Emily Watson: ‘I’m Blessed With a Readable Face’

As a seasoned actress myself, I can’t help but admire Emily Watson‘s incredible journey in the world of acting. Her ability to embody such diverse characters with raw authenticity is truly commendable. From her breakout role in “Breaking the Waves” to her gripping performances in “Chernobyl” and “The Magdalene Sisters,” Emily has consistently proven herself as a force to be reckoned with.

In a conversation over lunch at an elegant London hotel, Emily Watson, aged 57, expresses to me that when you’ve been acting for a long time and reach her age, one is fully in command of their abilities. In person, the actress radiates intellectual depth and British reserve, yet there’s a playful spark, reminiscent of her early performances, that shines in her eyes. She enters carrying a self-made ceramic cup by her husband, an actor and potter. “It feels like you’re a finely tuned machine,” she says. “It’s wonderful to have the chance to rev up, to really roar.” Her latest roles have placed her in positions of significant power: In the upcoming film “Small Things Like These,” she portrays the Mother Superior of an Irish convent, subtly yet forcefully intimidating Cillian Murphy to prevent him from revealing its mistreatment of women. She will also star in HBO’s “Dune: Prophecy,” a prequel series based on the Denis Villeneuve films, where she plays Valya Harkonnen, the leader of a group of nuns known as the Bene Gesserit, who manipulate the future through deception and strategic marriages.

The characters echo Watson’s personal experiences. Her family was connected to the School of Economic Science, a religious group founded in England with roots in Hindu practices, which aimed to educate meditation, philosophy, and ran private schools for its members’ children. These schools, according to former students, were notorious for being breeding grounds of cruelty and child abuse; an investigation in 2005 uncovered proof of criminal assault at the boys’ school during the ’70s and ’80s, while traditional values were strictly upheld – a trait that was quite conservative.

Even while she was still part of the SES, her major opportunity came – a role in Lars von Trier’s 1996 film, “Breaking the Waves”. This launched her into the limelight of Hollywood, earning her an Oscar nomination, yet it also led to controversy with the organization. To cope with the abrupt separation from her community, Watson immersed herself in work and went on to act in some critically acclaimed films during the 2000s, such as “Gosford Park”, “Punch-Drunk Love”, and “Synecdoche, New York”. As she puts it, “I just wanted to keep myself together as an individual.

To begin with, the conversation revolved around Dune. Initially, I received a call from Johan Renck, who had previously directed ‘Chernobyl’. However, there were some changes in direction. It seemed that his interpretation of the series was more akin to David Lynch’s style rather than what it originally was.

Is there a Villeneuve-like quality about it? Indeed, after hearing Alison Schapker, it seemed to evolve on its own. My character, Valya, is propelled by an event from her youth and the dissatisfaction of her childhood. While our apparent objective is to guide the universe towards a positive trajectory in an epoch 10,000 years Before Chalamet, my personal drive is a deeply vengeful feeling that Valya struggles to comprehend. It’s fascinating to portray someone who is tough, powerful, manipulative, and fundamentally evil, yet at the same time, collaborate with Olivia Williams. We have a history dating back to our days at the Royal Shakespeare Company.

Before our departure for Budapest to shoot, Olivia and I visited the freshly reopened National Portrait Gallery and examined numerous portraits depicting Tudor women. These women were both powerful and anxious, a testament to their control-oriented nature. Essentially, Dune revolves around oil – more specifically, who holds power over the energy resources.

In the 2020 HBO miniseries “The Third Day,” I found myself portraying a cult leader. Drawing from my experiences with the School of Economic Science helped me bring authenticity to this role, especially since my character, Valya, was also running a school for her initiates. As I delved into this character, I couldn’t help but reflect on the themes that resonated with me. The sense of control over young lives and a feeling of appropriation were particularly striking. I believe people are often drawn to such places because they carry a certain kind of emotional baggage. In essence, I felt a connection because I’ve known individuals who exuded similar energy in my past.

