As I read through this interview, it struck me how Daisy Ridley’s career trajectory mirrors that of her character Rey – both have faced their fair share of challenges and transformations, yet they continue to rise above them with grace and determination.
It’s quietly been a stellar year for Daisy Ridley.
2024 saw her kick off with the critically praised offbeat comedy-drama “Sometimes I Think About Dying,” which was followed by what many consider her best career performance as the iconic swimmer Gertrude Ederle in “Young Woman and the Sea.” To wrap up this phase, she delved into her most intimate work yet, the modern noir “Magpie,” a project she both conceived and produced.
Under the guidance of director Sam Yates, the critically acclaimed movie titled “Magpie” delves into the tumultuous relationship between Annette (Ridley) and Ben (Shazad Latif). Simultaneously, their daughter Matilda (Hiba Ahmed) takes on a role in an old-fashioned film production. While Ben is tasked with looking after his child during filming, he finds himself drawn to Alicia Romano (Matilda Lutz), the captivating Italian actress portraying Matilda’s mother in the movie within the movie. Known for his wandering gaze, Ben’s infatuation causes Annette to face a difficult decision: whether she will assert herself or continue to endure.
Previously, in her role as a mother, Ridley was affectionately called “mommy” by her young co-star away from the camera, sparking her curiosity about the delicate boundary between fiction and reality. She shared this intrigue with her actor husband, Tom Bateman, who had secretly been developing his screenwriting skills. Bateman began writing during the COVID-19 pandemic what would eventually become the script for “Magpie”. However, after a few weeks, the focus of the story underwent a transformation.
At first, I was intrigued by the idea of exploring the actress’s journey, considering she’s away from home and dealing with something that’s thrown her off balance, and what her relationships on set might imply. However, a few weeks into writing, Tom suggested a different perspective: the mother at home who can’t be on set and misses out on this thrilling filming experience. He then delved deeper into this idea from there.
Ridley left her mark on the script in numerous ways, as demonstrated by several elements. For instance, the character of Matilda, Annette’s daughter, was named after the protagonist from Ridley’s beloved movie, “Matilda” (1996). Furthermore, a scene involving pancake-making serves as a subtle tribute to this film. The characters Annette and Ben were actually named after her brother-in-law and sister-in-law. There’s also a dinner scene where Alicia witnesses the marital disagreements between Annette and Ben, something that Ridley has experienced to some extent in real life. Even Ridley’s own mother makes an appearance as a background artist.
As a gamer, I thought we were grabbing some grub together on the studio lot. Turns out, she decided to hit up a place just around the bend instead. That’s what he chuckled about in the middle of his conversation.
Regarding Star Wars, Ridley had an extraordinary experience in June at Disneyland. She initially went on the ride called Star Wars: Rise of the Resistance and saw her own creation during Rey’s holographic introduction within the attraction. Later, she met a costumed cast member portraying her iconic character.
Ridley vividly remembers the surreal moment when he met his doppelganger. This woman had learned so much about me, and it was quite unsettling,” Ridley said. “Seeing someone imitate me, embody my character, was a mind-bending experience. It was like looking at a mirror within a mirror, but she portrayed me exceptionally well. She maintained her role flawlessly. Experiences like that are hard to get accustomed to, I think.
During our discussion, her excitement grew for when she would reappear in Sharmeen Obaid-Chinoy’s Star Wars: New Jedi Order, even though she acknowledges a sense of apprehension too. (Unfortunately, it was later announced that the film had parted ways with its screenwriter, Steven Knight.)
Ridley expresses his anticipation for the new character, stating, ‘I believe they’ll be quite intriguing.’ Over the years, much has transpired in my personal life, making it captivating to revisit someone I’ve known extensively, yet find them in a completely different phase. Re-embodying Rey after such a long absence is both nerve-wracking and exhilarating for me.
In their latest chat with THR, Ridley Scott reveals that her personal haircut served as the spark for a significant line of dialogue in a crucial Magpie scene.
It’s clear to me that Magpie is a work of imagination, but haven’t you observed any tourists flying dangerously near the sun? Could such an incident have sparked your creative thought process?
Interestingly, I must clarify that no, I haven’t experienced a guest crossing any boundaries in such situations. To elaborate, I’ve attended dinners with couples, and sometimes, you might find yourself thinking, “Oh my goodness, oh my goodness,” due to the tension or awkwardness. You feel a sense of uncertainty because it’s their relationship, but at the same time, you can’t help but wonder, “Oh my goodness, what is this?” However, in response to your question about witnessing a guest going too far, I have not encountered such an incident. (Writer’s Note: Ridley referred to awkward dinners because the film Magpie includes an uncomfortable dinner scene where Matilda Lutz’s character has to watch Ridley’s Annette and Latif’s Ben argue.)
