“Fun With Dick and Jane,” directed by Dean Parisot, co-starring Tea Leoni
“The Six Million Dollar Man,” directed by Todd Phillips
Jim Carrey’s perf in “Eternal Sunshine of the Spotless Mind” may be on voters’ radar based on the pic’s critical reception and its star’s out-of-the-box dramatic work.
The pic stars Carrey as a man who’s memory is taken from him after he’s dumped by co-star Kate Winslet. During the procedure, however, he realizes getting his memory erased is a huge mistake.
While Carrey’s more dramatic turns — in “The Truman Show,” “The Majestic” and “Man on the Moon” — were not nominated, the title “Eternal Sunshine” could refer to the actor’s current state of mind.
“I just wanted this picture to get recognition,” says Carrey, who’s been nominated six times for the Golden Globes, including two wins. “It was written and made with great artistry and an incredible gathering of actors. I can’t say enough about the project. “One thing that I loved about the part was that I had to allow people to come to me. The character was in hiding. I used everything in a room to hide from people to see what’s going on there.”
The collaboration with director Michel Gondry and the supporting cast on Charlie Kaufman’s screenplay produced some of the actor’s most simpatico working relationships.
“Charlie Kaufman’s script was brilliant, and I connected with the emotional need of the character,” he says. “Charlie was able to connect up the intellectual labyrinth with both the heartfelt and the emotional. He can interconnect both the intellectual and emotional sides. “On an emotional level, I love that the character is withdrawn. The bottom line is the dramatic essence that the most brutal thing to experience is that a love — that experience what you have had with somebody — is suddenly unimportant. Your heart is broken. And in place of what you once had, you’re given a feeling of invisibility and discounted your very existence.”
Gondry subjected Carrey to techniques that the actor hadn’t attempted before.
“Michel is a very creative human being. He had me doing things that I didn’t know that I could do. In your head, things are continuous. With Michel, it doesn’t work that way. He says, ‘Come in through a window.’ It’s the idea of playing with what’s deteriorated from a memory. It was hard to keep on point. We experimented a lot with how a memory deteriorates. We would slow speech, speed film up and see what happened. Words are out of synch.
“There’s a scene where we have Clementine running down the street and calling me names, and she has no leg. Well, why did we do that? Well, Michel said, ‘Memories are not clear,'” Carrey remembers clearly.