In a candid interview, Miranda Otto delves on subjects as varied as her newest character as Queen of the Cuttlefish to the invaluable wisdom gleaned from onstage mishaps and meeting admirers.
The most recent character portrays Queen of the Cuttlefish in The Pout-Pout Fish; if you could be a fish for a day, which one would you choose and why?
Straight away, the blue groper residing near a specific shoreline – because it’s a local landmark, and people go there to see it. I just think it’s cool that there’s a local fish that folks genuinely go and see and discuss – it holds a unique status.
What film do you always return to, and why?
The 1942 film To Be Or Not To Be. I adore this picture. During my growing up, it would air on the ABC occasionally, and once I recorded it. I found it was so funny. It stars Carole Lombard and Jack Benny. Not long ago they were showing it at the Ritz and I discovered that it was the preferred movie of a friend of mine, and so we went and just laughed repeatedly. It’s such great piece of humor and all the actors in it are fantastic. The director Mel Brooks did a remake in the 1980s – which was not as effective. But Lubitsch's version is a brilliant comedy, to be watched regularly.
What’s the best lesson you learned from someone you’ve worked with?
I was doing A Doll’s House alongside Peter O’Brien – now my spouse, but back then we were not together. We portrayed characters opposite each other and on opening night I stumbled – I jumped ahead a few lines in the script. I didn’t know what I’d done but I suddenly realised something wasn’t right. I recall glancing toward him, and he expertly rescued the moment, and then our performance took off again and proceeded splendidly. But I think the insight gained in that moment was, first, always trust the individuals you’re working with. When you lose where you are, if you turn around and toward the actors you’re with, you can rediscover where you’re meant to be in some way. It is a profoundly collaborative endeavor, acting on stage. And next, to maintain a lighthearted attitude regarding it. Occasionally when a mistake occurs, things actually spark off in a wonderfully positive way if you’re fully engaged then. It can be a gift when things go completely awry.
Can you describe your most touching interaction with a fan?
It’s not a single specific meeting but when I meet fans of Lord of the Rings, especially female fans, I hear a lot of stories about how that character meant to them when they were younger … things that had happened in their lives and the extent to which Eowyn signified for them and was a form of support to them during those periods.
Which questions get asked most frequently by Lord of the Rings fans?
The most specific inquiry concerns always about the stew that Eowyn serves Aragorn. “Was the stew as terrible as it looked?” It’s become a running gag, the entire episode involving that dish, and everyone wants to know the contents of the pot, and its preparation method, and in your opinion her skills improved now, or do you think she really is a poor chef? Fans seem, in my view, obsessed with the humour of that scene. And I go into lengthy descriptions listing the components that made up the concoction – because I remember what they did; such as put bits of red cotton to make it look like bits of veins in the meat. They went to great detail to render it as unappetizing as they could.
What was your most cringeworthy run-in with a famous person?
I was at a fitness session and there was a woman on a mat exercising, and the instructor remarked, “Oh, Miranda, this is Miranda.” And I made some joke inquiring, “oh, are you a journalist?” Since Miranda is an unusual name and often when someone’s a Miranda, they’re a journalist. I hadn't properly identified her. And as she rose, it was Miranda Richardson. At that point, I was at a loss for what to say. I still had to stay and do my class, and I experienced so embarrassed. I wanted to say: “Goodness, I do know your work!” I consider her talent is immense and I was just too starstruck to utter a syllable.
Articles have confidently claimed that you were named after Prospero’s daughter in Shakespeare’s The Tempest, and yet I’ve read you saying otherwise – can you clarify this definitively?
Yes – I was christened for a district in Sydney. My mother heard on the radio that they were opening a mall at that location, and she thought sounded like a pleasant choice.
What’s the most chaotic thing that’s ever happened on set?
While working in Brazil for the film Reaching for the Moon that was the most chaotic set I’ve ever worked on, and yet the film emerged incredibly well. But the local crew operated in a distinct manner. The sense of time there is unique. Typically, you receive a call sheet and must arrive on set punctually. But this was rather flexible – one would appear whenever you happen to be ready. It was a novel approach for me. The elements were being assembled at the final moment, and sometimes the plan was unclear the next location or the methodology. And then I would be in during a scene and wondering, “What caused that sound that just interrupted the scene? Ah, it was a crew member opening some champagne on set, because he’s making a party.” The result was great, but wow, it’s a distinct approach to film-making.
Do you have a secretly good at?
I’ve always been good with numbers. I retain numbers easier than I memorise words a lot of the time, I’ve just got a numerically-oriented mind. So I believe if I hadn’t ended up in acting, I likely might have worked in something to do with numbers, like mathematics or accounting.
What is the greatest piece of advice you have ever received?
When I was in high school, someone came to speak as we were graduating and they said, “have no fear to fail” … an idea I consider is the best piece of advice, because you learn far more from setbacks than you learn from triumph. With success, you never really comprehends precisely why it happened. Failure, the lessons are so much more.
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