Hey there! Let me share something interesting – my mom is featured as an extra in this movie! You wouldn’t believe it, but I made a point to ensure that she was well looked after on set, and the same went for everyone else. She shared a funny story about wanting to slip a sausage to the dog (everyone had a good chuckle). I thought we were having lunch together on set, but instead, she opted to grab something nearby. No lunch date with me this time! (Laughs.)
Could the Magpie poem be seen as a tribute to working mothers, or those who put their careers on hold to raise their children? Is there any truth in this interpretation?
It seems that the focus lies on couples who’ve made significant sacrifices for each other, particularly in terms of their living arrangements. In our film, we aimed to ensure that the children aren’t the main source of Annette and Ben’s struggles. Instead, it’s their relationship that’s under strain. Annette adores being a mother, yet finds it challenging at times. It was actually Ben who yearned for a peaceful, rural setting to foster his creativity, which led to them moving and having another child. This move, however, meant giving up a community and support system, which has turned out to be the real challenge. Although I’m not a parent myself, I’ve learned from many others that having a supportive network can make parenthood less arduous. The phrase, “It takes a village to raise a child,” echoes this sentiment. Consequently, Ben and Annette’s relationship is strained, and since she lacks someone to confide in, the burdens she could manage become unmanageable due to her solitude.
Did you propose the concept of writing to your partner, Tom Bateman, or did he express interest in developing it after hearing you discuss it?
I pitched it to him. He’s written a few scripts that are all beautiful, so I knew he could write. The original idea that I had was slightly different, but I pitched to him and then he started writing it. Initially, I thought it’d be interesting to follow the actress, someone who’s away from home and has had something destabilize her and what those relationships on set might signify. It’s very intimate on a set. You’re working with people 12 to 14 hours a day, and those bonds are very quickly formed. So that was the original idea. But a few weeks into writing, Tom said, “I would just feel a lot more drawn to the mom at home who isn’t able to be on set and isn’t able to have this exciting filming experience.” So he really ran with it from there, but I had asked him to write it.
It’s known that you’re quite fond of Matilda from the 1996 movie, and interestingly enough, Annette’s child is also named Tilly.
(Laughs.) You’re the first person to mention it!
So were you chipping in little details like that as Tom was writing?
Absolutely, some tributes were made to those dear to us. The characters named Annette and Ben are modeled after my brother and his wife. We often questioned this decision, to which they affirmed, “Go for it.” Matilda was my pick, and the pancake dance scene reminded me of a scene from the movie Matilda. However, it turned out to be quite peculiar because Matilda Lutz portrays Alicia in the film, and we also had an exceptional camera assistant named Tilly [Garland]. So, it was quite a coincidental convergence of “Matilda-esque” elements. But yes, you’re the first one to point this out.
In your role as a producer, I assume you offered feedback on Tom’s initial scripts, which can often be a delicate matter. Was there a point where you had to approach the situation with caution initially?
Typically, he took more time to reveal his work to me, but during the pandemic, he’d rise early each morning to write. It was a lonely period, so he’d spend hours writing. Then, in his words, he would pace around and chain-smoke while I read through the pages he wrote. I would either say, “This aligns well with my vision,” or “This deviates slightly from what I had envisioned.” This is how we essentially shaped the entire project. When producer Kate Solomon joined us, she too became part of the creative process. Sam Yates, our director, then came on board, and it was a truly harmonious collaboration because we all shared the same vision for the story we wanted to tell and how we wanted to present it. So, changes occurred as they often do, but we were incredibly united in our goal of what we aimed to create.
The last time we conversed during our discussion on “Young Woman and the Sea,” it didn’t seem like you had approached Jerry Bruckheimer about visiting Skellig Michael or learning the craft of film production from him.
(Laughs.)
But did you lean on any past producers for some form of guidance?
For this film, I heavily relied on the producers from “Sometimes I Think About Dying”. When “Magpie” was being produced, I was also present during its creation. This was when we were filming in Astoria [Oregon], and it just so happened that we had director meetings at the same time. So, I took the opportunity to seek advice from Alex Saks, Dori Rath, and Steve Wesiman. They were a fantastic team of producers on that film, and since we were working on “Magpie” concurrently, they kindly shared their expertise with me regarding budget, schedule, and how many locations might be necessary for specific budget ranges. In essence, during the early stages of producing “Magpie”, the producers of “Sometimes I Think About Dying” were incredibly helpful and supportive.
Many young mothers often opt for short haircuts due to limited personal time. Additionally, Annette’s decision to cut her hair short may have been influenced by a desire to stand out from Ben and Alicia, who both sport long hair. Is this the real reason behind her choice?
