#but theres a big fucking difference between getting a film role or telling her daughter to go to sleep and sa’ing someone

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ua s3 spoilers

i haven’t watched it yet but what the fuck is that scene with allison and luther??

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film watch day 31: Every Halloween Film

happy Halloween today i watched every Halloween film currently available to me. i couldnt get to rewatch Halloween 2018 but i already wrote about it a couple of weeks back so feel free to revisit that post. anyway, i watched ten Halloween movies today. It took around 17 hours. i started at 11:15am and im writing this now at 6 am.

so lets get to the post. for the most part i went in chronological order, except i chose to start with Rob Zombie’s remakes because i knew if i didnt id be finishing the day by watching them at the break of dawn and the idea of doing that was so fucking putrid to me that i decided to get them out of the way first.

Halloween (2007)

i hate this fucking movie. i mentioned in an ask the other day but im happy to repeat here, i dont hate the idea of expanding on Michael’s backstory. like the fact is we largely know his backstory, the issue is how this film chose to portray it. the original Halloween is frightening because its based around the idea that the seemingly safe, quiet suburbs are not as safe as they seem; you can be on a street youve known your entire life, only a few metres from your own home, and still at risk. the whole idea of showing Michael as a murderer when he was six is to tell us that anyone could be a threat, that our conventions that all killers are a particular kind of person is false.

Halloween 2007 says fuck that, we know what serial killers are, and theyre those poor kids who come from shitty neighbourhoods and have abusive parents and mothers who are sex workers. everything that Halloween brings to the table is fucking tedious, played out, and massively uninspired. it wants to bring us the truth about why Michael is like he is, but Rob Zombie’s only understanding of serial killers is in the cliche and exploitative. he has nothing honest about human nature to show us, only the exact same stories that have been fed to us by crime and horror movies past.

this film is incredibly loud and in fucking constant motion. even on steady shots of still scenes the camera constantly shakes, and in every other scene its always whirling around from tracking shot to panning over the scene to just idly zooming in and out of nothing. Zombie’s favourite shot is to have something large and out of focus in the foreground -- like some plants -- and to shoot the characters standing about six feet away muttering to themselves. every single fucking shot in this movie lingers too long, every scene drags a little longer than it needs to. this film moves with the pace that i would describe as “family guy gag”.

and this film is so loud. people are always talking or screaming, largely about nothing important or interesting. theres always music, but it never particularly adds anything; for reasons i fail to fucking understand the entirety of the original theme plays over mostly uninteresting tracking shots of a minor character walking around yelling filler lines about nothing.

the writing is horseshit. everyone in this film is vile, no one talks or behaves like real human beings. almost every exchange in this movie is the characters saying the exact same thing back and forth inanely, frequently punctuated by screaming FUCK as loudly as possible and talking about sex in a way that 40 year old men really really wished teenage girls talk about sex. Halloween (2007) is thoughtlessly gross and mean and nasty, disconnected from any kind of human sensitivity and empathy. it wants to be complicated and to be deep but its crushingly simplistic and stupid. the only thing that redeems it is that its not Halloween II (2009). speaking of which...

Halloween II (2009)

jesus christ this movie is so fucking boring. Halloween II is two hours long but feels like its about twenty hours long. i felt like i was watching this film for twenty days and twenty nights. i was trapped in an eternal purgatory with this movie.

i really cant fucking emphasise how boring this film is. endless scene after scene of nothing of consequence happening, uninteresting death scenes that add nothing, and Michael wandering around doing jack shit. Halloween II fucking made Michael Myers boring, and im saying this as someone who (as i repeat once every 8 seconds) has a tattoo of him. this film couldnt hold MY interest in two of my favourite characters of all time.

