In ‘Remarkably Bright Creatures,’ Sally Field’s co-star is an octopus. She thinks you’ll like it too

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I just love watching Sally Field – she feels like an old friend! Seeing her in “Remarkably Bright Creatures,” the movie based on the popular book, was so heartwarming. She’s been a part of my life for years, from shows like “The Flying Nun” to classic films like “Norma Rae” and “Mrs. Doubtfire.” It’s wonderful to see her still thriving, and this new movie, directed by Olivia Newman, is just lovely.

The new Netflix movie starts streaming on Friday, but the project began development well before the book by Van Pelt became a New York Times bestseller – it was on the list for over 64 weeks!

Field discovered the story early on while reading advance copies of the book. Speaking from her home in Los Angeles, she explains that after just a few chapters, she knew she wanted to develop it into a film or series. However, it took a lot of work to get the script just right. She describes the book as ‘wonderful and complicated,’ emphasizing the need to preserve its unique charm and ensure all the elements came together perfectly.

I was completely captivated by this film! It centers around Tova, a widow who finds solace cleaning an aquarium in a small Washington town. What’s really special is her unlikely friendship with an octopus named Marcellus – Alfred Molina does the voiceover, and he’s fantastic! Marcellus actually narrates the story, and he’s the one who subtly brings Tova together with Cameron, a new guy in town who’s having a rough time. What really struck me, and what Diane Field, the actress playing Tova, emphasized, is how beautifully the film explores the connection between people and the natural world.

The film is a celebration of all creatures, especially those in the ocean. I’m drawn to subjects that resonate with me personally, and humans have a deep connection with the animal world. Ultimately, the film explores themes of environmental loss – the disappearance of incredible sea life and the magical creatures that call the ocean home.

She expressed deep concern about the state of the world, saying we are damaging our oceans and the planet, and ultimately harming each other. While acknowledging the overwhelming negativity, she found some comfort in the positive moments captured in her film, offering a small bright spot amidst everything else happening.

In this edited conversation, Field talks about her work on “Remarkably Bright Creatures,” her move from television to film, and her ongoing passion for performing.

How would you describe the connections you’ve experienced with creatures?

I never really felt a strong connection with pets until the pandemic. We always had golden retrievers, but they belonged to my son – they’d greet him at the door and didn’t pay me much attention. Then, just before the pandemic started, I unexpectedly got a tiny puppy. He was only eight weeks old and weighed six pounds, and I wondered what I’d gotten myself into! But when the lockdown began three weeks later, he became my sole companion and meant everything to me. His name is Dashiell Hammett, but I call him Dash. That’s why the story of Marcellus and Tova, and how vital Marcellus is to Tova, really touched me.

Did you immediately understand Tova?

I needed to connect with her, to find a common ground. We both shared a similar outlook, and we were both around the same age. It’s surprisingly difficult to find movies featuring older people, especially women. There are plenty of films with compelling older male characters, but I didn’t want to see another story about an older woman simply searching for romance. I was hoping for something more meaningful. This film explored the real issues older women face – things like being alone, feeling lonely, the importance of friendship, dealing with loss, family connections, and the journey towards healing.

What sort of work did you have to do to meet in the middle with the character?

I’ve been an actor for 62 years, and I’ve spent a lot of time studying the craft. My approach, influenced by Lee Strasberg, is very internal – I focus on understanding the character’s background and finding connections between their experiences and my own. I think people connect with Tova because of her deep loneliness. You first see her working late at night, finding comfort in talking to things that, to her, feel like they’re listening. Then, you see her return to her solitary life at home.

Did you film in a real aquarium?

We filmed in beautiful Canada, and I truly loved it so much I’d even like to become a citizen! We used the Vancouver aquarium for one night to film the shark tank and larger exhibits. The scenes with Marcellus, the seahorses, and the wolf eels were filmed on a separate soundstage.

How was Marcellus created?

I’m not going to reveal the details. What these people accomplished is amazing, but I don’t want to give too much away and ruin the surprise.

Did you know Lewis Pullman before working with him in this film?

I’d actually worked with Lewis’s dad, Bill Pullman, when we were both in the U.K. It really explains why Lewis is so special – Bill is just a phenomenal actor and a genuinely wonderful person to share a stage with. I couldn’t have hoped for a kinder or more talented colleague during my time at the Old Vic; it was a truly fantastic experience. Lewis mentioned he’d seen the play, but we never actually got a chance to meet.

