Isabella Rossellini
Isabella Rossellini
Isabella Fiorella Elettra Giovanna Rossellini is an Italian-American actress, filmmaker, author, philanthropist, and model. The daughter of Swedish actress Ingrid Bergman, Rossellini is noted for her successful tenure as a Lancôme model, and for her roles in films such as Blue Velvetand Death Becomes Her. She also received a Golden Globe Award nomination for her performance in Crime of the Century...
NationalityItalian
ProfessionMovie Actress
Date of Birth18 June 1952
CityRome, Italy
CountryItaly
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I wanted to make a film about my dad, a sort of love letter, and explain what I understood of his cinema, which was so utopian. I also wanted to give the sense of his cinema, because they have never been very big box-office, but they were very influential.
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I think I was always interested in animals. If a man likes a woman, you know, he might discuss business, but there's a part of his brain that is looking at the girl coming in and checking the girls. I do the same with animals.
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I loved modeling. I absolutely loved it. I was so happy to get the cover of 'Vogue' - 23 times. I keep each copy. I made more money as a model than as an actress or as a filmmaker. In monetary terms, beauty pays more than anything.
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I live my everyday life as a person, and I react to my photos from a certain distance. When I look at a photo, I detach myself and look at it as a product - not as me, Isabella.
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I live in New York, but I am always delighted to come to Europe because I am European and grew up here until I was 20. I am not only Italian, I am partly Swedish. When my parents divorced, I was three years old and went to live in Paris... when I am offered a film in Europe, I come with great enthusiasm!
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I grew up in Italy, and our country is a country of great agriculture and food produce. It wasn't like I was urban and only knew about high-heeled shoes and purses and never knew where my eggs came from.
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I grew up in a family of filmmakers, so I always wanted to make films about animals, especially comical films. Something about animals amuses me. And they have a great mystery. It's the same mystique some people might feel looking at the stars or the ocean.
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I didn't think I was going to be an actress. Everybody in my family was in films, and they succeeded so much, I thought, 'It's better for me to do something else,' and they agreed.
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I became an actress way into my 30s because I thought that I had to find my own way, and that's why I worked so much in modelling, until I realised that the differences between acting and modelling weren't that great. I always say that modelling is a little bit like being a silent actress.
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Every time you work, it's a new film, and generally when you work with auteurs, people that write and direct their films, there's always an originality.
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By the time I was successful with covers of 'Vogue' and 'Harper's Bazaar' and 'Vanity Fair' and the Lancome contract, someone asked how old I was. They almost fainted when I said 33.
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Animation translates well to a small screen. When you look at Walt Disney or Chuck Jones - you know, Bugs Bunny - there really isn't any difference if you watch on a very big screen or a computer screen.
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The red carpet has become like a parallel business. The next day, there are TV programmes, and magazines, and it's all, 'Do you like the dress or not like the dress?' and 'Did she look fat?' To keep borrowing dresses and jewellery is like a full-time job. And you have to be a fantasy, which you can never be, so you always feel depressed.
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I always say that in my career as an actress, I've always worked with people like David Lynch or Guy Maddin or Peter Weir who are considered not mainstream directors and that could be because they are like my dad. They are pioneers, and pioneers, by definition, invent something new.