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PREMIERE: What was it about Click that attracted you to the movie?
KATE BECKINSALE: The script was really funny and it's really unusual. My father was a comedian and I grew up raised on such good comedy. There's so many comedies that are written and so few of them actually funny, so it was really kind of exciting to laugh out loud seventeen times when you're reading a script. I have four brothers, so I felt like I kind of knew what I was doing there, the whole boy vibe.
Is your sense of humor when it comes to the comedy more dry and British, or does it run toward the Adam Sandler, American brand of comedy?
It's fairly broad. I love a Noel Coward play, and I love a fart joke. Click isn't just an entirely broad comedy, there's a lot of pretty interesting layers and Adam certainly has a lot to do in terms of emotional beats. It's not just fart jokes and a boob gag. It really does go pretty deep.
How would you use the magical remote control from the movie in your life? Your director, Frank Coraci, said he wouldn't use it, that he'd want to experience every moment of life.
Yeah, well, Frank doesn't have any children. I would pause and take a very long nap every day. If that was all I could do I'd be a happy woman.
This role, as wife Donna to Sandler's Michael Newman, is pretty much the first time you've played a mother, even though you have a daughter of your own. Was that part of the appeal?
I take it as a compliment, that people didn't believe I was old enough to have children. I kind of enjoyed that one for a while. But [playing a mother] was great, I feel I've been Method studying for the last seven years. It was nice to show up and finally be the resident expert.
Do you think you're anything like Donna?
Yes, in terms of the fact I definitely identified with her having children and wanting to keep the family together and all of that stuff. But she was an awful lot more tolerant than I would be, I have to say, and she's an awful lot more glamorous at home than me. She's kind of a model housewife. I felt bad for my husband when I would get home and I'd been doing my sweatpants scene in the day, looking fantastic, and I'd get into my real sweatpants. That poor guy. Adam Sandler got the best of me.
In the film, you have to go from your present age to being a senior citizen, due to Michael's fast-forwarding. How much of a trial was all that time in the makeup chair?The aging thing sucked. The last few movies I've done I was just cackling up my sleeve 'cause I've been doing some kind of genre movies where I have a fifteen-minute makeup call and everybody else is there for eight hours. As the woman, it's very nice to be done first because that never happens. And then I kind of got my comeuppance in this one because the aging-luckily it was only a couple of weeks, but it's grim. You sit there for six hours and then you come out looking considerably worse than you did when you went in, and unnervingly like your mother, which causes a whole crisis anyway. It was tough on Adam. Adam had a fat suit as well, and I can't believe how merry he managed to stay. It would have probably taken me over the edge. Yeah, it's a bit of a shocker. There's a limit to how pretty you can feel with your face full of rubber and gray powder and stuff.
Was there a lot of improvisation on the set?
Yeah, and I really love that. The last couple of movies I've done, nobody wants to see somebody improvising being a vampire warrior, because it's just lame and embarrassing to try and come up with gothic dialogue. There's not really much of that. You have to be careful, it can get very indulgent if people are just allowed to go on and on and on, but it was a great balance on this movie where some really great, amazing, fun things happened and it wasn't just improvising, it was also kind of writing little bits and trying different things and I love that kind of atmosphere. It was one of the most fantastic working atmospheres I've ever had on a film, I have to say. Just the combination of people was brilliant.