the big fun new addition from the first movie is the presence of Michael and Laurie’s mother as a kind of weird goth ghost guiding Michael to kill. i dont know why Michael had to be Jason Voorhees and be a mommy’s boy all of a sudden, but this addition brings absolutely nothing of interest to the film or to his character. its meant to be symbolic of fucking... something im sure, but it feels meaningless. somehow Michael and Laurie are both able to see and interact with this ghost and the ghost has an agenda to do... something? it feels about as intelligent and coherent as the bullshit cult of thorne shit from 6, but a lot less fun. at some point Michael Myers apparently has mind control powers?

not to repeat myself a hundred fucking times but this film is insanely unpleasant to watch. every scene someone is screaming, generally wailing “fuck you bitch” at anyone in their vicinity. this is two hours of people howling swear words at each other and not infrequently making rape jokes. Rob Zombie loves rape jokes! almost as much as he loves putting sexual assault in his movies over and over again for no reason.

there is nothing to enjoy in this film. theres nothing to gain. there is too much slow-mo and far too many strobe lights and absolutely nothing of any intelligence or grace. Halloween II is a thirteen year old boy in a korn T-shirt calling his mom a bitch while he draws zombies on  the back of his homework, which he will get an F for because the only thing he wrote was “reading is for faggots”.

Halloween (1978)

what the fuck can i say. this is one of the greatest horror movies ever made, if not the greatest. its one of my favourite movies. its forty years old and still just as chilling and frightening as it ever was. it has some shot composition and cinematography thats up with the best ive ever seen, all while being shot on a budget of $300,000. it does more with less than just about any film, launched the slasher genre, shot Jamie Lee Curtis to stardom and created a pop culture icon that stayed strong for decades. its a masterclass in tension and suspense, a lean-cut perfectly paced film with heaps of atmosphere and character.

i love this film with a frantic passion that makes me unable to talk about it in a particularly helpful way. i cant “review” Halloween. I love this film beyond reason and sense and you either get it or you dont.

Halloween II (1981)

Halloween II is largely one of the less remembered entries in the franchise; its a decent enough movie, neither matching up to the highs of the original or the lows of the later films. its a pretty enjoyable little film, created under the logic of ‘well the first one did well, lets do the same thing again’. Carpenter wrote the script but didn’t direct, and while the film has a solid story, the directing lacks his signature flair. its hard to pinpoint, because the film is generally fairly well-shot, but lacks a kind of eye for shot composition that Carpenter made look easy, doesnt have as much patience for suspense.

on its own merits, theres still some great shots and great scenes in the movie. and a lot of really cool kills; II got a lot more creative with what Michael was capable of, and i think the boiling water drowning kill is rightfully pretty infamous.

this was the last Halloween movie Carpenter wrote, and it was the film where the idea of Laurie and Michael being siblings was introduced. and believe me ill defend this fucking decision to the grave. adding the human connection between Michael and Laurie gives a whole other layer to their relationship thats so fascinating to me, and i love that other films try to expand on the themes of family. in general, deciding that this film would continue to focus on Laurie and not do what later slashers did with bouncing around between different casts was a great fucking move, ironically for a franchise that was intended to be an anthology.

quietly exploring the aftermath of the first film was a good idea for a follow-up, and i especially really enjoy Loomis’ role in this movie, and his discussion about who Myers is. the biggest disappointment for me personally is that Laurie lacks a lot of presence in this film. Curtis is great, as always, but the movie dawdles on some side characters who are too disconnected from her to get a sense of what shes going through.

all that being said, Halloween II is decent. the ending is really great, with some really powerful shots. Michael bleeding from the eyes of his mask after Laurie shoots him is one of the best fucking images in horror and him swinging blindly as Laurie and Loomis slowly orchestrate his death is a fucking amazing scene. i have an immense fondness for this movie, with all its flaws. it brings a lot of really cool concepts to the table, and i think it deserves some appreciation.

heres a question tho; where the fuck were Laurie’s parents. theres a suggestion theyre missing, but theres no explanation why and we never hear from them. did michael kill them too? hello? mr and mrs strode? your daughter just fucking killed a guy and all her friends are dead. where the fuck are you.

