: Theres a lot of tension at first between her and Cardinal Lawrence that eventually shifts.
I think she likes Cardinal Lawrence because of that speech.
That irritates her because thats her domain, dealing with the nuns.
He should just stay in the patriarchy; she stays here and you stay there.
DEADLINE: What about your female agency?
Are there are any lessons you perhaps learned while navigating your career or seeing your mom regain her agency?
ROSSELLINI: That derailed her a lot.
Look, I have an accent because of it.
My mom couldnt come back to America for 10 years.
I wouldnt have an accent if I hadnt grown up in Europe speaking French and Italian.
I wouldve come to America earlier.
The first time I came to America I was 18.
She continued acting after that, but it was a terrible blow.
All her money was confiscated, she couldnt see her daughter [Pia Lindstrom] for eight years.
She was condemned by the American Senate, who took a stand against her.
It was very severe.
She continued to work, but not in Hollywood anymore.
She worked in European films and did theater.
It was a big blow to her career and as a person.
As for me, I do what I like and what interests me.
Curiosity is my engine.
So, maybe Ive learned from my mama or dad for sure because he was such a rigorous artist.
And my mom had that, too, for sure.
She worked with people from Hitchcock to Ingmar Bergman, my father to Victor Fleming.
She did theater, television, all of it.
The concept of, It will be good for my career…
I never really heard that talk in my family.
