The series itself is known for exploring masculinity – whether toxic or otherwise. Early on in the series, she could be misconstrued as simply the “love interest” for Mahershala Ali’s lead character. (2001), Away We Go (2009), Sparkle (2012), Alex Cross (2012), The Purge: Anarchy (2014), It Comes at Night (2017), and Alien: Covenant (2017). The actor explains why her teacher-turned-author is much more than just a detective’s loving wife. Figuring out how to layer it that way was interesting and quite a challenge. But it’s still there. I think just allowing myself to accept that she was all of those things. That’s what makes them such a fascinating coupling. She wrote and sang lead vocals on the song "Candles" by English drum 'n' bass DJ Alex Reece—she appeared in the music video and is listed in the production credits as "Carmen". She’s gone for a much more boho aesthetic, she’s becoming more in tune with the artist that she wants to become. She steers the ship even in death. [5] She attended the Oratory Roman Catholic Primary School and Glendower Preparatory School, and was then educated at Godolphin and Latymer School. The way that time is is something we’re meditating on. That was exciting to me. Her film credits include Love's Labour's Lost (2000), What's the Worst That Could Happen? I really had to trust the writing on this project. I think she knows she’s an artist, but she’s not sure quite what that looks like when we first meet her. She is best known for her roles in such films as The Avengers (1998), Love's Labour's Lost (2000), What's the Worst That Could Happen? [8] In 2000, she married American actor Jeffrey Wright, whom she met while making the HBO film Boycott. It’s only in retrospect that he fully understands and appreciates what she brought, including essentially figuring out the case. She is also known for her role as Seraphina Picquery in the Fantastic Beasts film series. Post-children. The costume and hair of the 80s was a much more provocative and seductive aesthetic, but it looks a bit uncomfortable – maybe she’s not owning her sexuality at that point in her life. The back and forth over seven months of playing a couple that connects and then disconnects throughout the season was really challenging. This year, while the show still dealt with those masculine themes, it seemed to bring forth a more pronounced female perspective more than in the past. That’s exactly right. She began her career as host of the Saturday Disney morning show from 1993 to 1995. As much as she’s the conscience, she’s got these very contradictory layers. There was something on a very base, animal level that they are picking up on each other. From an acting point of view, I feel like you are often trying figure out how to fix rhythm and try to make something feel like it has a perfect sort of arc within a scene. She’s a woman at an age when she knows she’s sexually alluring, but maybe doesn’t fully know what to do with it yet. That was how I felt about this role. I found out that Mahershala was interested in the idea of me playing Amelia. Slowly, perhaps sneakily, the weight of her performance and the significance of her character grows throughout the season, until it becomes clear that not only is her Amelia essential to the drama, but also the driving force and the beating heart that leads us to season 3’s remarkable conclusion. I think for Mahershala too – definitely when we were playing it. But I do know that when the words emerge from your mouth, if you can get it right, it really feels fluid and authentic. I’m always attracted to women on the page that are complicated and messy and have this internal life that isn’t being realized and doesn’t match up to the external. In the ’90s, her hair isn’t straight anymore. (Laughs). I just had to trust that if I’m honest to the authenticity of Amelia’s “slow and steady wins the race” attitude, that even though it takes time to really appreciate what’s happening with my character, that she would connect.

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