Based on my understanding of SES’s school programs, they had quite conventional expectations for women and strict rules if you didn’t comply. How did your personal experience align with that?

What did you appreciate or feel appreciative towards?

Are you referring to a sense of fear for punishment or simply a drive for survival? In either case, striving for excellence often resulted in safety. The art of staying present and attuned to one’s senses was crucial in my acting career, providing immense value.

Was your involvement in reading classical spiritual texts and portraying roles such as Shakespeare during your time at SES’s schooling what ignited your passion for acting? I found it hard to imagine a life without acting, for it represents a quest for understanding. It offers endless exploration of human nature, making one feel incredibly alive. Growing up, I was apprehensive about straying from the path, but acting and even Shakespeare saved me in a way. I dabbled in acting at school, where we studied Shakespeare, performing in Much Ado About Nothing. This continued during my university years with student theater, followed by drama school. My first professional role was with the Royal Shakespeare Company. It seemed like this was the path, a direction where I could grow and explore.

How did your tenure at the Royal Shakespeare Company shape your experiences? I presume it’s where you crossed paths with Olivia and your spouse. To work alongside Shakespeare for that period has instilled a profound understanding of rhythm and structure that has been indispensable throughout my career. With each new job, individuals enter and exit, but I recall every face and detail distinctly. I suspect Olivia and I became acquainted in the local pub. There was a close-knit group of friends who were all alumni from Cambridge University. Your husband, Jack Waters, Sam Mendes, and Tom Hollander were among this circle. They’ve all made their mark on the industry in diverse ways, and we often reconnect with them.

In other words, my initial role there was portraying a messenger delivering news from Rome. I needed to enter with a plate that symbolized a severed finger for Antony Sher, as his character was meant to cut off someone’s finger in the play “Tamburlaine”. One evening, I accidentally forgot! He asked me, “Where’s the finger?!” Though he handled it graciously, he was indeed upset.

After spending a few years at the Royal Shakespeare Company (RSC) and dabbling in some television roles, your first big break came when you landed a part in Lars von Trier’s 1996 film, Breaking the Waves. In this movie, I portrayed Bess, a sheltered Scottish woman with strong religious beliefs who marries a Danish oil worker (played by Stellan Skarsgård). After an unfortunate accident leaves him paralyzed, he suggests that Bess engage in sexual relationships with other men. Faced with the possibility of being shunned by her community, Bess proceeds with these encounters. So, what inspired such boldness to take on this challenging role? Well, I had a burning desire to pursue interesting opportunities. At the time, I was living with playwright Mark Ravenhill in a shared house. We were both university alumni. He decided to read one of those self-help books for fun and asked, “What’s next for your life?” I replied that I wanted to work at the RSC, and he wished for a play on the West End. To our surprise, both goals were achieved rather swiftly. As my husband and I contemplated our next move by the National Theatre, we decided it was time for me to venture into filmmaking. And amazingly, that’s exactly what happened!

However, during my audition for the role in Breaking the Waves, I sensed a quality in the character that resonated with me – an abandoned, devoted spirit. This connection felt like a daring act of love, which seemed quite contrasting to the controlled environment I was still immersed in at the time.

Were you still under the supervision of the SES during your audition for Breaking the Waves? Any significant choices you had to make required their approval. A mentor oversaw your small group, and if they couldn’t provide an answer, it would be escalated. Every aspect of your life was closely monitored and analyzed — what you were doing and why. When I informed them about my plans, they forbade me from doing so. I replied, “I’m going to do it regardless.” They advised me to leave in an unceremonious manner. It was a rather awkward encounter. Afterwards, it took some time before I managed to fully break free.

As far as I can gather, the cast of Breaking the Waves were unaware of certain events at the time, including Stellan Skarsgård. You didn’t disclose this to him for a long period afterwards. My feelings were a whirlwind of confusion: “What does it mean? What have I done? Will I survive?” It took me years to come to terms with it and discuss it openly. It was a difficult time. My husband was extraordinary during the ordeal, he was very understanding when I was still involved in it. But afterwards, he showed tremendous support by saying, “I’ve got you.

