Diana Drumm reporting from Cannes for The Film Experience
At today’s The Homesman press conference, Tommy Lee Jones and Hilary Swank lived up to their public personas, the former as a well-meaning curmudgeon and the latter as diplomatic would be sweetheart. This dynamic was evident when Jones made the off-putting comment that editing is time consuming but “it’s not hard work” and Swank, spotting the possible faux pax in front of a room of international movie press, swooped in by clarifying maybe not for someone like him with his great mind and thoughtful vision, but she’d be lost and that editing is indeed hard work.
Well-trained in the art of dodging cringe-inducing questions, Swank managed to pivot from a meant-to-be-complimentary question about the disparity between her beauty in person and her plainness onscreen to an empowering impromptu speech about the subjectivity of attractiveness. She shared that some people have told her that they found her characters Maggie (Million Dollar Baby) and Mary Bee Cuddie (The Homesman), to be attractive because of their strength. Considering that the film tackles the issues of female subjugation and objectification, it was all the more uncomfortable when multiple professional journalists either commented on her physical appearance or prefaced their question with a comment on her physical appearance.
What did these reporters expect? She’s a movie star at Cannes promoting a film, the very definition of a glamorous day's work. And isn’t that a pretty tired narrative for Swank, dating back over a decade?
To Swank’s left, Jones bordered on ornery, not understanding a number of questions (giving unrelated answers or asking reporters to rephrase) or speaking in vague, sometimes dismissive, terms about cast and production (“The difficulty was the weather.” … “It’s not real research, we’re not curing polio.”). As for both directing and acting on this film, he deadpanned:
As a director, I can tell you that I do everything I tell myself to do.”
Dodging the more thematic and film-specific questions, Jones repeatedly answered “The movie speaks for itself,” without further explanation. On a rare upbeat note, Jones did spark to a question about the film’s music (plugging his son, the film’s music consultant) and went into a long-winded explanation about finding era-appropriate tunes and building wind organs.
In response to a HuffPo reporter’s line of questioning about women’s issues in the 1800s (when the film is set) relating to those of today, Jones said,
I don't think there's a woman in this room that has never felt objectified or trivialized because of her gender. There's a reason for that and a history of that, and I think that's an interesting thing."
A smattering of applause. Jones won back a few of the hearts he may have lost.
Day 1 Arrival & Opening Night | Day 2 Grace of Monaco | Day 3 Mr Turner & Timbuktu | Day 4 Amour Fou & The Blue Room | Day ??? The Homesman Review
Tuesday, May 20, 2014 at 3:15PM 
Diana Drumm is reporting from Cannes for the The Film Experience. 
