![]() “And, obviously, within my own family.”Īt 22, she won the lead in the 1989 telenovela Teresa and became a national sensation. “I grew up very enriched by different cultures, even within my own country,” she says. It was a privileged existence in many ways. Hayek grew up in Veracruz, Mexico, the daughter of an opera singer with Spanish roots and an oil-company executive of Lebanese heritage. Beneath her cascade of black hair, there is an openness about Hayek, an apparent comfort with who she is at this stage in her life: a wife, a mother, founder of her own production company and a skilled actor still in demand. Speaking over Zoom from Los Angeles in July, she wears chunky black-framed glasses. Her career, launched in Mexico and then established, in spite of challenges, in Hollywood, has brought her to a place where she can call the shots as an actress, producer and director. Time has been kind to Hayek, but she has fought for everything she has attained. The film, last summer’s loud and raucous shoot-’em-up, is additionally, Hayek says, “a love story about staying in love, not just falling in love.” To put a finer point on it, she asks, “How do you adapt your love to the different versions of yourself as you go through time?” ![]() But Sonia also grapples with the midlife issues of how a woman’s body changes with time and what that means. Her black-leather-clad, gun-toting badass in Hitman’s Wife’s Bodyguard cusses like a stevedore and wields a machine gun with one hand. “When I was going through menopause myself, I wondered, How come nobody talks about this in the movies?” says Hayek, 55, with a chuckle. Jackson), in a film that focused on her story, she had one condition: Her character had to be on intimate terms with the hot flashes and mood swings known to women in their 40s and 50s. So, when Salma Hayek was asked to reprise the role of Sonia, wife to a hit man (Samuel L. Crew members who began the project without benefits wind up receiving them as a byproduct of this standoff.En español | In Hollywood no one flinches at making movies about murder, global annihilation or zombie cannibalism, but one subject strikes fear into the hearts of producers and directors: menopause. Tarantino's coffee for him and other ephemera, the documentary touches on a serious dispute between the nonunion film crew and labor organizers, which has threatened to interfere with the production. While discussing on-the-set romances, what it's like to make Mr. Topics of group interest include the jokey use of ghastly monster effects in ''From Dusk Till Dawn,'' the question of which male crew member looks best from the rear and, somewhat jarringly, the possibility of health benefits for these workers. Kelly fares better at capturing the footloose energy of young crew members than at finding anything interesting in, say, the first delivery of lumber to the film's principal outdoor set. Her film is a modest, anecdotal look at filmmaking stretched out far beyond its interest value to feature length. Kelly dutifully watches everyone work without having anything special to ask her interviewees (though a few, like the actor Michael Parks, are unexpectedly eloquent anyway). The neophyte director is Sarah Kelly, who was a production assistant on ''Killing Zoe'' and counts Mr. Horsing around is the main event here, as Juliette Lewis is heard singing in a karaoke bar after hours, George Clooney practices the Danny Thomas spitting double-take and Quentin Tarantino complains about a shortage of beer kegs. Statements like ''My goal in the industry is to make a lot of money'' accompany the news that some members of the group prefer their cookies fat-free. Instead, this film is mostly about watching stir-crazy actors and crew members doing lots of nothing in 120-degree heat. ![]() The documentary ''Full Tilt Boogie'' may sound like a boon to anyone with unanswered questions about the making of the action-sleaze-and-vampire escapade ''From Dusk Till Dawn,'' like how Salma Hayek did all those erotic dance scenes with the big snake. ![]()
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