As a cinephile, I could say: “Were my kinfolk still tied to the organization when I was exiled? Well, it wasn’t a walk in the park. They stood by me, offering their support, but they remained loyal to it too, which made things tough. At that age, I might have been a bit naive and immature. However, with the passage of time, we managed to navigate the topic and find solutions.

Indeed, it was an extraordinary moment when Breaking the Waves was screened at Cannes and received an instant standing ovation, winning the Grand Prix. Can you imagine what that experience was like? Well, for me, it was a mix of exhilaration and discomfort. You see, I’d been raised to accept that nothing truly belongs to you, that one must relinquish individuality and serve. But suddenly, with everyone’s gaze upon me, I felt split between two realities – the one I knew and this newfound fame. It took a while for me to openly admit this feeling of dissonance.

That year, since Lars von Trier couldn’t make it to Cannes, it was you who found yourself as the primary representative for a rather intricate movie dealing with themes of faith and sexuality, leaving you to elucidate these complexities to the global audience. In my hotel room, I recall, I had no prior experience with film festivals or similar events. The publicist came to me with the news: “Lars won’t be here.” Struggling with severe travel anxiety at that time, he made the decision to stay away. I am forever grateful for the support of my fellow actors – Stellan, Katrin Cartlidge, and Jean-Marc Barr. They understood better than I did just how challenging an experience it would be. If I had known then what a thought-provoking film it would become, and how much attention it would attract, I might have chosen to return home.

Have you noticed that I’ve mentioned feeling particularly drawn to film acting in the making of Breaking the Waves? What was it about this form of performance that resonated with me? Well, it boils down to the nuance found in film acting. Unlike stage performances that span an entire evening, film acting requires finding each moment as if it’s happening for the first time, making it feel fresh and raw. It’s a sensation unlike any other, truly captivating.

There seems to be a unique connection with a camera, perhaps; every muscle in my expression holds meaning. And fortunately, I have a face that is easy to interpret!

Were concerns about being overly sexualized a factor during your filming for “Breaking the Waves”? Well, I must admit, it was both terrifying and a defiant “So what!” kind of feeling. However, despite the potential exploitation, the experience itself felt more like a precious gift. It transformed my life and made me feel incredibly loved and vibrant. I never felt degraded or reduced in any way by it.

In 2017, Björk accused a director, who many believed to be Lars von Trier based on their previous collaboration on Dancer in the Dark, of sexual harassment. Have you heard about those allegations, which Von Trier denied? Yes, I did hear about them. At first, I thought to myself, “She’s from a different sphere, she’s a singer and independent.” However, I now believe that it takes immense courage to speak up about such matters, and we must truly appreciate those who do so. Personally, my experience was not the same as what Björk experienced.

Following the recognition from Breaking the Waves with an Oscar nomination at 29, Hollywood took notice of me, but I approached this world with a healthy dose of skepticism. My primary goal was to deliver quality work through strong scripts, talented directors, and my exceptional agent who remains by my side. We had a casual meeting at the Four Seasons in L.A., where she unfolded an A4 sheet and said, “Emily, this is everything you’ve been offered,” revealing a list that made us erupt in laughter. It was mostly spandex costumes, followed by proposals that were simply unbelievable. When I became popular, opportunities came my way that seemed almost surreal – Mother Teresa and Janis Joplin were among them!

After Breaking the Waves, it appeared as though you were gravitating towards films dealing with working-class social issues such as The Boxer and Angela’s Ashes. Was this a conscious decision? I didn’t have a specific plan; it was more like, “Wow! Jim Sheridan and Daniel Day-Lewis! I just went along with what came my way, with the opportunities that presented themselves. In those days, scripts would literally slide under your door.

