‘Honestly, I was terrified’: Winona Ryder on returning with ‘Beetlejuice Beetlejuice’

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As I delve into the captivating narrative of Winona Ryder, I find myself deeply intrigued by her old-world charm and timeless allure. Her reminiscences about the golden days of cinema, filled with the scent of celluloid and the rhythmic dance of reels, transport me back to an era that I never had the privilege to experience firsthand.

A day before our scheduled chat at a restaurant near Central Park South, Winona Ryder was found engaging in artistic activities. She carefully stitched the name “Gena” onto the left breast pocket of her Elena Dawson-designed gothic black suit with high collar using red thread. The same designer also crafted a jacket she donned in the movie “Beetlejuice Beetlejuice,” which hits theaters on September 6th.

Ryder embroidered the name as a memorial for actress Gena Rowlands, who had passed away the day before, with whom he had shared the screen in the 1991 movie “Night on Earth” directed by Jim Jarmusch.

“Ryder explains, her eyes glistening with unshed tears, ‘I simply couldn’t have managed today without,'” she added softly.

Despite understanding that she shouldn’t spend too much time discussing Rowlands, she felt compelled to express a profound sorrow. Even before collaborating with him, Ryder admired the star known for movies like “A Woman Under the Influence” and “Opening Night.” She recalls her initial encounter with Rowlands’ work when she was approximately 8 years old. Her mother would screen John Cassavetes’ films onto a sheet hung in a barn on their shared 380-acre property in Northern California, amidst redwoods. When Ryder displays her phone to me, I observe that her home screen’s backdrop is a compilation of Rowlands.

25 minutes into the interview, I finally managed to ask directly about the project that Ryder seemed to be promoting: Tim Burton’s “Beetlejuice 2”. In this film, Ryder reprises her character from the 1988 original, Lydia Deetz, a teen with a melancholic disposition who encounters ghosts in her attic and is later hounded by the title character, Beetlejuice, played by Michael Keaton in his memorable striped suit. In this eagerly anticipated sequel, an older Lydia works as a TV host conversing with spirits while grappling with lingering memories of Beetlejuice. She is also involved in a relationship with a manipulative figure (Justin Theroux) and has her own sullen, socially withdrawn daughter (Jenna Ortega).

Ryder is open to discussing the topic, but she has such a wealth of stories that they spill forth in streams of long paragraphs with numerous sentence fragments. Over chai at a steakhouse where movie-inspired afterlife settings have replaced hotel rooms below, Ryder regales me with tales for hours on end.

“She mentions that her parents are archivists and writers, and she believes she’s inherited a bit of both traits, leaning more towards being an ‘archivist-cum-hoarder.’ She preserves old phone numbers, reminiscing about a number she has from when she worked on ‘Night on Earth.’ For her, it’s quite special to have all these keepsakes.”

With a heavy layer of eyeliner framing her large, radiant brown eyes, Ryder frequently drops names that any film enthusiast would covet. She casually mentions texting with Jim Jarmusch. She also shares that she maintains friendships with two individuals through old-fashioned letter writing: Keanu Reeves and Daniel Day-Lewis, her co-stars from “Bram Stoker’s Dracula” and “The Age of Innocence.” During her initial screen test for the 1986 film “Lucas,” which marked her film debut at 14, Laura Dern advised her to reach out to her crush. That person was Elias Koteas, who initially rejected her advances. However, they are now on friendly terms.

52-year-old Ryder is currently experiencing another career transformation that started in the 1980s when she was still in high school. After years of debate about its possible production, a “Beetlejuice” sequel is now complete and will premiere at the Venice Film Festival. On the other hand, “Stranger Things,” the Netflix series which brought Ryder’s career back to life upon its 2016 debut, is wrapping up after five seasons. With its ’80s-themed setting, this popular streaming show provided an ideal retro stage for Ryder’s comeback, but she never anticipated playing bold Joyce Byers, the mother of a boy trapped in the Upside Down, for as long as she has – an extension caused by delays due to the pandemic.

“I’m very much aware [of] what that did for me,” she says of the show.

