In a candid interview, the acclaimed performer reflects on subjects as varied as her newest character as Queen of the Cuttlefish to the invaluable wisdom learned through theatrical mistakes and meeting admirers.
Your latest role is the monarch of the cuttlefish in The Pout-Pout Fish; if you could be a fish for a day, which one would you choose and why?
Without hesitation, that particular fish found at Clovelly beach – since it is a local landmark, and individuals visit to see it. It strikes me it’s cool that there’s a local fish that folks genuinely seek out and discuss – it’s a special fish.
Which movie do you always return to, and why?
Ernst Lubitsch's 1942 film To Be Or Not To Be. I love this picture. During my childhood, it used to come on television every now and again, and once I videotaped it. I found it was so funny. It’s the legendary Carole Lombard and Jack Benny. Recently they were showing it at a cinema and I discovered that it was the preferred movie of an acquaintance, and so we attended and just laughed repeatedly. It is a masterful work of comedy and the entire cast in it are fantastic. Mel Brooks remade it in the 1980s – that wasn’t as effective. But Lubitsch's version is an exceptional farce, to be watched regularly.
What’s the best lesson you took away from someone you’ve worked with?
I was doing A Doll’s House with Pete – now my spouse, but back then we were not together. We portrayed characters opposite each other and on opening night I tripped up – I jumped ahead a few lines in the script. I was unaware of my error but I abruptly sensed something wasn’t right. I recall looking at him, and he completely saved me, and then our performance regained momentum and proceeded splendidly. However, I believe the insight gained in that moment was, firstly, always trust the people you’re working with. When you lose where you are, by looking and look at the people sharing the stage with, you can rediscover where you’re meant to be in some way. It is a profoundly communal thing, acting on stage. And next, just to have a sense of fun regarding it. Occasionally when a mistake occurs, things actually spark off in a wonderfully positive way if you’re really present in that moment. It can be a gift when things go absolutely the wrong way.
Can you describe your most touching encounter with a fan?
It’s not just one particular interaction but when I encounter devotees of Lord of the Rings, particularly women, I am told numerous accounts about how that character meant to them when they were growing up … things that had happened in their lives and the extent to which that character meant to them and was some kind of help to them during those periods.
What do you get asked about the most by Lord of the Rings fans?
The most specific inquiry concerns invariably regarding the stew her character prepares for Aragorn. “Was the stew really that bad?” It’s become a running gag, the whole thing about the stew, and everyone wants to know the contents of the stew, and its preparation method, and in your opinion she’s a better cook now, or do you think she really is a poor chef? People are, in my view, fascinated by the humour of that situation. And I go into great detail describing the components that made up the stew – because I remember the efforts made; such as adding pieces of colored thread to make it look like bits of veins in the meat. They went to great detail to render it as bad as possible.
What’s been your most cringeworthy celebrity encounter?
I attended a pilates class and another participant lying down doing pilates, and the teacher remarked, “Hello Miranda, meet Miranda.” And I attempted a lighthearted remark about, “oh, are you a journalist?” Because it’s an unusual name and most of the time when I meet another Miranda, they work in media. I wasn’t really identified her. And when she got up, it was the actress Miranda Richardson. At that point, I didn’t know words. I was obliged to complete my class, and I experienced intense awkwardness. I wished to explain: “Goodness, I am aware of your work!” I think her talent is immense and I was simply too awestruck to say anything.
Articles have repeatedly stated that you were named after Prospero’s daughter in Shakespeare’s The Tempest, and yet I’ve read you saying otherwise – can you clarify this definitively?
Indeed, I was named after a district in Sydney. My mother heard on the radio that they were opening a mall at that location, and she thought sounded like a nice name.
What’s the most chaotic thing that’s ever happened on set?
When I was working in Brazil on Reaching for the Moon that was the most chaotic set I’ve ever worked on, and yet the film turned out brilliantly. But they just work in such a different way. The sense of time there is really different. Typically, you normally have a call sheet and you have to be on set by a certain time. But this was sort of flexible – one would appear whenever you happen to be ready. It was a novel way of working for me. All aspects were all coming together at the very last minute, and at times they wouldn’t know the next location the next day the methodology. And then you’d be in during a scene and wondering, “What caused that sound that just interrupted the scene? Ah, it was the producer popping open some champagne during filming, because he’s making a party.” It turned out great, but wow, it’s a distinct style of film-making.
What are you secretly good at?
I’ve always been an aptitude for numbers. I retain numbers easier than I memorise words a lot of the time, I’ve just got a numerically-oriented mind. So I think had I not ended up in acting, I likely might have worked in involving numbers, like math or accounting.
What is the greatest piece of advice you have ever received?
When I was in secondary school, someone addressed us as we were graduating and stated, “have no fear to fail” … which I think is the best piece of advice, since one gains so much more from setbacks than you learn from success. Success, one rarely understand exactly how it happened. Failure, the lessons are abundant.
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