Through a thoughtful discussion, the acclaimed performer delves on topics ranging from her newest character as Queen of the Cuttlefish to the invaluable wisdom learned through theatrical mistakes and meeting admirers.
Your latest role is Queen of the Cuttlefish in The Pout-Pout Fish; if you could be a fish for a day, which one would it be and why?
Without hesitation, the blue groper found at Clovelly beach – because it’s a local landmark, and people go there specifically to spot it. I just think it’s cool that a resident aquatic creature that folks genuinely go and see and discuss – it’s a special fish.
What film do you always return to, and why?
Ernst Lubitsch's 1942 comedy To Be Or Not To Be. I adore this film. During my growing up, it would air on television occasionally, and one time I videotaped it. I found it was so funny. It’s the legendary Carole Lombard and comedian Jack Benny. Recently they were showing it at the Ritz and I discovered that it was also the favourite film of an acquaintance, and so we went and simply chuckled and laughed. It is a masterful work of humor and the entire cast in it are fantastic. The director Mel Brooks remade it in the 1980s – which was not successful. But the original film is a brilliant comedy, to be watched regularly.
What is the most valuable lesson you took away from someone a colleague?
Years ago I performed in A Doll’s House alongside Peter O’Brien – now my spouse, but back then we were not together. We were playing as scene partners and during the premiere I stumbled – I skipped forward some dialogue in the script. I was unaware of my error but I abruptly sensed things were off. I recall glancing toward him, and he expertly rescued the moment, and then the scene took off again and proceeded splendidly. But I think the insight gained then was, first, always trust the individuals you’re working with. If you don’t know where you are, if you turn around and toward the actors you’re with, you can rediscover your correct position somehow. It’s such collaborative endeavor, acting on stage. And secondly, to maintain a sense of fun regarding it. Occasionally when a mistake occurs, things can ignite in a really great way provided you are really present then. It can be a gift when things go absolutely awry.
What’s been your most touching interaction with a fan?
It’s not just one particular interaction 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 how much Eowyn meant to 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 always about the stew her character prepares for Aragorn. “Was the stew as terrible as it looked?” It’s become a running gag, the entire episode involving that dish, and all fans wish to know the contents of the stew, and how was it made, and in your opinion she’s a better cook now, or do you think she really is a bad cook? People are, I think, obsessed with the humour of that scene. And I provide great detail describing the ingredients that constituted the concoction – as I recall the efforts made; like they even adding pieces of red cotton to simulate the appearance like blood vessels in the meat. They went to extreme measures to make it look as bad as they could.
What was your most embarrassing celebrity encounter?
I attended a pilates class and another participant on a mat doing pilates, and the instructor remarked, “Hello Miranda, meet Miranda.” And I made some joke about, “might you be a journalist?” Since Miranda is an unusual name and often when I meet another Miranda, they’re a journalist. I hadn't properly identified her. And as she rose, it was Miranda Richardson. Then I didn’t know words. I was obliged to stay and do my class, and I experienced so embarrassed. I wished to explain: “Goodness, I do know your work!” I consider she’s so fabulous and I was just too starstruck to utter a syllable.
Articles have repeatedly stated that you were given your name from Prospero’s daughter in Shakespeare’s The Tempest, and yet you've mentioned stating otherwise – can you settle the matter definitively?
Indeed, I was christened for a district in Sydney. Mum learned via broadcast that they were opening a mall 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 on Reaching for the Moon I experienced the most chaotic set I’ve ever worked on, and yet the film turned out brilliantly. But the local crew operated in such a different way. Their concept of time there is unique. Typically, you receive a call sheet and must arrive on set by a certain time. But this was rather flexible – you come on set whenever you happen to be ready. It was a novel approach for me. The elements were being assembled at the final moment, and sometimes they wouldn’t know where they were shooting or the methodology. And then I would be in during a scene and be like, “What was that noise that just interrupted the scene? Ah, it was a crew member popping open a bottle during filming, to start a party.” It turned out excellent, but wow, it’s a really different approach to film-making.
What are you secretly good at?
I naturally possess good with numbers. I retain numbers more readily than I memorise words often, I simply have a numerically-oriented mind. So I believe had I not pursued acting, I probably would have entered a field something to do with numbers, like math or accounting.
What is the greatest piece of advice you have ever received?
When I was in secondary school, a speaker addressed us when we were graduating and they said, “don’t be afraid to fail” … which I think is the best piece of advice, because you learn far more from failure than you learn from triumph. With success, one rarely understand precisely why it happened. With failure, you learn so much more.