Halloween III: Season of the Witch

Halloween III is infamous as being the Halloween movie that isn’t about Michael Myers at all. when it first released it was wildly unpopular and remained so for quite a while, but has had a surge in popularity over the last few years. i think just about every horror critic i know now considers Halloween III one of the best in the franchise. and to be fair to it, its a great little movie. not a slasher at all but rather a conspiracy thriller, Halloween III is all about the mystery of what the Silver Shamrock mask-making company are really up to, and why people are disappearing. its a weird and creative little movie, with some really fucking great practical effects that turn it from just being a thriller to being an all-out horror film. it has a few too many ineffective jumpscares and some of the plot twists are kind of disappointing and feel a little too much like the easy option -- and then others are so wildly bizarre no one would see them coming because theyre fucking completely out there. but i kind of love that sort of nonsense in a horror movie. like lets just have a fucking good time in here for once in our fucking lives.

Halloween III is not a perfect or even a really great movie, but yknow, fuck it. the idea that only perfect films are worth watching is dumb. i appreciate the weird shit this film tried and i think it deserves a lot more respect than what it got; if it had been released under another title it probably would have gone down as a classic instead of being derided for years, you ask me.

now things start going rapidly downhill

Halloween 4: The Return of Michael Myers

Halloween 4 is when Jamie is introduced as the new final girl; Laurie’s seven year old daughter, after Laurie herself died off-screen in a fucking car crash. the decision to kill off Laurie came from Jamie Lee Curtis decided not to return to the character and instead of recasting her, they went with just having her… die. off-screen. in the franchise where the previous two movies were about her triumph and determination to stay alive. like its the casual thoughtlessness of this that, the idea no one would give a shit a character returned, that in my eyes epitomises how fucking little anyone cared about this franchise going forward.

man the idea of Laurie dying completely irrelevant to Michael… thats a lot. anyway continuing on his quest to erase anyone related to him, Michael starts targeting his niece Jamie for the three movies in the franchise. this is where the series started rapidly losing any grip on reality. while Michael always had some kind of superhuman elements to him (he took six bullets to the chest and survived in the first movie) these became increasingly wildly exaggerated. now hes crushing peoples skulls with his bare hands shit like what the fuck. first of all do that to me and secondly, it was this kind of slide into unreality that let the supernatural elements of the series creep in further until you end up with the shitshow that is Halloween 6. like it was the decrease in the impact of violence and human life that really fucked this franchise over.

this film is not great. its a definite decline in quality after 2 and was on the slippery slope downwards. it has some high points, primarily in Dr Loomis. Donald Pleasance is a better actor than most movies deserve and brings gravitas to a role that in the hands of a less capable actor would be laughable. his sincere plea to Michael at one point to just kill him instead of going after Jamie is honestly fucking tragic.

outside of that, the film isnt massively interesting. Michael himself isnt particularly threatening or engaging, and his mask looks like shit in this film. the characters in this film are largely very stupid, also, which doesnt help anything much.

Halloween 5: The Revenge of Michael Myers

if theres a Halloween movie people talk about the least, its this one. II has the sibling twist, III is the black sheep, 4 is the return, even 6 gets talked about for its troubled production history. no one has anything to say about Halloween 5. and thats mostly because there is fucking nothing to say about Halloween 5. it is a relentlessly fucking dull movie that pads out its 100 minute run time with endless unnecessary scenes of shit that does… nothing. this film is dull in a way that i find incredibly detestable. i cant even watch it through a haze of impassioned anger like i can with the also incredible dull Halloween II (2009). its just fucking boring. every single scene drags like its trying to walk on two broken legs. the plot is so bare bones its nonsensical. it constantly adds new characters and new elements but all that does is makes it more incoherent and confusing. watching this movie i literally found my fucking eyes glazing over in my skull. if this film was edited correctly it would be twenty minutes long. i cannot fucking emphasise enough how much of relentless slog it is. Halloween 4 was dull but even that had the lifeline of ‘some cool ideas’. Halloween 5 is nothing. Halloween 5 is puddle dirt water.

