Julia Louis-Dreyfus on Her Dramatic Turn in ‘Tuesday,’ Strike Anxieties and What She’s Learned From Older Women

Julia Louis-Dreyfus came to the Telluride Film Festival for the first time this year for the premiere of A24‘s Tuesday, a dramatic fantasy from first-time feature director Daina Oniunas-Pusić. The role, a departure from the kinds of comedic parts that have made Louis-Dreyfus famous, sees her confronting tragedy, with the accompaniment of a giant macaw as a metaphor for death.

Louis-Dreyfus spoke to THR about why she stepped so far outside her comfort zone for the film, which A24 has not yet dated, how she felt promoting the movie during the strikes under one of the Screen Actors Guild’s interim agreements, and what she’s learning from interviewing women who “don’t give a shit” on her podcast, Wiser Than Me.

How did this movie come to you?

The script was sent to me. I did not know the director, Daina Oniunas-Pusić, at all. But I read it and was intrigued and also recognized that this was a complete flyer for me from a performance point of view, which was exciting. It was outside of what I’ve done before in the sense that it was way more dramatic. The fantasy, the fable element, and the fact that it was A24, and they were very gung-ho on this script. That’s meaningful to me because they do make the most artful films that are being made today, in my view. 

This is a fantasy movie, but it’s really about grief. What made you want to dive into that?

People don’t talk about death a lot — properly talk about it. You’re always surprised by it. And yet it’s going to happen. And having had people who are important to me who have passed away, this subject matter is really interesting to me. My father died. I had a sister who died. I’ve had good friends die. And of course, the other piece of the subject that’s super interesting to me is the maternal instinct is front and center, and I can really relate to that.

What was it like for you shooting the more emotional, dramatic scenes?

Doing the end of the film definitely took a toll for me. Because really, in order to do it, you have to go to a place, which is not a pleasant place to go in your mind. And as certainly as a mother, or not even as a mother, as a person who loves someone else, you do not want to live in that place for too long. You just don’t.

You’re acting opposite a bird who symbolizes death. What did that look like on the set?

It depended on what the shot was, but we had this wonderful actor who stars in the film as Death. His name is Arinzé Kene. He was in an orange suit. He took on the physicality of a bird and played that the whole time. The animators looked at every one of his takes to use his physicality, his face and his body movement. In scenes where he had to be tiny, he was in another room, and they were filming him, and they would put a tiny little monitor wherever the tiny bird had to be. And he would be acting with you. And then a few times he was a ping pong ball.

What is it like to be premiering this movie during the strikes? 

​​I was delighted to get the interim agreement and to be able to get out there with it. For a while there, I didn’t think I’d be able to, and that would’ve made me feel a little bit sad not to be able to stand up proudly next to it. I was supposed to fly to Telluride on Wednesday of this week. We didn’t get the interim agreement officially until Monday. So, I gave up all my travel. I figured, “OK, I guess we’re not getting it.” I don’t know why, because this ticks every box, including the WGA box. ​​So, I was like, “Huh, what the hell? I guess we’re fucked.”

Initially, some people pushed back against the interim agreements and felt it wasn’t right for SAG to be issuing them or for people to take advantage of them. How did you feel about that? 

​​I certainly understand initially why people did push back. I mean, to be frank, I think our leadership at our union is very strong, and they’ve been doing a phenomenal job except for that beat, except for the messaging about the interim agreements. Initially, it was unclear what they were. I think they’ve subsequently explained why the interim agreement is, in fact, great leverage for our side. These deal points are incredibly rational, and we deserve as creatives to have them met. And so the fact that independent studios are willing to do it, why can’t the AMPTP?

What’s it been like for you personally during the strike? I’ve seen you on the picket lines.

Well, I’m anxious. It’s made me feel anxious, and I’m worried for friends of mine who are getting hit by this financially. It enrages me because it doesn’t have to be this way. I think there’s a void of leadership in the AMPTP, and they’re behaving egregiously. It’s quite the opportunity. They can’t even see that. It’s an opportunity for somebody to step forward and do the right thing. For goodness sake, the optics are not good for these folks. 

What are you looking for in projects right now?

I would love the opportunity to flex more dramatic muscles, but I love doing comedy too, so I’m just sort of open. I like to work. I’m a bit of a workhorse.

What was it like for you to watch the movie with an audience?

Nerve-wracking. I was very nervous when I sat down. I felt like I had a fever.  It was a surprise to me to hear the laughs.

Do you think that audiences bring assumptions about you as a comedic actress when they see the movie? 

At the beginning of the film, there are a number of laughs. When I was listening to the reaction I was like, “Uh oh.” But then they came on the journey. So, that was a relief.

What motivated you to launch your podcast, Wiser Than Me, where you interview older women?

It was born out of my own curiosity. I saw the Jane Fonda documentary on HBO. I was so struck by the breadth of her life, her intelligence, her leadership, her activism, all of it. She’s not the only one who’s had a really interesting life. It just got me thinking, “Why are we not hearing from these ladies? Oh, yeah. I remember. Nobody listens to old ladies.” They don’t. It’s considered important to listen to old men because they’re the old, wise men but not women. I thought, “Oh, I wish there was a podcast out there,” which there wasn’t. And so I thought, all right, I guess I’m going to do it. 

Are you enjoying the conversations?

Very much. I’m always moved by them and exhausted at the end. One of the many throughlines of these conversations is all of these women are of a certain age where they’re like, just, they don’t give a shit. There’s less worrying about how you’re going to come across. Women worry about that a lot. But women this age, they’re just going to tell the truth. 

This interview has been edited and condensed.