Tell us about Varang, the leader of the antagonistic Ash people, who you play in Fire and Ash.
Sam Worthington mentioned that you went “Method” for the role of Varang. What did you do to get into character?
What was your audition for Varang like?
At the time, I had built myself a treehouse and I was determined to live in there and start a permaculture project [for sustainable land use]. And then there was this opportunity to audition for Avatar and I was like, “That’s a good reason to come out of my treehouse!” James Cameron is a hero for me. But then I met him and he’s so playful and curious. We ended up stopping the audition and talking about agriculture and biodynamics.
A huge crossroads. I was in a place of really feeling the injustices of the world. I spent a lot of time in Calais building shacks in the Jungle [the refugee camp in France]. And I was very conflicted, because then I’d be going on to set and wearing a £9,000 dress. There was a lot of inner turmoil in that.
It’s actually the most freeing acting experience I’ve ever had! It’s like the closest thing to being back in the playground. Because you really are just creating. You have to commit to the moment 100 per cent of the time to create this imaginary realm.
It feels like a horseshoe. Silent films for my grandpa were cutting-edge technology. I thought a lot about him on the set and what he would think about all of this. I think if he was around, he would be doing cutting-edge stuff like this, too. It was a really beautiful parallel, a cool rhyme.
I spent a lot of my career trying to feel like I “deserved” the opportunities that I was getting. And it’s definitely still present in my psychology! The things that my grandfather did were so incredible. I respect and admire him so much. And nothing that I do is anywhere near what he did. And that’s OK with me now. I’m trying not to be so self-conscious and self-deprecating all the time. Instead of trying so hard to “deserve” the doors that open for me, I have started focusing on being grateful for them.
This article first appeared in Radio Times magazine.
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