Halloween 6: The Curse of Michael Myers

if Halloween 5 is puddle dirt water Halloween 6 is just a fresh hot glass of piss. there are two versions of Halloween 6, the director’s cut and the theatrical release, and both are wretched. this film went full ham with introducing the supernatural elements, telling us that Michael was his whole life psychically controlled by a pagan cult called the Cult of Thorne in order to make Halloween scary again or summon the devil or who fucking cares. this movie is fucking insufferably dull, totally absurd, and wildly unsympathetic. i loathe Halloween 6 and every terrible, stupid plot decision it makes. Paul Rudd defeats Michael Myers by drawing druid symbols on the ground and Michael just gives up and lies down. theres a baby that does nothing and serves no purpose. Halloween is apparently banned in Haddonfield, which makes this more closely related to Footloose than Halloween i think. this film takes itself incredibly seriously while spouting nothing but total fucking bullshit drivel and i dont believe that anyone involved in this movie, from the cast to the cameraman to the guy who served the lunch had any faith in this movie outside of the vague hope it might make money and i wish this movie had been burned at the stake. also i hate Paul Rudd.

Halloween H20: 20 Years Later

oh thank fucking god finally some good fucking food. Halloween H20 took the decision to retcon all the sequels (except II) twenty years before Halloween 2018, proving that everyone knew 5 and 6 were fucking mistakes.

this film loses a lot of the Halloween feeling in favour of making a more generic late 1990s/early 2000s style horror. theres nothing particularly interesting about the way this movie is directed or shot, the music is largely very generic, it has a generally uninteresting glossy quality to it that studio movies always do. its very obvious this movie was inspired by Scream and it looks a lot more like Scream than it does Halloween. all of this makes me kind of sad, but other films in the franchise have proved that other directors generally are not capable of imitating Carpenter’s style so maybe its better they dont really try.

what H20 does so well, and the reason i love it so much, is that it explores the relationship between Michael and Laurie, which is something im endlessly fascinated with. this was the first movie to have Laurie shake off her fear and rise up against Michael, and while it doesnt do it with quite as much depth and intelligence as Halloween 2018, it still has a fucking good crack at Laurie’s character, and its still powerful watching her turn on the man who terrorised her for years. Michael is great in this movie too; while he has a terrible mask, watching him back on his shit as a furious force of nature who wants nothing more than to destroy anyone who gets in his way.

honestly i kind of enjoy having a Halloween in a different style; theres something fun about seeing characters recontextualised and done with justice and empathy. most of the Halloween sequels before this one (and after, looking at Resurrection) are shallow, unconcerned with any kind of emotional depth or personality. and while a lot of the stock filler characters in H20 who are lined up for the chopping block arent that interesting and dont particularly standout, watching Jamie Lee Curtis’ performance and seeing her interplay with Michael is enough. and most of the side characters arent particularly annoying, which is more than i can say for half this franchise.

this film also has what is one of my absolute favourite endings in a movie ever; the final confrontation between Michael and Laurie has a particular interaction between them that i absolutely adore and that alone is enough to make this movie one of my favourites.

H20 isnt perfect; it weirdly feels like a blueprint that Halloween 2018 would later refine into a better movie, but the idea its going to be completely disregarded for Halloween 2018 in the future makes me a little sad. in the face of so many fucking mediocre and awful Halloween sequels it did the right thing in trying to focus on what actually mattered; the connection between Michael and Laurie, although i dont feel like it succeeded in making Michael as scary as 2018 would much later. that said, the shot where Michael and Laurie just stare at each other through the glass of a window? that gives me chills every time. and hearing the Halloween theme kick in as Laurie marches off into the school with an axe looking for Michael is so fucking triumphant.

i love H20 even if Michael’s mask looks like his hair was dunked in a bucket of water and then gently blow-dried. i have no idea why it looks so fucking stupid in this movie. why is it so hard to get Michael’s mask right. you wouldnt think it was that fucking hard. anyway, i really fucking love Laurie Strode a lot, which didnt help to make Resurrection any easier to swallow.

