Margot Robbie interviews Carey for Vogue AUS

Written by Elise on May 03 2020

We have been blessed with yet another absolutely gorgeous new photoshoot for Vogue Australia. Carey is featured on the cover of this month’s issue, which is all about strength, solidarity and supporting one another. In this regard, Australian actress Margot Robbie, who produced the film with her company LuckyChap Entertainment, was asked to interview Carey about what makes her performance in Promising Young Woman, and this project, so groundbreaking. The interview (which was done over the phone – stay at home!) is really interesting, and you should absolutely check it out. Read the excerpt below, but head over to the original article to read it in its entirety.

Press > 2020 > Vogue Australia (May) [+01]
Photoshoots & Portraits > 2020 > Session 12 [+11]

[…] MR: “What is the best piece of direction you’ve ever been given?”

CM: “Probably Paul Dano on Wildlife when I was really freaking out. In the scene I take my son to dinner with this man I’m having an affair with, then get really drunk and confused about what I’ve been doing and end up kissing this guy in front of my son. It’s a complete car crash. I was doing it and felt like it was the worst acting I’ve ever done in my life. Paul was like: ‘Yeah, you feel like that, she feels like that. Just do the worst version of this. Make it absolutely appalling and that will probably be somewhere where we need to be.’

MR: “That is so clever. And then when you watched the scene in the movie were you happy with it?”

CM: “Yeah, but you’re never like: ‘Woohoo. Ten points.’ And then I had a really good piece from Steve McQueen on Shame. We were doing a scene where I sing New York, New York in a bar with Michael Fassbender and I was terrified. I did my take and he was like: ‘Yeah, we got it’, but then: ‘Okay, so now just sing something else. We can’t have a song that’s written because we won’t be able to get the rights for it, so make something up.’ I remember walking into a toilet and humming random things that sounded like jazz song under my breath, then came out and sang something about a dying rose.

[…] MR: “Name a fellow actor who has impressed you, who has really blown you away in a scene.”

CM: “Oscar Isaac, when we were doing Inside Llewyn Davis, the Coen brothers’ film. He was just on another level. It’s a really common thing for me, when it gets to my line and I’m like: ‘Oh fuck, sorry. Sorry you were just so good I got so distracted.’ All the time I feel that this happens.

MR: “I love the choices you make as an actor but they seem very daring. Like you did a one-woman show [Girls & Boys] on stage, so for me it seems like you’re always searching for a new challenge or something that scares you. Would you agree with that?”

CM: “Yeah. With the one-woman show, I grew up wanting to be a musical theatre actress, but I can’t sing well enough, so I shifted my mission to theatre. My most formative theatre experience was when I was about 14 and seeing a production of a play called Scaramouche Jones with Pete Postlethwaite playing a clown telling his life story. It was maybe an hour-and-a-half long and it was so extraordinary. When the lights went out and he came up to bow, it was so shocking because it felt like there were 14 more actors in the play. So there was something about a one-man show that really appealed to me forever. But the reality of it was very different – I loved it but it was really hard to get up on stage. Not having a fourth wall and telling your story directly to people who are sitting in the audience is really awful. But once I was up there I was fine.

[…] MR: “You signed on for Promising Young Woman, so did you have that [gut] feeling? Talk me through reading the script for the first time and having that feeling of ‘I know I should do this’.”

CM: “It’s funny, that script probably held the most fear for me, because it does take risks. Exactly what Emerald made as a film in the end was how I felt kind of reading it – you go into it with a sense of trepidation, then all of a sudden you’re watching a love story and then you’re in a thriller and she’s constantly un-seating you the whole way through. I felt like it was such a wild task and that it takes a very specific talent to pull this off, because if this isn’t executed in the right way it could be really bad. The minute I met Emerald I was, like, okay, this is the person who can do that, clearly. I didn’t need to worry about it anymore.

(read more at the source)

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