Working with Daniel Day-Lewis was demanding as I had to create a connection between us given our characters’ reunion. However, his performance is simply astounding; the depth and intensity he brings to his roles are truly remarkable. I don’t think I could emulate his method, but there’s a singular focus and purpose in his work that is incredibly powerful.

In your performances, both in Breaking the Waves and Hilary and Jackie, there’s a striking resemblance of reckless abandon. In the latter, you portrayed Jacqueline du Pré, the gifted cellist who, according to the movie, self-destructively wrecked her personal life. The film was inspired by the memoir “A Genius in the Family,” written by Hilary and Piers du Pré, which allegedly exposed intimate details of Jackie’s life, such as her demands for intimacy with Hilary’s husband. This revelation sparked criticism from Jackie’s peers, including cellist Julian Lloyd Webber, and Hilary’s daughter, Clare Finzi.

Not long after, you found yourself working on Gosford Park, helmed by Robert Altman, and Punch-Drunk Love, spearheaded by Paul Thomas Anderson. Around this time, these two filmmakers grew quite close. Due to insurance requirements, Paul served as stand-in director for Altman in A Prairie Home Companion. At the time, it was Stephen Frears who directed Gosford Park, although this was unknown. This project was a delightful and memorable experience, filled with many esteemed figures from British theatre. Altman once commented on the dynamic among such egos, saying, “Ah, let them regulate themselves.” His production company was named Sandcastle, symbolizing his method of filmmaking: constructing a sandcastle and then observing as nature takes it away. Whenever issues arose, he’d often respond, “I’ll go lie down. Just wake me up when it’s resolved.” He would appear on set the following Monday, visibly struggling due to excessive weekend smoking of marijuana, leaving everyone concerned about his health. However, this was just the aftermath of his weekend indulgences.

It was such a lesson to me, because on Punch-Drunk, Paul was the sort of director who went over every detail. Then I turned up late from that to Gosford Park. My first scene was my last scene in the film: I’m in a wig; I’ve got an accent; I’m carrying a dog. We did one in sunlight and one in cloud, and he said, “I think I’ve got it.” Altman said, “I’m not really interested in what you do when you’ve worked it out.”

After filming the significant scene where I’m pouring the sauce, there was a final exclamation involved. We filmed it twice, and due to all the quails being consumed on set, it took about half an hour for everything to be reset. Unfortunately, I hadn’t mastered my part yet! He said, “I believe we have it.” But in my mind, I was thinking, I haven’t gotten it. It was embarrassing because Maggie Smith and Kristin Scott Thomas were nearby, all being so gracious, but I was struggling internally. I pleaded for another take, which led to the reset. And surprisingly, that’s the one that made it into the movie!

Were there any special moments with Maggie Smith on set that stand out to you? I recall her being quite kind to me. I remember asking for her help, and she offered some insightful suggestions. To be honest, I don’t specifically remember what we were discussing, but it had something to do with finding motivation, and I think the trick was to pretend as if you weren’t part of the conversation at all. It wasn’t intentional; it was more like eavesdropping on a conversation in your mind with many people.

In a different scenario, Punch-Drunk Love represented a refreshing shift from some of your previous films. This film, starring Adam Sandler and directed by Paul Thomas Anderson, was an unusual choice at the time. How did Paul first reach out to you? I happened to be staying at the Chateau Marmont for promotional purposes. He suggested we meet, and we ended up at his favorite diner in the Valley. He mentioned his intention to create a 90-minute romantic comedy. I expressed my desire to avoid any more dying or crying scenes since I’ve done quite a bit of that already. He then sent me the script, and I spent time watching all of Adam Sandler’s films. A pleasant thought crossed my mind that somewhere in Hollywood, Adam was watching my movie, Breaking the Waves.

In an interview, you asked about the time Paul would say “These are not the droids you’re looking for” before each take. What did this mean?