Halloween: Resurrection

so whats the obvious thing to do after you have a movie where the power and emotion all comes from the emotional catharsis of seeing a woman get her vengeance on her tormentor? you, uh, make a sequel in which she is immediately defeated and pointlessly killed after its revealed her victory at the end of the previous film was entirely false, and then you never return to focus on her and instead introduce a horde of entirely uninteresting stock characters. yeah, makes sense.

Resurrection is fucking incredibly stupid, in the kind of fucking hysterical way only really bad horror movies can capture. theres absolutely nothing of Halloween in this other than the presence of Michael, who just as easily could have been replaced with anyone or anything. the story has a group of people on a reality show staying in the Myers house to… stay there? its not entirely clear what the challenge is meant to be, other than to just be inside the house, which i imagine gets to be pretty dull viewing pretty quickly. theres no suggestion theyre like, hunting for ghosts or something along those lines, theyre just… looking at stuff.

Michael slopes around this movie like he doesnt fucking understand where he is or whats going on, an entirely out of place relic of better times past while the cast cavorts around him doing nothing of interest and having no plots or characterisation to speak of. the film has exactly two or three funny moments, including the legendary ‘Michael Myers getting electrocuted in the dick by Busta Rhymes’, but youre way, way better off just looking that up on youtube instead of watching this movie. there is an hour of pointless plot development about characters no one cares about until Michael starts fucking killing people. this movie shouldnt exist and we should all go back to pretending it doesnt.

and thats it. thats all the halloween films. i can die now.

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Glenn Close: You lose power if you get angry

From vengeful mistress to Agatha Christie matriarch: the actor talks about Harvey Weinstein, mental illness and growing up in a cult

Glenn Close and I sit at the corner of a large boardroom table in an intimidatingly minimalist office on the 14th floor of a Los Angeles talent agency. Its the kind of environment in which Patty Hewes, the ruthless lawyer Close played in Damages for five seasons, would feel at home and Im almost waiting for her to stand up, slam both hands on the table and shout, Ill rip your face off or any of the other terrifying put-downs that defined her double Emmy award-winning performance.

But Close is in high spirits and radiates such warmth I barely notice the chill from the tower blocks air-con. After we fiddle with the settings on our swivel chairs, which are so high they make anyone under six foot kick their legs like a child on a swing, the 70-year-old, six-time Oscar nominee and star of stage, television and film starts telling me about her dreams. I have had a lot recently, full of this wonderful love for a younger man. The dreams just keep coming and I wake up thinking, that was wonderful! It wasnt necessarily us doing the sexual act, just the feeling of love.

With her white hair cut to a sharp crop, and wearing a relaxed navy blazer, chinos and black scarf on account of the arctic corporate temperature, she looks stylish and fit. I have never felt better in my life, and I am, like, 70, she says. Im really a late bloomer.

She says she feels a disconnect between how she sees herself and how people may view me when I walk down the street, like: Theres an old lady. You know, there is now this cult of the model. Everyone on the red carpet is made into a model. That is very hard to not play into I have a bit of podge I am trying to get rid of, but its hard. I just think, Oh fuck, Ive been doing this my whole life! But the irony is, you just get better and better with age. You dont feel less alive or less sexy.

In Agatha Christies Crooked House. Photograph: Nick Wall

We are here to talk about Crooked House, the Agatha Christie adaptation debuting on Channel 5, before its theatrical release, in which Close plays Lady Edith, a matriarch of a very dysfunctional family. Close says, Christies grandson came to the set and he validated the fact that it was her favourite book, and the one that had never been adapted. He said when she handed it to the publisher, she was told she had to change the ending, because it was too upsetting and controversial. She refused. Its still pretty controversial.

