Taylor-Joy
nothing, it’s freezing cold and the wind’s whipping around, and it was like meeting a kindred spirit. This is my kind of girl!”
Right now, Taylor-Joy,
25, seems to be everyone’s kind of girl. Her schedule is booked solid for the next two-and-a-half years, starting soon with “The Menu,” a dark comedy set in the world of exotic culinary culture directed by Mark Mylod (“Succession”) and then moving next year to “Furiosa,” George Miller’s prequel to “Mad Max: Fury Road.” After that, she’ll reunite with “Queen’s Gambit” writer-director Scott Frank for the thriller “Laughter in the Dark,” and Eggers again in a reworking of the vampire classic “Nosferatu,” the latest collaboration in a partnership that began with her first “real film,” the 2016 horror movie “The Witch.”
“All my friends are always like, ‘What are you doing?!? Take ... a ... break,’ ” she says. “But the roles are too good. I wouldn’t be able to deal with it if I didn’t say yes. I wouldn’t cope. I’d rather just go for it and do my best.”
Where Taylor-Joy feels most useful is the set, where she naturally assumes the role of caregiver and advocate. On “The Northman,” she took on the unofficial job of “cold cheerleader,” arriving for work every day, proclaiming, “Isn’t this amazing? I know we’ve been in the ocean for hours, and it’s so cold we all want to cry! But we’re making art!” (“I’m surprised someone didn’t throw me to the ground at one point,” Taylor-Joy says, laughing.)
She does this on every one of her projects, making sure everyone feels safe and sound and supported and loved. (“She seeks people out,” says “Queen’s Gambit” executive producer William Horberg, likening her talent to Cate Blanchett’s.) TaylorJoy thinks this caregiving instinct comes from feeling unheard and unseen as a kid, a time when she was bullied in her self-described awkward years growing up in London.
“My favorite situations are when people are self-described weirdos, and they feel comfortable,” Taylor-Joy says, letting out the sound of a contented sigh. “That’s all I want to do: make people feel like whatever they’re bringing to the table is a beautiful expression of their originality.”
She’s working, even when she’s not on set. Lately, Taylor-Joy has been learning how to drive a car like a badass so that she can do most of her own stunts in “Furiosa.” She’s a bit dodgy on the details (“I’m trying not to get in trouble!”), but it’s OK to say that she’s enjoying learning high-octane maneuvers under the tutelage of Miller’s stunt team. She also keeps filling journals with her own thoughts and those of characters she’ll be playing, along with lyrics to songs she’s writing. Melodies have long coursed through her head, and she really got into making music while shooting “The Northman,” layering vocals on top of vocals to create some “pretty bizarre” songs.
“I’m very big into lyrics,” Taylor-Joy says. “My favorite music makes you think. I put a lot of thought into that, and that’s usually the aspect that makes me feel better. It’s the cathartic release when you look at a song and a poem and go, ‘Oh. That’s what that situation was.’ It’s not this amorphous cloud that I’m trying to understand.”
One of her journals, the one Taylor-Joy kept while shooting the Russell movie (she’s sworn to secrecy) contains the long, red acrylic nails she wore in the film (“that sounds gross, and I don’t care,” she says). Taylor-Joy keeps a memento from every character she plays. From “The Queen’s Gambit,” she has a hat, a couple of pairs of shoes and some really great pants that she can actually get away with wearing in her day-to-day life. As she wrapped “The Northman,” Eggers gave her a sword, knighting her with it as he presented it.
“I do love beautifully crafted weapons, especially from a film set that have a meaning behind them,” Taylor-Joy says.