How did you and Lewis explore the relationship between Tova and Cameron?

We figured out the characters and story simply by acting out the scenes. I quickly realized he was perfect for the role because we’d had a short meeting where we spontaneously started improvising together. Much of the chemistry you see between the characters is actually unscripted – it’s just me playing Tova and him as Cameron.

The movie is ultimately hopeful, but it deals with difficult themes like sadness and loneliness. Can you talk about what you were thinking and feeling while you were creating it?

I spent two and a half months in Vancouver, but I mostly saw it as just work. It’s about going where the job takes you and fully immersing yourself in that lifestyle. It’s a demanding job that keeps you going all day, and then you quickly refuel and prepare to do it all again the next day.

Has the experience of the job changed for you over the years?

Everything is in constant flux – jobs, locations, even people. Because of this continuous change, what’s needed from us also evolves, and I, too, have adapted. It’s true what they say: nothing ever remains the same.

What is it that keeps you wanting to act?

I discovered my passion for performing at age twelve, and I’ve been on stage ever since. Growing up as a girl in the 1950s and 60s, I was discouraged from expressing myself. I lost touch with my own voice and felt I wasn’t allowed to speak my mind or show emotion. I was constantly told how to act and what to wear, and my grandmother would criticize any display of feeling, telling me not to be ‘ugly.’

I discovered a place where I could truly express myself – the stage. Instead of suppressing my emotions, I found freedom in letting them out, even feelings I didn’t realize I had. On stage, it was okay to feel angry or any other strong emotion. It took time, but I eventually learned how to control and use those feelings, to shape them into something powerful. I’ve continued to do this because it’s a fundamental part of who I am, and I’m grateful that I have the opportunity to do so.

How many projects do you typically work on in a given year?

As a woman in my profession, I’ve consistently faced limitations, rarely working on more than one film or project a year, or even every eighteen months. The only exception is when I’m committed to a series, which demands an incredibly intense schedule – practically around the clock for eight months at a time.

What do you consider as the prime of your career?

Starting a film career was difficult for me because I began in television in 1964. Back then, especially for women, being known for sitcoms meant you were often stuck with that forever. It was hard to even get considered for film roles because I was typecast. Film and television were seen as completely separate worlds at the time. I knew I had to work incredibly hard and improve my skills if I wanted to break out and reach my potential.

A turning point for me was an audition around 1972 or 1973. I could sense the people in the room – the directors and writers – didn’t expect much from me. I was angry, but I channeled that energy into my performance, and they started to pay attention. It was for a project called “Sybil,” and I ultimately landed the role because my audition was undeniable. “Sybil” then opened the door to “Norma Rae,” the film that truly launched my movie career.

Your acceptance speech from the 1985 Oscars, when you won for “Places in the Heart,” is still often referenced. Do you ever think about that experience?

Okay, so there’s a lot of misinformation out there about this, but let me set the record straight. Winning my second Oscar was a completely different experience than the first. The first time, it all happened so fast, it almost didn’t register. But the second time, I remember thinking, ‘I need to soak this in.’ It had been a long, hard journey to get there, and I finally wanted to acknowledge that and just… feel the appreciation. I wanted to allow myself to believe that people genuinely liked me and my work. Honestly, I’m a little frustrated I keep getting asked about this – the actual speech is out there, so please, look it up and hear it for yourself!

Have you always had a balanced relationship with the stage, film and television?

You know, looking back, I really wish I’d gotten into stage acting earlier. Being based in L.A. for so long, and then raising kids, it just wasn’t practical to spend months in New York doing a play. Once the kids were grown, I finally had the chance, and honestly, it’s a world I’m still learning. It’s definitely the most challenging acting medium – you really have to put in the work to get comfortable with it. And it’s fascinating because as an actor, I’m constantly evolving. Every decade brings a new perspective, a whole new set of experiences to draw from, and that keeps things exciting.

Do you have any other upcoming projects?

I’m getting up there in years – almost 80, actually – and it’s tough finding roles that really grab me. It feels like there are more parts for women now, which is great, but I often wonder if they’re actually good roles. Are they complex, interesting characters in stories that people will really enjoy? That’s what I look for. I’m leaning towards doing something on stage next, but I’m still waiting to see if the right opportunity comes along.

What do you hope people will take away from “Remarkably Bright Creatures”?

Don’t worry about what others want or expect. Just focus on doing your best work and let things happen naturally.

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2026-05-07 13:34