THE LAST WORD... ‘ If you are in this busi­ness for awards, busi­ness ’ you’rere in the wrong


The Sunday Mail (Queensland) - TV Guide - - THE LAST WORD -

“HOWToGetAwaywithMurder has changed my life. No one was writ­ing like this for me in the movies. Of­ten times [in movies] I’m the third girl from the left. You may have the tal­ent of a Meryl Streep or a Ju­lianne Moore but [you get] the role of the spear car­rier.

And when that hap­pens, no­body can see you shine. I feel like this is the first time that I’m fully a woman. [Ex­ec­u­tive pro­ducer] Pete Nowalk has dared to write some­thing that pushes the bound­aries – that’s bold, that’s dra­matic, that’s sex­u­alised, that’s messy.

It felt good [hav­ing the idea for the show’s in­fa­mous ‘wig scene’ – where An­nalise Keat­ing retreats to her bed­room and takes off her wig and makeup].

I felt that if I played a woman that was all about this [her job as a law pro­fes­sor] that I would fail mis­er­ably.

What I do as an ac­tor is to give you a glimpse of what this per­son’s life is like when the doors are closed.

It was my way of wom­an­ing up. And I knew it would have an im­pact too, you know?

But my favourite scene was when Ms Cicely Tyson [as An­nalise’s mother Ophe­lia] put me in the mid­dle of her legs and parted my hair, and was scratch­ing my head. Be­cause, for me, it’s so fa­mil­iar in my life.

And any African Amer­i­can can say that they grew up with that mo­ment. I used to do it to my mother, grow­ing up. My mum came from the Deep South; so did I. I and would part her hair, and I would scratch it. And it’s so spe­cific, you know, and it’s so sim­ple. But I al­ways say the sim­ple mo­ments are the most rev­o­lu­tion­ary.

There was some­thing about play­ing that mo­ment that made me feel proud of our show. I hope that it landed on peo­ple.

If you are in this busi­ness for awards, you’re in the wrong busi­ness. It’s like be­ing in it for money or laughs.

I think the most dif­fi­cult part of do­ing tele­vi­sion is be­com­ing a Mr Potato Head char­ac­ter.

All of a sud­den peo­ple start say­ing “she’s not like­able. Why did she say that to him? Why isn’t she strong in life?”

And then, when you get tired, what hap­pens is that you want peo­ple to like you. You just want to plug into some­thing that you feel is go­ing to work im­me­di­ately, and then that’s when you start com­pro­mis­ing your soul as an artist.”

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