At a specific juncture, you found yourself spending more time in front of the TV. You mentioned then that the roles offered to you were primarily wives and mothers, secondary characters. Was there a pivotal moment when you felt the tide changing? This change happened around the time when I had children and needed to be home more often. I wasn’t exactly anticipating it, but it seems that TV careers last longer than those in films. Recently, Olivia and I were discussing some pickups for Dune, and we agreed that as younger actresses, we thought our opportunities would dwindle with age. However, that hasn’t happened! Instead, they seem to have expanded – at least for me, if not for others.

Indeed, that drama titled “Appropriate Adult,” based on a real-life serial-killer investigation, marked my initial significant foray into the realm of television productions. Upon receiving the script from my agent, I initially had reservations. However, she persuaded me to give it a read, assuring me it was exceptional. She was right; the script about Fred and Rose West was both captivating and unique.

It’s intriguing to observe that for an actor of your caliber in the British scene, some roles have eluded you, such as those in the Harry Potter series. However, I declined the opportunity due to the extensive commitment required, expressing my reservations with something like, “I’m not entirely sure I want to take this on.” Initially, my children were upset about it, but they eventually came to terms with it.

Are there specific genres that fail to pique your curiosity or enthusiasm?

In one of my roles this year, I’m stepping into a position akin to the Mother Superior in “Small Things Like These,” which shares some similarities with Dune: Prophecy. I find myself portraying strong, controlling characters, perhaps unexpectedly given that Cillian initially requested only authentically Irish actors for this project. However, he had a vision of me playing this part, and after our initial meeting, he sent the script to me.

It’s truly a privilege to be considered Irish enough by Cillian Murphy. One day on set, there was no explicit reference to anything, but I could sense the power dynamic between us. All it took was a few subtle hints for her to imply, “I have the power to destroy your life.” Reading that, I felt compelled to give it a shot. It reminded me of how easily fear can manipulate people. When someone holds all the cards about you, they can press any button and bring ruin upon your life. I’ve been in such situations before, and I remember discussing this with Cillian, feeling that asserting oneself and saying “no” – as his character does in the film – filled me with a sense of liberation, like my heart taking flight. There is a profoundly uplifting moment in the book Small Things Like These where he exclaims, “Fuck it. No.

In the recently completed film Hamnet, directed by Chloé Zhao, you play the mother of Paul Mescal’s portrayal of Shakespeare and the mother-in-law of Jessie Buckley’s Agnes, Shakespeare’s wife. Known for her distinctive style and working with non-professional actors, as well as a major Marvel production, what was it like collaborating with Zhao on this period piece?

Previously, we hadn’t worked together, but our paths crossed when Jessie was awarded the BAFTA Breakthrough Brit. As part of this recognition, they assign a mentor to the recipient. Jessie requested me as her mentor, which is how we met. During our conversation, I asked her about her current projects, and she mentioned “Chernobyl“. Earlier in the conversation, I had commented that it takes a certain kind of fearlessness for an actor to see an opportunity and charge through it, only later realizing the potential risks. It’s like a childish trust, and Jessie has this quality in abundance.

Regarding someone like Jessie or a young actress similar to her in the industry, my advice would be more about affirming her unique qualities rather than acting tips. I’d say something like, “You possess an authenticity and integrity that sets you apart, dear. Continue being yourself.” I believe she has skillfully portrayed various aspects of womanhood without conforming to stereotypes often associated with roles. However, as her career progresses, I strongly encourage her to prioritize self-care because the impact she’s making is significant and requires protection.

After fully immersing yourself in a challenging performance, have you discovered methods to prioritize self-care during recovery? When the project ends, it’s essential to remember that the adrenaline rush doesn’t disappear immediately. It’s crucial to manage this energy carefully to avoid any potential negative impact. Fortunately, I have a partner who is an actor and understands the demands of our profession. He often checks on me when I might not even realize I need it himself. He’ll ask, “Emily, are you okay with this?” Even if I insist that everything is fine, he can sense when I’m not and steps in to help from the start until the end of the project.

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2024-11-08 16:55