Fortunately I have so many girlfriends who were honest. If I say, It was amazing from the start, some people will think, It wasn’t amazing for me at first, and feel bad. Only because it’s so different for everybody. Lawrence spoke deliberately, with, as I read it, a keen understanding that she was approaching a third rail. (She did share that the baby is a boy, and that his name is Cy, after the postwar American painter Cy Twombly, one of Maroney’s favorite artists.) Lawrence said she was willing to talk about her own experience, but that she would be drawing a boundary around her baby and husband. Eventually, as we both lay horizontal on the dueling massage tables, I broached it. The subject of motherhood was starting to feel less like an elephant in the room than a giant woolly mammoth. But that doesn’t mean that there aren’t still things from my childhood that I’m working out.”
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I hesitate to say that because I would hate for somebody to go back and watch my movies, or watch this movie in particular, and think that that is the way that I’m painting my mother.
Lawrence announced that she’d thought about it and now had a more specific answer to my question: “Art more often than not is about one’s mother. Afterward, we met back in the suite for reflexology. Not in terms of the theme that I’m thinking.” Certainly her role in Joy, as Miracle Mop inventor and infomercial mogul Joy Mangano, was a little different. I’m curious if, now that I’m older and I have a baby, I’ll finally break out of that.” Assuming she meant the young, maternal, Joan-of-Arc-in-the-wilderness thing, I suggested that it didn’t apply to all her movies. “I have had a pretty consistent theme in all my movies since I was 18. It’s too personal to talk about.” In one way or another, she is always revisiting the same ground, she added. Not just because of what I said about getting married and stuff. “I get emotional every time I watch the movie. I told Lawrence that I’d wondered if there was more of a story behind this choice of film. The most central narrative involves a relationship that Lawrence’s character, Lynsey, forms with a mechanic, James, who fixes her broken-down truck, played by the supremely talented Brian Tyree Henry. On another it’s a homecoming story, about being adrift in the fraught territory of one’s family. On one level it’s a movie about acute post-traumatic stress. (Her Broadway restaging of Kenneth Lonergan’s The Waverly Gallery in 2018 was nominated for the Tony Award for best revival of a play, and its star, Elaine May, won for best actress.) Lawrence plays an American soldier who returns to her hometown of New Orleans after a traumatic brain injury in Afghanistan. Conversation turned instead to her new movie.Ĭauseway is the first film directed by Lila Neugebauer, who comes from the theater world. But I’d been warned that Lawrence was still finding her footing with the topic, boundary-wise. I felt an impulse to ask Lawrence about her baby, about giving birth-all the things two women might normally discuss in a sauna when one of them is a new mom. Wrapped in flimsy sarongs, we made small talk in the heat, the red light of my audio recorder glowing between us. If it’s awkward-slash-comical to undress and go into a sauna with someone a few minutes after meeting them, it is even more awkward-slash-comical to conduct an interview in that situation.
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