bbook: We would have thought there were less places to hide on stage. Is that why? Yeah. Theatre, if you’ve got a three-hour play there’s three hours where no one can say ‘cut’ and it’s much easier to believe yourself. In film, there’s so many things that you have to forget that surround you, and so much stopping and starting and waiting around. Sometimes, not so much in independent film but definitely in bigger films and in, you know, in Great Gatsby, I am aware what things look like in a way I haven’t really been in other films because I do know that it’s a certain kind of film and she is probably the first part I’ve played that is meant to be an object of affection. I’ve not really had that before. I’ve always just played people and it doesn’t really matter what they’ve looked like – whether they’ve had make-up on or not but they’ve always just been girls or women, whereas Daisy Buchanan is meant to be pretty or whatever. So that’s intimidating. Whereas in theatre, no one can come and check your make-up or wipe your face or, you know, shoot you from one side. You’re just free. Brit Marling said she writes her own stuff because the roles she was being offered make her ‘sick in the soul’. Does that resonate with you? Or have you moved past that stage? Yeah, I think she’s right. Especially for, not to sound clichéd, but especially for women you probably do have to take responsibility and create your own opportunities. I mean, the parts that I’m playing next year are really small supporting roles – the Coen brothers things is a character part, she’s in a couple of scenes. And it’s the same with the Spike Jonze film. And there’s no leading or even large supporting roles that, sort of, have struck me. And some are brilliant but they’re things that I feel I don’t want to repeat. So yeah, there is. I’ve been talking to Steve about that as well, and Steve… Steve I saw in LA last week and he said, ‘Go away and read stuff, find your own things and option books and whatever.’ And that is something that I probably should do. My alternative to that is always going back to theatre. When I think there’s nothing to do I go back to do a play because classic revivals always, if you have the right director and the right idea, always work on stage, whereas with film, they tend not to in my opinion. But yeah, I can’t write. Anything. So I’m kind of stuck there but I could get someone else to write something. Carey Mulligan in this month’s LWLies Shame Issue

bbook:

We would have thought there were less places to hide on stage. Is that why?

Yeah. Theatre, if you’ve got a three-hour play there’s three hours where no one can say ‘cut’ and it’s much easier to believe yourself. In film, there’s so many things that you have to forget that surround you, and so much stopping and starting and waiting around. Sometimes, not so much in independent film but definitely in bigger films and in, you know, in Great Gatsby, I am aware what things look like in a way I haven’t really been in other films because I do know that it’s a certain kind of film and she is probably the first part I’ve played that is meant to be an object of affection. I’ve not really had that before. I’ve always just played people and it doesn’t really matter what they’ve looked like – whether they’ve had make-up on or not but they’ve always just been girls or women, whereas Daisy Buchanan is meant to be pretty or whatever. So that’s intimidating. Whereas in theatre, no one can come and check your make-up or wipe your face or, you know, shoot you from one side. You’re just free.

Brit Marling said she writes her own stuff because the roles she was being offered make her ‘sick in the soul’. Does that resonate with you? Or have you moved past that stage?

Yeah, I think she’s right. Especially for, not to sound clichéd, but especially for women you probably do have to take responsibility and create your own opportunities. I mean, the parts that I’m playing next year are really small supporting roles – the Coen brothers things is a character part, she’s in a couple of scenes. And it’s the same with the Spike Jonze film. And there’s no leading or even large supporting roles that, sort of, have struck me. And some are brilliant but they’re things that I feel I don’t want to repeat. So yeah, there is. I’ve been talking to Steve about that as well, and Steve… Steve I saw in LA last week and he said, ‘Go away and read stuff, find your own things and option books and whatever.’ And that is something that I probably should do. My alternative to that is always going back to theatre. When I think there’s nothing to do I go back to do a play because classic revivals always, if you have the right director and the right idea, always work on stage, whereas with film, they tend not to in my opinion. But yeah, I can’t write. Anything. So I’m kind of stuck there but I could get someone else to write something.

Carey Mulligan in this month’s LWLies Shame Issue

Reblogged from bbook with 77 notes / 10.01.12 / Permalink