Initially, I had already trimmed my hair, and when I did so, someone complimented me by saying, “That’s so courageous.” However, I was taken aback, thinking, “Those who perform life-saving acts are brave, not those who simply cut their hair!” It struck me as peculiar that people would say such a thing, and I am certainly not the only woman who has felt this way. Coincidentally, this conversation took place in the park, and Esther’s comment added a touch of humor to the situation when she said “so brave” [in response to Annete’s short hair].
Did you also repurpose your own trailers for the scenes involving the characters’ trailers?
Indeed, Translux, the company responsible for our facilities, truly excelled in their work. Interestingly enough, their trailers have never been captured on camera, making them a unique addition to the screen. Moreover, we were mindful about capturing our crew on film, as many prefer to stay behind the scenes. We took the time to ask everyone if they were comfortable with being filmed, and surprisingly, all agreed. This added an unexpected layer of authenticity, as many of these individuals had not been recorded before either.
Are you essentially employing equipment that’s not currently being used by your production when creating a movie within a movie?
Absolutely, during the filming, we utilized whatever equipment was available to us, and there were instances where we found ourselves questioning, “How are we seeing this footage-within-a-film?” Since Annette continues watching the embedded film, we employed our own crew members and camera equipment for on-screen work. Essentially, we made do with what we had on hand.
Annette’s character development is significant. Is it safe to say that the third act version of her is more about personal change and growth rather than just acting or portraying a role?
Interesting. I would probably say that the second act feels the most transformative to me. I feel like the underbelly of Annette is always solid. She is bashed, she is bruised, she’s having a difficult time, but even if it’s a tiny splinter, there is always something there that is solid for her children. We start when Annette and Ben’s relationship is difficult, and the second act is the most difficult for her, emotionally, because there are things coming at her left, right and center. And the minute that it then involves the children is when things cannot go on like that anymore.
It seems there’s a degree of self-deception when we assume no one is observing our private affairs, as Annette has been doing at home. However, in public places like the park, her struggles become exposed, bringing immense shame upon her. At this point, Annette comes to terms with the fact that everyone around her has likely seen her husband’s infidelity, his absences and returns, and the hardships she’s been hiding.
I’ve often found that character to be particularly emotional in the second act, and once we delve into the second half of the movie, her innate steeliness begins to manifest more strongly. Simultaneously, she finds a sense of tranquility as she gathers her strength to actively participate in the events unfolding.
Was their second child, Lucas, conceived before or after Ben’s eight-month-long “research” trip?
My timeline unfolded such that the conception took place shortly after his return, which made the arrival of our child a compelling motivation for us to rekindle our relationship and strive towards making it work once more.
Every day, at least a few individuals rise and prepare themselves to portray a character that mirrors you at two distinct American theme parks. This on-stage persona serves as an extension of yourself. Does the idea of embodying this role ever become familiar or easier to accept?
(Laughs.) Not at all! It was incredibly surreal when I encountered my “double”. I had just experienced the “Rise of the Resistance” ride for the first time, and I exclaimed, “This is mind-blowing!” I recall filming [Rey’s holographic introduction], and that ride is simply incredible. Later on, I met the individual portraying Rey, who had been informed that the costumed cast members analyze performances in the films. So, the person I met had studied my performance, which was quite unsettling. Seeing someone who has studied me, playing me, was a peculiar experience, but she did an outstanding job. She maintained her character throughout, too. However, no, I don’t believe I will ever become accustomed to such experiences.
After seeing her take on Rey, did that make you itch even more to return to your character?
Absolutely, it was incredibly enjoyable, and I’m eagerly anticipating the upcoming sequel. Over the past period, a great deal has transpired in my personal life, making it intriguing to revisit a character I know so well yet find in such a different context. Stepping back into the shoes of Rey after such a long absence is somewhat daunting, but it also sparks excitement within me.
Were you, in fact, filming Magpie when Kathleen Kennedy extended the invitation for breakfast to share the exciting news about a new Rey movie? Have you managed to forward the link to Magpie to her, yet?
I haven’t watched it yet, but I plan to share the news about seeing it this weekend with my friends and family in the United States. I did send an early version to J.J. Abrams for his feedback, and we made some adjustments based on feedback from several people. However, Kathy still hasn’t seen it without finishing touches.
Finally, it was pleasing to notice some award endeavors for ‘Young Woman and the Sea’ featuring Trudy. In general, didn’t you find a lot of appreciation, which I believe was well-earned, for her performance?
Absolutely, it’s been incredibly touching for me. Moreover, it’s heartwarming to learn that many people are watching it on flights. This emotional impact isn’t just from the kind words about me and the film, but also because screenwriter Jeff Nathanson received messages from some of Trudy’s family members. Since Trudy didn’t have children, these relatives are particularly pleased with the movie. Our aim was to shed light on Trudy’s story, and I believe we achieved that while doing her justice. This sense of fulfillment is truly remarkable.
***
Magpie is now playing in movie theaters.
Read More
Sorry. No data so far.
2024-10-25 21:56