![]() What was the problem? “I think I was mildly resentful because I had to give so much emotionally. I was barefoot, and the director was saying: ‘This will turn into the sea.’ And I was just looking at this man with a hose, and saying to myself: ‘There is no way, with the budget we have, that this is going to work.’ It required so much trust, and I did waver. ![]() “There was a crew member outside with a hosepipe spraying the water into the garage. Past and present become indivisible in one scene, water lapping at Miller’s feet is transformed into an ocean. ![]() Miraculous would be an overstatement, but the film is certainly arresting. I felt lost, which served my character’s state of mind. “It felt really clunky to make, and it took a lot of persuasion from the director to reassure us that this was not an absolute disaster. No one is more surprised than she is that it turned out well. Who knows? It would all be frightfully nebulous and New Age-y without Miller, who supplies the necessary emotional fibre. It consists mainly of Miller and Diego Luna, as her partner, looking back on their relationship from some sort of limbo or purgatory, commenting on their different memories of the same events. Wander Darkly, her new picture, really puts her through the wringer. Leaving after giving evidence at the Leveson inquiry in 2011. It was, like: ‘She can’t possibly be good and be doing all these other things.” “I think my performance was appreciated,” she says of Factory Girl, “but the noise of everything else was louder. What about them? Miller can render vivid the smallest parts, such as the sidelined wives in Foxcatcher, American Sniper and The Lost City of Z, or she can drive entire films, as she did when playing two real-life women maligned by their mentors: she was Edie Sedgwick, opposite Guy Pearce as Andy Warhol, in Factory Girl then Tippi Hedren, under the beady eye of Toby Jones as Hitchcock, in the BBC drama The Girl. “They say: ‘I love your style!’ And I think: ‘What about my films?’” “And you’re welcome.” She still gets stopped by strangers more familiar with her wardrobe than her work. “You probably have Ugg boots, disc belts and peasant tops in your cupboard without knowing why,” she laughs. I confess to Miller that I never realised boho chic – Ugg boots, disc belts, peasant tops – was all down to her. Her “party girl” years have cast an unfairly long shadow, as has her former fashion icon status. In all the extracurricular furore that has surrounded her, it has sometimes been easy to forget she is an actor, and an exceptional one at that: unfussy, organic, authentic. I didn’t want it, I fought it legally, and I triumphed.” I was young, and under real scrutiny at a moment where tabloid culture was destructive. “If someone backs me into a corner, I will fight my way out. Sticking up for herself is in her nature, she says. The lack of consideration that this was a human being.” “The disgusting way they spoke about me, journalist to journalist. Files of emails revealed to Miller exactly how she was regarded by reporters at the paper. Her preparation involved “sitting around the table with lawyers and barristers and having to deal with the ugliness, especially with Murdoch and the News of the World”. Three years later, she testified at the Leveson inquiry after winning £100,000 in damages from the News of the World, which had hacked her voicemail. In 2008, she successfully sued several tabloids, using human rights legislation to secure her privacy.
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