As a fan of both Nicole Kidman and the entertainment industry, I can’t help but be captivated by their inspiring conversation during this interview. It was fascinating to hear about how they navigate the demands of their careers while maintaining a sense of normalcy and balance in their personal lives.
2024 was dominated by Zendaya’s impressive acting roles in two highly anticipated films: Luca Guadagnino’s “Challengers,” a tennis-focused love story, and Denis Villeneuve’s “Dune: Part Two” where she played Chani opposite Timothée Chalamet. This was evident as Nicole Kidman, who watched both movies in theaters, expressed her admiration for Zendaya, stating that she paid to see them. Kidman, herself a fan of “Dune,” shared that she even saw one at midnight despite being jet-lagged and found it captivating.
NICOLE KIDMAN: In my profession as an actor, I have the privilege of exploring various parts of the world, not merely as a traveler, but as someone immersed in work alongside local crews and residents. Over time, working repeatedly with the same team, there develops a sort of unspoken understanding or intuition among us all.
ZENDAYA: Was it during the filming of “Babygirl” that you sensed a deep connection, since it involves such a personal encounter and demands a sense of security and protection?
KIDMAN: Absolutely. The cinematographer and camera operator play a significant role in that. It’s not just the actors who are involved; we’re all part of it. Before you realize, we’re all in the same room, but we’re not always aware of each other’s positions. It was quite casual. Our director, Halina Reijn, cultivated a very welcoming atmosphere while also encouraging exploration. You might find yourself sitting in this chair one moment, and the scene could be on the floor the next. You may come prepared with a plan, but that plan won’t be much use, really. The best approach is to listen and react, as we do in everyday life, to create something unique. And you can sense it. You’re listening right now.
ZENDAYA: You can often tell when someone is deliberating over what they’re going to say or do, even with their hand movements. I’ve found myself doing this too, especially during a take when I become distracted. For instance, you might find yourself wondering, “Why did I just make that eye movement? That was quite unusual.
KIDMAN: Yeah. You?
ZENDAYA: Each time is unique. Amy Pascal emailed me the script for “Challengers”. Since I struggle to focus on scripts, we held a mock reading at my agent’s house instead. When I read the script, I was captivated. It was emotional yet comical, sensual, and sport-related – but not about sports in a conventional way. The character was bold and unapologetic, not defined by her injuries but simply who she is. After that, we reached out to Guadagnino. During our first video call, I was anxious, thinking he might not want to collaborate with me or even dislike me. However, he showed a profound comprehension of these characters. For me, it’s always about the project and sometimes the director – it depends on each case.
KIDMAN: Sometimes it’s enough just to have the concept. If it doesn’t work out perfectly, I’m ready to leap from a cliff and give it a go, even if it results in a mess. Fear of the mess shouldn’t hold us back. My path through life is one of exploration, learning, discovery, growth, and transformation. I yearn for change, and I want to be transformed. Lead me to an unfamiliar place. As long as we approach with passion, something remarkable will emerge. Because I cherish passion.
ZENDAYA: With —?
KIDMAN: With other people. I like us all being completely obsessed. And seeking. And trying.
ZENDAYA: Every time you start a new project, it’s a risk.
KIDMAN: However, instead of “Babygirl,” it wasn’t that appealing at first. But once I learned the title was “Babygirl,” my response was, “Definitely! I want to play Babygirl.” It’s largely due to the chemistry, and [Reijn] suggested Harris Dickinson for the role.
ZENDAYA: Sometimes the stars just align. All the right pieces start falling into place.
KIDMAN: You enjoy being with others, and our chats are so engaging, it’s as if we were all gathered around a dinner table. There’s this sense of closeness, and the freedom to reveal our deepest, hidden truths. I find myself craving that connection.
ZENDAYA: Let’s skip all the small talk. Let’s go there.
KIDMAN: Who are you? What kind of place is this? What has changed here? Whenever we’d chat, Halina and I would sit on the floor together. I usually begin by asking if we could do just that and talk. She often had unique ways she’d propose for us to sit, and she was very open with her body, which I find refreshing. She’d offer ideas outside of what I’d first think of, and then I’d adjust. I see acting as a sponge, absorbing these new things. That’s my take on it. You seem flexible and adaptable, much like a sponge.
ZENDAYA: Taking it in.
KIDMAN: And then it comes out of you in a different way.
ZENDAYA: I’m quite hard on myself, but being on set is where I truly feel unrestrained and liberated. I don’t have to think about the repercussions of my actions because it’s not my real life. I can observe myself later since I don’t identify with it too closely. Instead, I see it as a character we’re developing together.
KIDMAN: I don’t watch the monitor.
ZENDAYA: Freaks you out?
As a devoted cinephile, I find myself deeply immersed in my roles, often reaching a state of trance-like focus. I try to maintain this immersion, avoiding interruptions that might shatter the illusion. Even when the director speaks off-camera, I can hear their words, but I strive to stay within character, a choice some may perceive as unconventional or perhaps even a touch eccentric.
ZENDAYA: I can detach myself from it somewhat, because in part, it’s not solely my creation. It belongs to the director too. Trust is essential. Luca prefers to take only one or two shots at most. He doesn’t like to shoot extensively.
KIDMAN: She’s much like Halina. You see, we weren’t exactly well-off either. But when the opportunity arose, we’d say, “Hurry! We need to!” I always get excited when someone says, “Do you feel ready? Let’s go. Lead the way.” Take me with you!