Regarding Ryder, her worry extends beyond her personal career; instead, it’s focused on the future of cinema, a form she deeply cherishes. Her evenings cruising around town with Rowlands, as depicted in Jarmusch’s film, symbolize the kind of artistic expression she admires.

She explains, “I don’t identify as religious, but I have a deep reverence for films. To me, they hold a special significance and I feel deeply connected to them. However, I don’t presume to have authority over them. Their power isn’t something I can control.”

Her deep respect for art likely explains why Ryder’s career in the ’80s and ’90s remains so significant in our collective cultural memory. The “categories” (her own words) that Hollywood attempted to confine her to drove her insane, leading her to steer clear of them as much as possible. This resulted in a diverse list of roles that made her a symbol of Gen-X defiance, whether she was wearing period skirts or sunglasses: “Heathers,” “Little Women,” “Reality Bites,” and even her collaborations with Burton, such as “Edward Scissorhands” and yes, “Beetlejuice.”

66-year-old Burton, comfortably seated on a New York hotel couch, his hair disheveled, reminisces about feeling a kinship with Ryder when he initially contemplated casting her as Lydia. Lydia, who hides her face under a black veil and says, “My life is one vast, darkroom,” was the character Burton associated with Ryder.

He recalls, “As a teen, there was a delicate sensibility and artistic flair, combined with an ethereal, almost supernatural quality. That’s what I felt.” Simply put, “She possessed it.”

Ryder, too, had a connection with Lydia since they shared the same gothic inclination during their youth. As she looks back, she says, “We weren’t all that dissimilar. I had my own share of goth tendencies when I was younger.”

As a film enthusiast, I recently stumbled upon a photograph taken before the “Beetlejuice” script was even conceived, and it’s as if I was dressed in costume already. Reaching for my phone to share it with you, I couldn’t help but notice the uncanny resemblance to Lydia’s iconic hairstyle. Even the font on her screen is a talking point among the kids, she joked self-deprecatingly.

When Milly Bobby Brown joined “Stranger Things,” she had already been making a comeback in Hollywood, which started six years earlier with an attention-grabbing performance in Darren Aronofsky’s 2010 film “Black Swan.” Despite the ups and downs in her career, including a temporary break from acting, Brown always hoped to reprise her role as Lydia. Her contract for “Stranger Things” included an agreement that if a “Beetlejuice” sequel ever came about, she would be granted the necessary time off to work on it. Lydia was very important to her, and she wanted to collaborate with the cast and Tim Burton again. She admits she was surprised when they finally wrote a script for the character. However, there were also feelings of apprehension.

“Honestly, I was terrified,” Ryder says. “We all were.”

In my perspective as a movie enthusiast, I found myself needing to accept the transformation of Lydia – now a widowed mother, dealing with an uncooperative, non-believing daughter about ghosts, and involved with a seemingly overly affectionate companion. Frankly, I never envisioned she had children. To me, she was still confined in that attic space of my imagination.

Her co-star Theroux brought her around to the idea that Lydia would find herself in a codependent relationship with someone who doesn’t necessarily have her best interests at heart. “When he said that, I was like, ‘Oh, that is true,’ ” she says, having found herself in similar positions. “You’re at a weird spot in your life and you let someone in and before you know it they’re taking advantage. That made sense to me.”

The strong sense of nostalgia washed over Ryder as soon as they perfected Lydia’s appearance. Although some people have criticized online that Lydia hasn’t updated her hairstyle in almost four decades, Ryder chooses to ignore those minor points. “I often wear the same clothes,” she admits. “I still possess the same belongings.” In fact, I can notice it in her current attire, which is quite similar to Lydia’s style, featuring a high collar and deliberately tattered sleeves.

As a movie buff, I found Lydia’s voyage deeply resonant, as it skillfully illustrated how life’s twists and turns shape an individual. Seeing Winona Ryder slip back into the character was an incredibly moving experience for me.

“When I saw her on the filming location,” he admits, “I nearly broke down in tears. The feeling is beyond description; it was simply incredibly moving.”

Burton also mentioned that it was particularly noteworthy to observe Ryder and Ortega’s interaction. He describes their connection as having a powerful, palpable energy. Essentially, the movie symbolizes the transition of the limelight from one rising talent portraying an unusual teenage girl to another.

