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Updated
12/21/02 We're Hangin' With..... SANDRA BULLOCK by: Lynn B.
AGW: Was it a dream come true to work with Hugh? Sandra: It was a desire of mine for a long time because, in romantic comedies and physical comedies, it's really hard to find a partner that you go 'this person is gonna make me better'. He's brilliant at what he does whether it's comedy or drama, he just has impeccable timing. We weren't sure if we were going to get him so when we got him, it was a big coup and then I got really scared. Now we have Hugh Grant. What do we do with him? AGW: What was up with the giggling? Sandra: I don't know. It was problematic. You know like when you're in school and the teacher is looking at you saying 'don't laugh'. It's just because you aren't supposed to that you giggle. The nice thing about Hugh is no matter how upper-crusty he appears to be and no matter how intelligent he is, toilet humor will take him down in a matter of seconds. So I will pull out all the stops just to watch Hugh lose it. It's like a schoolboy. It's the best thing. AGW: Was there a moment with Hugh when you decided this is gonna work? Sandra: Every scene that we did, we'd go 'we know what we've got here' but you can have moments like that on any film and put it together and go 'what happened?' In the editing process we had so much footage of scenes we loved. We had a ten hour film. We were like what do you give up to make this better? What joke do you lose to make the emotional storyline work? It was really scary because I felt a great sense of responsibility because it was me and Hugh and everyone's going, 'it's gonna be terrible. It sucks. They're having problems on the set'. Everything that was the furtherest from the truth was being said so I was getting really depressed. AGW: Is kissing Hugh just another day at the office? Sandra: Just another day at the office, yeah. There are so many scenes that didn't make it into the movie, I told Hugh 'I've made out with you more than in most relationships I've been in'. If you look closely, the kiss would start out, 'okay, we're not gonna laugh. It's gonna be really [hot]. We're going to make this really [hot]'. But there's a moment when we'd be having a conversation 'shut up'. 'You shut up'. 'You stop laughing'. It's a tough job but I felt I needed to be the one to step up to the plate and do this dirty work. (laughs). AGW: What are some of your onscreen classic comedy favorites? Sandra: I love when I see two misfits trying to make it work. Everyone in life is a misfit. That's the thing. There's no prom queen or king. It doesn't work that way. Everyone is a misfit. But here you have two misfits in a really great set up. Then When Harry Met Sally is divine, The Philadelphia Story. I like the ones that are more offbeat, the ones that really require a person to give up something that they're comfortable with in order to get love. You get to a point in your life where you're not willing to risk it anymore. Kids will say 'I love you. I hate you' and have no problem with it if they don't get the response they want. What happens to us as adults? Why do we stop ourselves from putting ourselves on the line and potentially lose the great love? The great love can potentially last fifty years. It can last ten years. It can last five. AGW: Is it tricky to make this type of film fresh or different? Sandra: That's what was tricky with us. We went through different variations with how much of a setback do we want them to have and what kind of setback? The thing we found is that they are their own setback. It's their inability to deal with each other and their feelings and I thought that was far more interesting. I think it works and leaves it more up to the imagination of the people watching. AGW: We're getting a lot of rich guy, poor girl comedies. Why now? Sandra: It's a sign of the times but the times always want a romantic comedy. I wanted it to be something that I liked, that I would go see. It's a good time to have them. After the [terrorist] events, you didn't want to make a war film or drama. What we're saying about letting go of the old and bringing in the new is good timing. Just loving each other is always good timing. My character is not about money at all. She has a richer life without it. It's not about somebody getting wealthy. It's saying when somebody loses it, can they still be the man that they thought they were. AGW: What was it like starring in a movie and also producing it? Sandra: It was so enjoyable but it's not good for who I am. This year I don't even remember what happened. Up until three days ago I still wanted to tweak this one song. I went home and I couldn't sleep. But I have to admit I like the drama that comes with having to do it. Is Hugh gonna get on a plane in time? Is Marc [the director] gonna get the location he wants? Oh my God, we've lost the wigs! Where's the crane? Who can we suck up to to get this big crane? It was fantastic but it's just too much. I'll never do it again. AGW: You have New York roots. Was it important to you to shoot in the Big Apple? Sandra: New York is a character [in the film]. I said 'I want to make this film in New York'. It's cheaper to film outside of New York but New York is where I got my start. It was an element of cool for me to be able to come back and shoot there. The crew literally came off the World Trade Center site. They were all there, the grips, electric, everybody. They were there removing stuff. They said it was hard for them to make that transition. But, they were glad to do some repairing in an entertaining way. AGW: Was it a decision to include the "new" lower Manhattan skyline? Sandra: Lower Manhattan is still our skyline. It's a skyline you look at and you go 'that's New York". How to respectfully show the New York skyline….we said why don't we come off the water from the East side and just show it because the buildings are extraordinary down there and we knew it would be a little over a year and I thought it would be okay. On the bridge there was that little flag and the helicopter shot incorporated the bridge and flag. It's a little thing but, to me, it was what needed to be said. AGW: Your character is a workaholic. Is she anything like you? Sandra: Workaholic, yeah. I'm very lucky in the love department. I have no complaints there but the nice thing about her is that she's not looking for a man. She's got boyfriends. She just doesn't realize it takes someone like George, the Hugh Grant character, to make her realize that everyone she's picking that she thinks is right, the liberals, activists, the people her parents would love, are not the people that make her happy. It kills her that it's George that brings out the best in her, that takes the best care of her that shows up for her. He's the guy that carries her home. Because of who he represents, she's blocked out him being a possibility of someone she could love. Which is something a lot of us do. AGW: How do you have time for a personal life? Sandra: This year has been insanely busy and it's been 24-7 with this film but there is something they call the weekend. My private life is really important to me. I take great pains in making sure it exists. I'm not doing anything for a while. If something comes along mid-year great but I have nothing. I'm depleted. For once I feel like I did one hundred percent of my job. I didn't have the guts to do it (before). Life has never been so satisfying and good. I'm tired. I'm grumpy but it feels good. I feel properly exhausted.
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Our
favorite klutzy funnygirl Sandra Bullock is back in her best element;
romantic comedy. Sandy and Hugh Grant made Two Weeks' Notice and
had a blast in New York, the town in which Bullock launched her career.
They were seen in L.A. after the film's premiere looking cozy as Sandy
wore Hugh's jacket while he ran around in the rain in shirtsleeves! The
two have great chemistry but if there's more, the co-stars aren't saying.
When we chatted with the upbeat and funny actress recently, she had plenty
to say about New York, Hugh, her fave romantic comedies of all time and
her workaholic nature. She both acted in and produced the film.