Jane Fonda and Robert Redford press conference Venice Film Festival 2017

Yeah, my question is for Ms. As my colleague mentioned, you know, dating you to barefoot in the two-part question. The first is what was your impression of each other back then because you were both kind of starting your film careers then and that film is really about youthful sexuality initially. I mean these two people can't keep their hands off each other and now we cut to this other chapter of life when people are still grasping for intimacy and people think that after a certain age maybe you're not supposed to have it anymore. So I wonder if you could just talk about those two aspects. I'll start. It's actually barefoot in the park it was me that couldn't keep my hands off him. I was constantly forcing myself on him. While we were making this movie now, The Souls at Night, Our Souls at Night, I realized they're totally different films but the dynamic between my character and his character were somewhat similar to Barefoot in the Park. My character, Addie, is the one, she's the spark plug. She's the one that says, come on, let's do this. You know, and she's always kind of moving them forward and he's kind of lagging behind. And so there was that similarity that was a lot of fun. And I just love the fact that these films bookend our careers. You know, that we played that young love just getting married and now we played old people's love and old people's sex. Although, you know, in my opinion, Ritesh cut the sex scene too soon. Or maybe that was you that decided to cut it too soon. No, it wasn't me. He doesn't like sex scenes. I live for sex scenes. I was with him. It was a really hard decision. He's a great kisser. So it was fun to kiss him in my 20s and then to kiss him again in my almost 80s. What do you mean almost? I'm speaking for myself. Well, I can talk about, I think Jane missed the fact that our first film was not Barefoot in the Park. It was a film called The Chase back in 1965. And that's where Jane and I first came together as film artists, you might say. And I can only speak for that moment and how that moment extended to now. Which was that, from my point of view, things with Jane have always been easy. Things just sort of fall into place. They just fell into place. It did not need a lot of discussion. It did not need a lot of prep. It was just something that was between us that didn't need much explaining. It just fell into place. And I think that stayed that way ever since that time. And still is. And so that's one of the things I've enjoyed. Just being able to be with someone where things fall into place that don't require a lot of discussion. And there's a love there. There's a connection there. And it has a lot to do with work and what your attitude is about work. But also, what is your attitude about life? So that's all I'll say. Hello, Ward from Belgium. Public TV Belgium here. Hi. I want to talk about the art of acting. Because your performances are so beautifully understated almost. Never doing too much. And I was talking to Matthias Schoenaerts, your Belgian co-star in this film, last week. And he said he was so impressed by you. So can you return that compliment? But also, do you still learn from exciting younger new talents like that? When you work with them? Who's that question directed at? Sorry, Mr. Redford and Ms. Fonley. Okay. Did you hear the question? I did, yes. See, I can hear. I'm just teasing. I saw Matthias in Rust and Bone. And I'm sure that many of you saw that French movie. And I thought, oh my gosh. This is not an actor. They found somebody in the south of France to play this part. This can't be an actor. And so when Ritesh hired Matthias to play my son, I was so thrilled. And I must say it was wonderful working with him. And I learned from him. You know, he's very understated and yet he's always very, very full. And it was a delight to work with him. It was great. Give him my love when you see him. Helen. Hello. Hi, over here. Helen Barlow from Australia. Ms. Fonda and Mr. Redford, Scott's question before also alluded to old age love in general. Does it change over the years? Have you experienced? And in cinematic terms, the Marigold movies have showed that older audiences who largely go to the cinemas these days really hanker for these sorts of movies. Romance in older age, really box office success. Was that part of your agenda in producing this as well? But general question about love as you get older, does it change? Romantic love. How does romantic love change when you get older? No, it just increases. It depends on who you're with, of course. I think it gets better because first of all, we're braver. What the heck do we have to lose? So my skin sags. So does his. I know what my body needs. You know your body better. And so you're not afraid to ask for what you need. And so I think on a love and sexual level, it gets better. And I think although we never actually see the sex. Darn it. In this movie of ours. I think it's great that they still want to have sex and that they do and that they become profoundly together. And then they have to, of course, then they have to separate. The sex is going to be in the DVD extras. I think she's asking about films, about older people, the scarcity of it. And films like The Marigold Hotel has proved that there is an audience there. Yeah, and I'm in a Netflix series called Grace and Frankie. And I've had three lovers already in that series. And it was fun. And audiences, it's a hugely popular series. And I'm just so happy that we're giving a cultural face to older women. Yay, Netflix. There's a question there. Yes, hello. This is Peter Hoot, German Television. Talking about the sex which you mentioned and the romantic love. I really went along with the film until the very end. And I was so deeply disappointed that the character of Addie goes away just to take care of her family and her rotten son. What did you feel personally about this? I mean, it all starts so hopefully. And then she just goes away. Why don't they stay together? What do you feel about it? Well, Ritesh, why don't you answer that question? Well, I don't know. I think when you put something out there in the world, a movie, a book, a painting, it's not mine anymore or anybody's on this table. It's yours now. When I was making it, I thought the ending was very, very hopeful, actually. But now it's yours. And it's yours to take away from what you take away from. But my mother says something interesting always, that in life, don't ever fight technology and don't fight your children. So I think that's great advice. I was always thinking about that while I was making that movie. And I love the irony of how they connected through technology in the end. I thought that was hopeful enough for me. In my mind, my son, Matthias, gave me an ultimatum. If you see him again, you will never see me and your grandson again. That's what I had to have in my mind. So there was no choice.