Nicole Holofcener first met her muse Catherine Keener - who has starred in every film Holofcener has directed - at the gym. When you ask them for more details, the story begins to sound like dialogue from a Nicole Holofcener movie. At first, Keener says their mutual friend Jan brought them together. "No," Holofcener says, "a different girl. The yoga teacher." That's still not right, Keener says. "She was the hip hop instructor. She loved Marge Simpson or something." Neither of them actually enrolled in the class. But, Holofcener says, "she introduced me to you while you were on the StairMaster."
However they met, it's lucky for Hollywood, because they have been scaling the movie industry together ever since 1996's "Walking and Talking." In the last 17 years, Keener has channeled Holofcener's cinematic id in a collection of five standout performances, including the New York cubicle dweller fretting her single status ("Walking and Talking"); a married mom working at a one-hour photo shop ("Lovely & Amazing"); part of a conflicted screenwriting couple ("Friends With Money"), and a woman who resells antique furniture with her husband ("Please Give").
Enough Said," Keener plays a divorced poet who despises her ex-husband. It's fairly common for a male director and actor to collaborate on multiple projects, but Holofcener and Keener's relationship is unprecedented for women in film. On a recent afternoon, they spoke to Variety as their new movie, released by Fox Searchlight, premiered to rave reviews.
Ramin Setoodeh: Nicole, had you seen any of Catherine's films before you worked together?
Nicole Holofcener: I saw her in "Johnny Suede" and I fell in love with her right then and there. I thought, "That's my girl. That's who I want."
NH: She was the cutest thing I'd ever seen. She didn't want to wear eyeliner in the scene and she threw a shoe at Brad Pitt. You had dreadlocks, right?
Catherine Keener: They were cheap dreadlocks. I would just twist my hair up and let it dry that way. I'm going to ask you a question, Nic. Did you perceive yourself as not fitting in when you were growing up?
NH: Uh-huh. I felt teased and awkward. I always had good friends, but I did not feel like a cool girl, ever.
CK: I didn't feel like a cool girl (either). I mean, I wasn't a cool girl. I hung out with the cool people, but when I met you, I thought you were very cool. I still feel that way. But I remember my impression: I wanted to fit in with you. I would have never have thought you didn't feel that way, except the characters you write. They are a little apart.
NH: I think growing up under the shadow of a pretty sister will do a lot to a person. But I turned out ok.
CK: And pretty.
NH: I wouldn't go that far.
RS: Do you always know what role Catherine will play in your films?
NH: I've never been that decisive. I was very decisive with "Lovely & Amazing." I wrote that character for her. "Friends With Money," I think they were up for grabs a little bit. And for "Please Give," that was not up for grabs. That was Catherine's part.
CK: I don't know about "Please Give." I think you were trying to consider everything.
NH: I remember now. I was trying to get away from her, when the part was hers. I was trying to intellectually--
CK: To make a case for somebody else.
NH: There are plenty of good actors out there who would have done a good job. I guess I offered to a couple of them, they passed. And then it was like, "Why am I doing this? Catherine is perfect for the part." I can't imagine anybody else in that part. What was I thinking?