“Hicks’ generally life-size sculptures straddle such ambiguous territory between anthropomorphic and theriomorphic that the human-animal divide becomes nearly irrelevant, indeed even immaterial despite the grave, weighty materiality of her forms. A minotaur-like character, actual or masked, plods along with audible tread—in one hand a smaller beast’s posterior quarters, in the other its head. This is a towering bronze called Banker II, its implications both chilling and clear. Banker I is a less beastly, somewhat more ghostly pairing: whether the bear is leashed to the financier, or vice-versa, is debatable; to whom the market belongs, or who dominates, an open question. Amalgams of straw and plaster, which are then occasionally cast in bronze, lend prickle and clump to these creatures Hicks has been crafting since the ’80s, and their monstrosities are at once haunting and placid. Behold calmly the spent eyes of these mysteriously menacing, or perhaps amiable souls. To call them captivating is most certainly understatement.”
Gilliam resisted pressure to cast an established American actress, wanting someone whom few viewers had seen. The director stated that “the difference is, in particular the American actresses, they all look similar, they’re all the same shape, they’re all trimmed down. I want somebody’s who’s real and beautiful at the same time. She had a kid a couple of years ago, so she has a real body as opposed to these manufactured bodies.
By Terry Gilliam, in why he chose to cast Mélanie Thierry as the femme fatale in his upcoming film, Zero Theorem.