Through a thoughtful discussion, the acclaimed performer reflects on topics ranging from her newest character as a regal sea creature to the profound lessons learned through theatrical mistakes 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 it be and why?
Without hesitation, the blue groper residing near Clovelly beach – since it is like an institution, and people go there to see it. It strikes me it’s cool that there’s a local fish that people actually go and see and discuss – it holds a unique status.
What film do you always return to, and why?
Ernst Lubitsch's 1942 film To Be Or Not To Be. I adore this film. During my growing up, it used to come on television every now and again, and one time I recorded it. I found it was hilarious. It’s the legendary Carole Lombard and comedian Jack Benny. Recently they were playing it at a cinema and it turned out that it was also the favourite film of a friend of mine, and so we attended and simply chuckled and laughed. It is a great piece of comedy and the entire cast in it are superb. Mel Brooks remade it in the 1980s – which was not as effective. But Lubitsch's version is a brilliant comedy, worth viewing often.
What is the most valuable lesson you learned from someone a colleague?
Years ago I performed in A Doll’s House alongside Peter O’Brien – now my spouse, but at the time we were not a couple. We portrayed characters opposite each other and during the premiere I tripped up – I skipped forward some dialogue in the script. I was unaware what I’d done but I abruptly sensed something wasn’t right. I remember looking at him, and he completely saved me, and then the scene took off again and proceeded splendidly. But I think what I learned then was, first, always trust the people in your scene. When you lose your place, by looking and toward the actors sharing the stage with, you can rediscover your correct position somehow. It’s such communal thing, performing live. And next, just to have a sense of fun about it. Sometimes when something goes wrong, things can ignite in a really great direction if you’re really present then. It may become a gift when things go absolutely the wrong way.
What’s been your most touching interaction with a fan?
It’s not a single specific meeting but when I meet fans of Lord of the Rings, particularly women, I am told numerous accounts about how that character impacted them when they were growing up … things that had happened in their lives and the extent to which Eowyn signified for them and was a form of support to them during those periods.
What do you get asked about the most by Lord of the Rings fans?
The most detailed question is always about the stew that Eowyn serves Aragorn. “Was the stew as terrible as it looked?” It’s become such a joke, the entire episode about the stew, and everyone wants to know the contents of the stew, and how was it made, and in your opinion her skills improved now, or do you believe she really is a bad cook? People are, in my view, obsessed with the humour of that scene. And I provide lengthy descriptions listing the ingredients that made up the stew – because I remember the efforts made; like they even put bits of red cotton to simulate the appearance like blood vessels in the meat. They went to extreme measures to render it as bad as possible.
What was your most cringeworthy run-in with a famous person?
I was at a fitness session and there was a woman on a mat exercising, and the instructor remarked, “Oh, Miranda, this is Miranda.” And I made some joke inquiring, “oh, are you a journalist?” Because it’s an uncommon moniker and most of the time when someone’s a Miranda, they work in media. I hadn't properly identified her. And when she got up, it was the actress Miranda Richardson. At that point, I was at a loss for words. I was obliged to stay and do my class, and I felt intense awkwardness. I wished to explain: “Oh my gosh, I do know your work!” I consider her talent is immense and I was just too starstruck to say anything.
It’s been confidently claimed that you were given your name from Prospero’s daughter in Shakespeare’s The Tempest, and yet you've mentioned stating otherwise – can you clarify this definitively?
Indeed, I was christened for the Sydney suburb. Mum learned via broadcast that they were inaugurating a shopping centre at Miranda, and she thought seemed a pleasant choice.
What’s the most chaotic thing that’s ever happened on set?
While working in Brazil for the film Reaching for the Moon that was the least organized set I’ve ever worked on, and yet the final product emerged incredibly well. But they just work in such a different way. Their concept of time there is unique. In Australia, you normally have a schedule and you have to be on set by a certain time. But this was sort of flexible – one would appear at one's convenience. It was a really different way of working for me. All aspects were being assembled at the final moment, and at times they wouldn’t know where they were shooting or the methodology. And then you’d be in during a scene and wondering, “What was that noise that disturbed the scene? Oh, it’s the producer opening a bottle during filming, to start a party.” The result was great, but goodness, it’s a really different style of film-making.
Do you have a secretly good at?
I’ve always been an aptitude for numbers. I memorise 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 probably would have worked in involving numbers, like mathematics or finance.
What’s the best piece of advice you have ever received?
During my time in high school, someone came to speak as we were graduating and they said, “have no fear to fail” … which I think is supremely valuable counsel, since one gains far more from failure than you learn from success. With success, you never really comprehends precisely why it happened. Failure, the lessons are so much more.
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