Regarding Ryder, she was deeply moved by her younger colleague after Ortega brought up “I Am Cuba,” a 1964 film by Soviet director Mikhail Kalatozov, during one of their initial scenes on set. They were both working in a crypt, and Ryder nearly cried when Ortega referenced particular shots from the classic film.

Ryder enjoys connecting with the emerging group of cinephiles who resemble her in their enthusiasm, sharing stories about how her “Stranger Things” colleague Finn Wolfhard is captivated by Elliott Gould. However, she can grow impatient when she encounters less inquisitive peers within her professional circle.

As a fellow cinephile, I want to clarify that I’m not trying to come off as pessimistic. It’s just baffling to encounter folks who seem indifferent to the world of cinema. You know, the kind who ask, ‘How long is it?’ before even considering watching a film.

Ryder’s academic stance is undermined slightly by her tendency to chat excessively. Her relaxed demeanor suits her well, but there’s also a timeless quality to her that makes her suitable for portraying the quirky loners of Tim Burton’s universe, as well as characters created by Louisa May Alcott and Edith Wharton, in movies directed by Gillian Armstrong and Martin Scorsese.

As a devoted admirer, I find myself longing for the good old days. Nowadays, I’m more like an antique piece, disconnected from the digital world and its instant gratification. Back then, the anticipation of reading about an Al Pacino interview in a magazine, knowing it would take months to get that article, was a unique experience. I can’t help but miss the transition period from analog to digital cinematography. And oh, the charm of hearing the reel running out during a take – such a distinct, nostalgic sound! If only we could wind back the hands of time just a little.

She muses, “I can’t predict the future, but if it involves a cleansing and restart, I’d suggest so. It’s all about developing resilience.”

I’ve been pondering my next move, partly due to the familiar strain of age-related expectations that many actresses encounter.

She notes that unfortunately, there’s a common discussion about the expendability of women in this particular field. Even individuals who are generally kind and sincere participate in this conversation.

A decade following their collaboration on the 1993 Isabel Allende adaptation “The House of the Spirits,” she encountered Meryl Streep and recalled her expressing dissatisfaction with being offered roles as either a “witch” or a “mother.” This left her astonished that someone as esteemed as Streep could experience such marginalization.

Ryder expresses a desire to collaborate with screenwriter David Simon once more, having worked together on “Show Me a Hero” and “The Plot Against America”. However, she remains concerned that such complex, intellectual content may no longer find an appropriate platform. Yet, when she’s feeling low, watching films like “Tár” or “Uncut Gems” tends to uplift her mood.

I wonder if she might find a chance to watch a movie while in Venice, but instead, she mentions she’ll be attending the “Beetlejuice Beetlejuice” premiere in London the following day. This question, however, seems to stir memories for her about serving on the Cannes jury under Scorsese.

She mentions that she enjoyed the routine of watching five films daily, but found it challenging to make choices among them, as if the process was demanding. She adds that it was the year of Dogme movies, and there seemed to be a plethora of poor ones. However, her jury eventually recognized one: Thomas Vinterberg’s “The Celebration,” which turned out to be the first and ultimately most successful film from the minimalist, anti-special effects movement.

Time seems to be slipping through our fingers, yet we continue discussing films and events. As she’s about to leave for her next commitment, she reveals another fascinating tale from her past – dining regularly with Roddy McDowall, Karl Malden, Jessica Tandy, and Carol Kane during weekends.

“Ryder remarks, making it seem completely ordinary, ‘That was just my circle of friends.'”

In my perspective as a movie critic, Ryder’s timeless essence was the key reason she excelled in portraying Lydia decades ago, and that essence continues to radiate around her like a halo today. When I inquire about any pressure she might feel due to the profound impact of her work on countless viewers, she simply expresses gratitude for her good fortune. Eventually, she steers our conversation back to Gena Rowlands, underscoring the deep connection and admiration she holds for this legendary actress.

She expresses, “All you need is to stand firm, and I aspire for a realm where artists remain genuinely authentic.” She suggests, “That’s the kind of approach John and Gena took.”

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2024-08-28 13:32