In a candid interview, the acclaimed performer delves on topics ranging from her latest role as a regal sea creature to the profound lessons gleaned from onstage mishaps and meeting admirers.
The most recent role is Queen of the Cuttlefish in The Pout-Pout Fish; supposing you had the opportunity to be a fish for a day, which one would you choose and why?
Without hesitation, the blue groper residing near Clovelly beach â since it is a local landmark, and people go there specifically to spot it. I just think as remarkable that thereâs a local fish that folks genuinely seek out and discuss â itâs a special fish.
Which movie do you always return to, and why?
The 1942 film To Be Or Not To Be. I love this film. During my growing up, it would air on the ABC every now and again, and one time I videotaped it. I just thought it was hilarious. Itâs Carole Lombard and comedian Jack Benny. Recently they were showing it at the Ritz and I discovered that it was the preferred movie of a friend of mine, and so we went and just laughed and laughed. Itâs such masterful work of humor and all the actors in it are fantastic. Mel Brooks did a remake in the 1980s â which was not as effective. But the original film is a brilliant comedy, worth viewing regularly.
What is the most valuable lesson you took away from someone youâve worked with?
Years ago I performed in A Dollâs House with Pete â now my spouse, but back then we were not a couple. We portrayed characters as scene partners and on opening night I stumbled â I skipped forward some dialogue in the script. I didnât know of my error but I suddenly realised things were off. I remember looking at him, and he expertly rescued the moment, and then the scene took off again and proceeded splendidly. But I think what I learned in that moment was, first, consistently rely on the people in your scene. If you donât know your place, if you turn around and toward the actors sharing the stage with, you will find where youâre meant to be somehow. It is a profoundly collaborative endeavor, performing live. And secondly, just to have a lighthearted attitude regarding it. Occasionally when something goes wrong, things can ignite in a wonderfully positive way provided you are really present then. It can be a gift when things go completely the wrong way.
Whatâs been your most touching interaction with a fan?
Itâs not just one specific meeting but when I encounter devotees of Lord of the Rings, especially female fans, I am told numerous stories about what Eowyn impacted them when they were younger ⊠things that had happened in their lives and how much Eowyn signified for them and was a form of support to them during those periods.
Which questions get asked about the most by Lord of the Rings fans?
The most specific question is invariably regarding the stew her character prepares for Aragorn. âDid that stew taste as terrible as it looked?â It has evolved into such a joke, the entire episode involving that dish, and all fans wish to know the contents of the pot, and its preparation method, and in your opinion her skills improved now, or do you believe she really is a poor chef? People are, in my view, obsessed with the humour of that scene. And I go into great detail describing the components that made up the stew â because I remember the efforts made; like they even put bits of colored thread to make it look like bits of veins in the meat. They went to extreme measures to render it as bad as they could.
What was your most embarrassing run-in with a famous person?
I was at a pilates class and another participant lying down doing pilates, and the instructor remarked, âOh, Miranda, this is Miranda.â And I made some joke about, âmight you be a journalist?â Since Miranda is an uncommon moniker and most of the time when someoneâs a Miranda, they work in media. I hadn't properly identified her. And as she rose, it was Miranda Richardson. At that point, I was at a loss for what to say. I was obliged to stay and do my class, and I felt intense awkwardness. I wished to explain: âGoodness, I am aware of your work!â I think her talent is immense and I was just too starstruck to utter a syllable.
Itâs been confidently claimed that you were named after Prosperoâs daughter in Shakespeareâs The Tempest, and yet Iâve read you saying otherwise â can you clarify this definitively?
Yes â I was christened for the Sydney suburb. My mother heard on the radio that they were opening a shopping centre at that location, and the name sounded like a nice name.
What was the chaotic thing thatâs ever happened on set?
While working in Brazil on Reaching for the Moon I experienced the least organized set of my career, and yet the film emerged incredibly well. But the local crew operated in such a different way. Their concept of time there is really different. Typically, you receive a schedule and you have to be on set by a certain time. But this was sort of open ended â one would appear at one's convenience. It was a really different approach for me. All aspects were being assembled at the final moment, and sometimes the plan was unclear the next location the next day the methodology. And then youâd be in during a scene and wondering, âWhat caused that sound that just interrupted the scene? Oh, itâs the producer popping open a bottle on set, because heâs making a party.â The result was great, but goodness, itâs a distinct style of film-making.
What are you secretly good at?
Iâve always been an aptitude for numbers. I memorise numbers easier than I learn dialogue a lot of the time, Iâve just got a numerically-oriented mind. So I think if I hadnât ended up in acting, I likely might have worked in involving numbers, like mathematics or finance.
Whatâs the best piece of advice you have ever received?
During my time in secondary school, someone came to speak when we were graduating and stated, âdonât be afraid to failâ ⊠which I think is supremely valuable counsel, because you learn far more from failure than is gained from triumph. Success, you never really comprehends exactly how it happened. With failure, the lessons are abundant.
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