In a candid conversation, the acclaimed performer delves on topics ranging from her latest role as Queen of the Cuttlefish to the profound lessons learned through onstage mishaps and fan interactions.
The most recent character portrays 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?
Straight away, that particular fish found at Clovelly beach â because itâs like an institution, and people go there specifically to spot it. I just think as remarkable that a resident aquatic creature that people actually seek out and discuss â it holds a unique status.
What film do you always return to, and why?
Ernst Lubitsch's 1942 comedy To Be Or Not To Be. I love this picture. During my growing up, it used to come on the ABC occasionally, and once I videotaped it. I just thought it was hilarious. Itâs Carole Lombard and Jack Benny. Not long ago they were playing it at a cinema and I discovered that it was also the favourite film of a friend of mine, and so we went and simply chuckled repeatedly. Itâs such great piece of comedy and the entire cast in it are fantastic. Mel Brooks remade it in the 1980s â which was not successful. But the original film is a brilliant comedy, worth viewing regularly.
Whatâs the best lesson you took away from someone youâve worked with?
I was doing A Dollâs House alongside Peter OâBrien â my husband now, but at the time we were not together. We portrayed characters opposite each other and during the premiere I stumbled â I skipped forward a few lines in the script. I didnât know what Iâd done but I suddenly realised things were off. I remember looking at him, and he expertly rescued the moment, and then our performance regained momentum and proceeded splendidly. But I think the insight gained in that moment was, firstly, always trust the people youâre working with. If you donât know your place, by looking and toward the actors sharing the stage with, you will find your correct position in some way. Itâs such communal thing, performing live. And next, just to have a lighthearted attitude about it. Occasionally when something goes wrong, things actually spark off in a really great way provided you are fully engaged then. It may become a gift when things go absolutely awry.
Can you describe your most memorable interaction with a fan?
Itâs not a single specific meeting but when I meet fans of Lord of the Rings, particularly women, I am told numerous stories about what Eowyn impacted them when they were growing up ⊠things that had happened in their lives and how much that character meant to them and was some kind of help to them in those times.
What do you 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. âWas the stew as terrible as it looked?â It has evolved into such a joke, the whole thing about the stew, and all fans wish to know what was in 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, fascinated by the comedy of that scene. And I go into great detail describing the components that made up the concoction 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 make it look 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 doing pilates, and the instructor remarked, âHello Miranda, meet Miranda.â And I attempted some joke about, âoh, are you a journalist?â Since Miranda is an unusual name and often when I meet another Miranda, theyâre a journalist. I wasnât really identified her. And when she got up, it was Miranda Richardson. Then I didnât know words. I was obliged to stay and do my class, and I experienced intense awkwardness. I wanted to say: âGoodness, I am aware of who you are!â I consider sheâs so fabulous and I was simply too awestruck to say anything.
Articles have repeatedly stated that you were given your name from Prosperoâs daughter in Shakespeareâs The Tempest, and yet you've mentioned stating otherwise â can you clarify this definitively?
Indeed, I was christened for a district in Sydney. Mum heard on the radio that they were inaugurating a mall at Miranda, and she thought seemed a pleasant choice.
What was the chaotic thing thatâs ever happened on set?
While working in Brazil for the film Reaching for the Moon that was the least organized set of my career, and yet the film emerged incredibly well. But they just work in such a different way. Their concept of time there is really different. In Australia, you normally have a schedule and you have to be on set by a certain time. But this was rather open ended â you come on set at one's convenience. It was a novel approach for me. The elements were all coming together at the final moment, and at times the plan was unclear the next location or how we were going to do it. And then I would be in during a scene and be like, âWhat was that noise that disturbed the scene? Ah, it was the producer popping open a bottle during filming, to start a party.â It turned out great, but goodness, itâs a distinct approach to film-making.
What are you secretly good at?
I naturally possess good with numbers. I retain numbers easier than I learn dialogue often, I simply have that kind of a brain. So I believe had I not pursued acting, I likely might have worked in involving numbers, like math or accounting.
Whatâs the best piece of advice you have ever received?
When I was in secondary school, a speaker came to speak when we were graduating and they said, âhave no fear to failâ ⊠which I think is supremely valuable counsel, since one gains so much more from setbacks than you learn from triumph. Success, one rarely understand precisely why it happened. Failure, you learn abundant.