It’s often said that she outshines her material (like The Hot Chick, Just Friends, or each Scary Movie), but Anna Faris has proven she can also steal scenes in critically acclaimed fare such as Lost in Translation and Brokeback Mountain. After appearances in Gregg Araki’s cult stoner comedy Smiley Face and a guest arc on HBO’s Entourage last year, Faris hops back into the spotlight (as both star and coproducer) with The House Bunny, in which she stars as a former Playboy bunny who teaches socially inept sorority sisters what boys like. Considering her varied résumé, it’s no surprise that Faris also knows what gay boys and lesbians like.
The Advocate: When I told a friend of mine I was interviewing you he said he loves you so much he wants to be you for Halloween. How can he best achieve the Anna Faris look?
Anna Faris: [Laughs] Well, it’s not that exciting or that glamorous. It’s mostly sweats, a vintage T-shirt, and grubby nails. It really would be kind of a letdown.
So did you have a team of gay professionals behind your glammed-up look as Shelley in The House Bunny?
I didn’t have gay hair and makeup on set, but I did have my [gay] friend Jake Bailey, who’s a makeup artist, help me create the whole over-the-top look — the big hair, the nails, and everything. If you saw me right now, you would have a completely different impression of me.
Did the trio from The Girls Next Door give you any good makeup or fashion tips?
They didn’t really talk to me — not that I necessarily want to put that in print. [Laughs] But you know, they’re about as blond as blond can be, and I definitely absorbed some of that.
When you shot your non-nude Playboy spread to tie-in with the film release, did Hugh Hefner pressure you to show more skin?
No, but in the middle of the photo shoot I was, like, “Aw, I just want to take it all off! I don’t know what’s come over me.” I was in the mood. But my publicist was, like, “Don’t you dare!”
Might you finally bare all for your starring role in the upcoming Linda Lovelace biopic, Inferno?
It is something I’ve thought about. The director and writer [Matthew Wilder] of that movie really wants to tell the tragedy, and he doesn’t want to exploit Linda’s story, so I don’t think it would be anything gratuitous at all.