This production, co-written by Julian Fellowes, might not be as spendy as Kenneth Branaghs $55m Murder On The Orient Express, but the ensemble cast is equally starry: joining Close are Gillian Anderson, Max Irons, Terence Stamp and Christina Hendricks. Close presides over her co-stars with gravitas and grace, in an understated performance that finds the humour in an otherwise bleak setup. But youd expect nothing less from the actor whose 40 years in the business started with star turns in Broadway productions (she won a Best Actress Tony in 1983 for Tom Stoppards The Real Thing). Her first film role, at the age of 35, was with Robin Williams in The World According To Garp, for which she received an Oscar nomination as she did for her supporting roles in The Big Chill and The Natural. Her performances in Fatal Attraction, Dangerous Liaisons and Albert Nobbs, about the life of a transgender butler in late 19th century Ireland, which she also co-wrote, racked up further Oscar nominations but still no win. This is seen by many as a travesty: Close brings a precision to her film work, honed through her years on stage. She has that rare taut quality Jack Nicholson also has it where you believe that beneath the steely control she is capable of snapping at any moment.

It was this that led Andrew Lloyd Webber to cast her in 1993 as the tragic silent movie star Norma Desmond in Sunset Boulevard on Broadway. Close reprised the role 23 years later, getting her old costumes out of storage (she has kept all her costumes and recently donated the collection to a university in Indiana) for its revival in Londons West End.

As Alex Forrest in Fatal Attraction: Clearly she had mental health issues. Photograph: Rex/Shutterstock

But it was her Oscar-nominated turn as Alex Forrest in Fatal Attraction in 1987 that proved career-defining. Thirty years on, Close still counts Forrest as the character of whom she feels most fond; she has admitted to fighting tooth and nail against the films eventual denouement, which turned the character into a bunny-boiling psychopath and Close into the casting directors go-to woman on the verge for years afterwards. Now we have the vocabulary to talk about these things, clearly she had mental health issues, she says.

Close sits regally still as she speaks, emphasising her points by leaning forward and locking eyes. Shes comfortable with silences and often takes a theatrical beat or two before answering questions. Shes all poise and control, but does she ever lose her temper?

I express my feelings quietly. I am not afraid of confrontation, but I am not particularly good at it. If I get attacked, I am not good at attacking back. There is fight, flight and freeze and I tend to freeze. That is not a strength of mine. I love the fact that my daughter Annie [Starke, an actor] is more of a fighter than I am. She doesnt let people get away with shit. While she agrees that women have a harder time being angry, publicly, than men, she says, I have played a lot of characters, and actually anger makes you lose power. Patty Hewes [in Damages] she hardly ever lost her temper, but when she did, it was very specific. I have always felt you lose power if you get that angry.

The collective outpouring of anger among women in Hollywood right now is something of which Close is acutely aware. She says that sexism in the industry has shifted more slowly than it should have done throughout her career: It took Harvey Weinstein and someone calling him out [for real change to happen]. I know Harvey, and he has never done that to me, but people would say he was a pig. I never knew that it was that bad and I dont personally know anybody who has endured that. I would like to think that I would have done something about it.

We discuss whether its possible to separate the work from the personalities involved in it. News has just broken that House Of Cards will be back for another series without Kevin Spacey, after it was originally canned because of harassment claims brought against its leading man. Close wraps her scarf around her chest and fixes me with her electric eyes. Artists, to make a huge generality, walk on a very thin line. Sometimes, like my beloved friend Robin Williams, who was one step away from madness, whatever makes them a great artist also makes them very complicated human beings. Again, that doesnt mean they can prey on and abuse people.

