Nicole Kidman Channels her Signature Hollywood Goddess for the November Issue of Interview Magazine
Nicole Kidman is an actor in every since of the word. Having performed in an astounding 40 films building an international reputation for both her on and off screen poise, Kidman sits down with Interview Magazine to talk about her current role on the West End Stage playing Rosalind Franklin, a scientist who helped discover the structure of DNA, and the signature aura that become uniquely Nicole Kidman.
Nicole on Bring Personal Life Into Her Work:
Yeah, but we’re taught to bring everything–the state of being, the environment–and use it. If it’s raining, or the other actor doesn’t know his lines, everything has to be used. So your own emotional state comes into play, and I certainly remember that happening a lot on, say, The Hours, when I was going through an enormous amount of turmoil. And even though it was appropriate at times for the character [Virginia Woolf], at other times it wasn’t. But I would just bleed it in; it would manifest in different ways. For me, the idea of having a plan, that you’ve got to hit this particular place, shuts down other possibilities. And that’s probably why I work well with you because you’re also like that. You see something, you jump on it. Jane Campion is the same. You are very similar in the sense that everything is so detailed, and everything you see, or sense intuitively, you focus on and pull out.
Nicole on the First Moment she Knew that She Would Become an Actor:
In Australia, it’s not like I was told, “Oh, you can become a professional actor,” because there wasn’t an industry to support it when I was growing up. So it was more like a dream. That was the place that I could go, and think, “I can get lost in this.” I came from a highly academic family. And so I was not coming at the idea of acting as a career, a profession. I mean, it wasn’t really encouraged. It was like, “Well, you’ve got to have something that you’re really going to do, because that’s not going to pan out.” But the first actual moment I knew I was going to be an actress was probably when I was in drama school. I did Spring Awakening at the Australian Theatre for Young People. I played Wendla in Spring Awakening, which is a really fantastic play. But in that, I had to ask the boy to beat me, in the amazing scene where she finds a switch and tells him to hit her with it. Because she is sort of confused as to why she was feeling pleasure. And at 14 to be dealing with that subject matter was really extraordinary for me. I could understand it intuitively, in a way. It was fun, but it was also dangerous. And all of those things are what still keep me doing it today. It was discovery. And I’ve always been somebody on a journey of discovery.
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