ZENDAYA: You brought up Baz Luhrmann, and let me tell you, “Moulin Rouge!” is among my most cherished films ever. If you required it, I could belt out the entire soundtrack for you on the spot!
KIDMAN: Please! Come on!
ZENDAYA: When I did “Greatest Showman,” I kept referencing it so many times.
KIDMAN: Baz Luhrmann’s work was instrumental for me. Previously, I had been involved in peculiar films, yet I found myself pondering, “Will I ever get to portray a heartfelt love story?” Then, out of the blue, “Moulin Rouge!” arrived and I thought, “A musical romantic tale? I can’t pull this off.” Being unsure about my vocal abilities, he gradually boosted my confidence. Let’s chat about “Euphoria” and Rue. Go ahead, share the details.
ZENDAYA: Well, I started in TV as a kid. I did sitcoms.
KIDMAN: Oh, I know. I have a 13-year-old and a 16-year-old, so we’ve grown up with you.
ZENDAYA: Oh, so sorry about that.
KIDMAN: For me, this is the best part. I can’t wait to return home and exclaim, “Here are Sunday and Faith, that’s Zendaya!” (implying that her character’s daughters in the show share names with Zendaya’s real-life daughter)
ZENDAYA: Well, shoutout to your kids. Your mom’s cool. Do your homework.
KIDMAN: I’ve made it!
ZENDAYA: Eventually, you grow accustomed to a character. It’s almost as if it becomes a layer you easily put on. Rue seems naturally integrated within me. I don’t spend much time contemplating it; she simply feels present.
KIDMAN: It’s so intense. Do you stagger out of that experience?
ZENDAYA: In a sense, yes and no. The experience was both exhausting (emotionally and physically) but incredibly fulfilling. I felt immense pride in what we accomplished. It resonated deeply with many people.
KIDMAN: Are you doing more? You’ve done two.
ZENDAYA: It seems we’re set for another round. So far, I’ve only worked on two, but they feel like five. A single season of “Euphoria” is quite an exhausting experience!
KIDMAN: It’s really taxing going through all of those emotions. Your [body] doesn’t …
ZENDAYA: … know that it’s fake.
KIDMAN: No, it’s you who is experiencing the trauma. In the movie “Babygirl,” there were scenes we filmed that ultimately didn’t make it to the final cut, but they were draining, not just physically, but emotionally disturbing as well. The same was true during my work on “Big Little Lies.” It was distressing for both my body and mind because I couldn’t always distinguish what was real from what wasn’t. I would end up with genuine bruises all over my back and body.
ZENDAYA: I still have my Rue scars.
KIDMAN: In essence, my mind might tell me to pause due to injury. Therefore, I’ve tried various methods like spiritual cleansing, prayer, and sage burning. Frankly, I’ll grab any opportunity that allows me to move forward unscathed and whole. This may sound peculiar, but it isn’t. Even a simple massage can bring relief and healing, which we all need. I’m still working on not putting my body through too much for the sake of my work, as there’s a part of me that desires to do so. Valuing myself is a process. However, you seem very balanced.
ZENDAYA: Seem — no, I’m kidding.
KIDMAN: You’ve got a great system around you. Like having your dog here.
ZENDAYA: That’s my emotional support.
KIDMAN: I usually say, if you want to hold onto your comfort blanket even when you’re 85, then do so. There’s no prize for letting it go.
ZENDAYA: I’m continually growing, but what I can say is that I enjoy adding some fun to my work. I don’t want my job to turn into misery because the character is miserable. On “Euphoria,” we had incredibly tough days. I’d think, “Alright, time for a good cry and a quick door-slamming scene,” then return saying, “Hey, Cheesecake Factory? What delicious treats are we ordering for lunch today?” I strive to separate work from home life and just be myself.
KIDMAN: I return home to my family, which provides a wonderful equilibrium since it’s important to be fully engaged and not overwhelmed. When someone asks, “Is it possible to act while raising a child?” Yes, it is. In fact, it might even be more manageable because one can’t overindulge oneself. However, the work often seeps into my dreams or sleep as well.
ZENDAYA: That does happen. The subconscious, I can’t control.
KIDMAN: I strongly support the idea of work. Once you get an opportunity, don’t let overthinking take over like some actors do with questions such as, “Is it good enough?” Just dive in and seize it. You never know where it might lead. Every job brings about new possibilities.
ZENDAYA: Keeping that part of yourself alive.
KIDMAN: Stay grateful. Stay open and excited about the opportunities.
ZENDAYA: Do you prefer TV or film?
KIDMAN: I like it all. I like stage as well.
ZENDAYA: I haven’t done that yet. I’m so nervous.
KIDMAN: Come on! It’s nerve-racking, yes, but I think you’d be wonderful.
ZENDAYA: We discussed the idea of leaving work here, and I believe performing daily for a live audience requires a significant amount of energy. This can happen several times a day. It’s incredibly emotionally taxing work.
KIDMAN: Yet, both of you are inside, sharing the space. The enthusiasm of those who’ve purchased tickets and eagerly anticipate a unique adventure – it’s truly energizing! Let’s go!
ZENDAYA: I understand. I understand. It’s time to face the truth – I need to take a bold step. Perhaps someday I’ll muster the courage. I’ll stop procrastinating. One day, hopefully, we can collaborate. We can enjoy ourselves and discover new things together.
KIDMAN: And then go, “What are you having for lunch?”
ZENDAYA: Exactly.
KIDMAN: Thanks, baby.
Production: Emily Ullrich; Lighting Director: Max Bernetz; Set Direction: Gille Mills
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2024-12-13 19:19