With Harvey Weinstein in 2013. Photograph: Mike Coppola/Getty Images

At the root of the problem of sexism in Hollywood right now is, Close says, biology. I think the way men have treated women, from the beginning of time, is because they have different brains to women. So I am not surprised by it at all. I say to a guy, Tell me the truth, if you see a woman walk into a room, what is the first thought that goes through your head? His answer, always, is, Would I fuck her? It doesnt mean they act on it. If you can evolve into a society where men know that they should not always act on it then there has been a positive revolution. But you cant just say that theyre not going to have the thought that is ridiculous. It also has to be the women, who are not powerful, to be OK to say no and leave the room. I think its unrealistic to say were going to change but we have to evolve.

I ask Close who she thinks is a great man today. She is silent, thinking, for what feels like a full 60 seconds in which I am so tempted to throw out some options: Barack Obama, the Pope, the friendly security guard on reception who let us in

Nelson Mandela, is her final answer, but Im not sure shes convinced. I guess for me, she says, greatness is taking your humanity and still doing the good thing. Its sad to say that there are very few men, who are leaders, who have some sort of moral code that they dont deviate from because of popular opinion.

She thinks we are undergoing a crisis of masculinity: In the public mind, yes. I was outraged when I heard that there was a war against men I was like, are you joking? What do you think has been happening against women for centuries?

Close knows all too well about the misuse of power, because her own upbringing was, as she puts it, complicated. When she was seven, her parents joined a cult. Moral Re-Armament or MRA was a modern, nondenominational movement founded by an American evangelical fundamentalist which extolled the four absolutes: honesty, purity, unselfishness and love. Her father, a physician working in the Congo, sent Close with her brother and two sisters from the family home in Greenwich, Connecticut, to live at the MRA HQ in Caux, Switzerland (Closes mother, Bettine, was a socialite).

She is vague on the details but clear on the impact this experience had on her as a teenager: I was repressed, clueless and guilt-ridden. The timeline is patchy, but Close travelled with MRA in the 60s as a member of their musical groups, and spent time back in Connecticut at an elite boarding school. I had a wonderful time at Rosemary Hall, a girls school, she says. I was in a renegade singing group called the Fingernails: A Group With Polish. But she remained, as she calls it clueless. A lot of my friends knew boys youd have these horrendous dances with boys schools and they would get the guys they wanted and I would just stay with the person I was with.

As Patty Hewes in Damages. Photograph: Rex/Shutterstock

She was briefly married before going to university. It is a complicated story for me. I was married before college, and kind of in an arranged marriage when you look back on it, and my marriage broke up when I went to college, as it should have. I was 22. But my liberal arts school had a wonderful theatre that was my training, my acting school.

Was that where she finally learned about sex, popular culture, the ways of the world? Not really, she says. I still am learning.

Close has two sisters, Tina the eldest, and Jessie her younger sister; and two brothers, Alexander, and Tambu Misoki, who was adopted by Closes parents while living in Africa. At the age of 50, Jessie spent time in a psychiatric hospital and was diagnosed with bipolar disorder, a weight that had been hanging over the family, undiscussed, for years. Talking about mental illness just wasnt done, Close says. You dont have a vocabulary for it and youre also very aware of appearances. You dont want to appear a crazy family.

In 2010 Close founded Bring Change to Mind, a charity that aims to end the stigma around mental illness by talking openly about it and its effect on families. It was my nephew who was first diagnosed with schizoaffective disorder. This is basically schizophrenia with an ingredient of bipolar. And when that happened, it was like, What? My sister Jessie, his mother, didnt know what was wrong. He went to the hospital for two years and that saved his life. Then Jessie was, finally, correctly diagnosed herself.

With sister Jessie in 2009. Photograph: Getty Images

Close felt a duty to her family to give them a high-profile person who is not afraid to talk about it publicly. It affects the whole family. We always knew my grandmother and mother had depression my sister does, I do to a certain extent. But I didnt know my great-uncle had schizophrenia. I knew my half-uncle died by suicide. There was a lot of alcoholism addiction, self-medication. Nobody ever talked about it. I knew my grandmother was depressed, but at first I thought she lived in a hotel, not a hospital, because she always said how good the food was.

