Some background: The Salvation, which was shot in South Africa but is set in an American frontier town in 1871, is about a Danish settler, Jon (Mads Mikkelsen), whose wife and son are brutally murdered by the brother of a gang leader and, as it turns out, regional banker, Delarue (Jeffrey Dean Morgan). Indeed, it is precisely this fact that enabled Green to deliver such a great performance in the new and excellent Danish western The Salvation without saying a single word through the entire film. On a stage, which is always distant, a face means comparatively little on a movie screen, a face is almost everything. One fact that separates film from theater: Acting is less important than visage. She has a face, and particularly eyes-big green eyes-that can communicate all the needed information about her character's soul or emotional state. I admire her mostly on a cinematic plane. My fascination with Green is not, however, as sordid as Pitt's response implied. Pitt, who had heard me sing nonstop praises for his performance of the Kurt Cobain–like character in Gus Van Sant's Last Days, looked at me for a moment and, as if finally realizing that my devotion to him was lower than the one I had for his costar in The Dreamers, said with almost cool cruelty: 'You and every other man wants to know that.' I never brought the matter up again. ('You are my first love, my first great love,' Green says to Pitt in The Dreamers, after fucking him on a couch.) 'What is she like in person?' I asked him with a tone that I thought perfectly concealed my fascination with the actress. In a sense-at least a cinematic sense-Pitt deflowered her.

The Dreamers was Green's first movie, and the first of the many sex scenes in her career-the most outrageous of which is in 300: Rise of an Empire. Pitt was sitting on the chair, the sun was setting in one of the windows, and Madison Street, which was three stories below us, was clogged with cars. On the penultimate day of the rewrite, I finally brought up Eva Green.

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