Close says she and her siblings are of one mind politically, but admits she does have members of her family who voted for Trump. I tried to understand that. Theyre not crazy people who have been brainwashed by Fox News, but I try to understand the anger, because I think that has been building up ever since Watergate. It was watching that scandal unfold that made her realise Americans have always been naive, we just take for granted what we have, and we always thought of our leaders as good people. With Watergate, people became cynical about government.

Today, she says, Washington is a bunch of self-serving She searches for an expletive and after a second settles on men. She says, Its hard to believe that people are so out for themselves. It goes against what you would like to believe about your country. I feel eloquence is incredibly important for a leader, and we had that with Barack Obama, who made his initial impact because he gave that incredibly eloquent speech, but he lost his eloquence in his presidency. We always need someone to say, I hear you, someone who can put their words into unity and hope and we dont have that. I think the last person may have been Robert Kennedy.

And now you have Trump tweeting nonsense.

Its devastating. Social networks are now like our nervous system, and if you keep pumping that kind of crap into the nervous system, it is going to have an effect on a population.

With Kevin Kline in The Big Chill. Photograph: Rex/Shutterstock

Close doesnt talk politics with her friends because she doesnt really have many friends. I have always forced myself into situations I am not comfortable in. I am an introvert, and I was painfully shy as a child. I think I still have a big dollop of that in my persona. I read a book called Quiet: The Power Of Introverts In A World That Cant Stop Talking and it was a real comfort to me I realised I was that person I had always been. And it was at that point I told myself to stop pushing myself into situations that I dont enjoy. I dread cocktail parties.

She tells me shes pretty reclusive and can count her closest friends on two fingers. I ask if shes still good friends with Meryl Streep.

I have never been close friends with Meryl. We have huge respect for each other, but I have only done one thing with her, The House Of The Spirits.

I apologise for assuming they were pals, being of a similar age and stature in Hollywood, and admit this negates my next question: Who would win in an arm wrestle, you or Meryl?

Close laughs. Oh, I would, because I am very strong.

***

The tightest bond Close has is with her only daughter Annie, 29. Annies father is the film producer John Starke whom Close dated for four years from 1987, but never married. Annie was never a door-slamming, difficult teenager. Close tells me: When my Annie was three, she looked at me, and said, I want you. I knew what she meant. I, at the time, was a single working parent, sometimes even when I was home, working or producing something, I was there and not there.

With daughter Annie Starke in 2010. Photograph: Rex/Shutterstock

She doesnt think its any easier for working mothers today and acknowledges, I had it easy because I could afford to have help think of the women who cant afford it and have to put their child in some shaky childcare centre. No, I think it is incredibly hard for women. Any person, in any profession, feels that tug [of guilt]. We discuss the intimacy of the single-parent, only-child bond. Once, I went to vacuum Annies car seat as we were moving house, and a lot of life had happened there, so I was crying. She said, Mummy, are you OK? I said, Yeah, Im OK. And she said, Here I am.

She was married to businessman James Marlas from 1984 to 1987 and then, following other relationships, including that with Starke, she married again, in 2006, to venture capitalist David Evans Shaw, divorcing him nine years later.

Would she marry again?

I dont know.

Does she think marriage is important?

I think it is a positive evolutionary component that we are better with a partner. I think to have a partner that you can go through life with, creating a history with, that you can find a comfort with, have children with there is nothing better. This is an opinion I have come to very late in life, at an ironic moment, where I dont have any of that. I dont know if I will again. But I do think its a basic human need to be connected.

Despite this, shes happy on her own right now. This is a good time in life. I do think, what would it be like to have a partner again? But it would have to be very different from what I had before. Then I have that great dream and wake up happy.

Crooked House is on Channel 5 at 9pm on 17 December.

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Read more: https://www.theguardian.com/film/2017/dec/16/glenn-close-harvey-weinstein-mental-illness-cult-fatal-attraction

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