Carey Mulligan is a letter writer.
As a young woman with actors, she wrote to Kenneth Branagh and asked for advice after seeing him Henry V. At 16, she wrote to "Mr. Eminem" to tell the rapper what fan she was from 8 miles.
After visiting Julian Fellowes, she wrote to the scriptwriter also a lubrication that led to meeting casting directors and finally landed a role in the 2005 film Pride and Prejudice.
"I had no way in the industry. I did not know what my route was in," Mulligan says. "Sometimes I feel compelled to write to someone to tell them how brilliant they are. I wrote to Amy Adams after Arrival and I was like: "You're the best actress on the planet."
The Mulligan found itself by grabbing it with something as old as pen and paper is appropriate. Since her debut in Pride and Prejudice, her career has often been one of time travel. During a long period of films, from her breakthrough in the London set of 1961 An education to her latest, Wildlife, who settled in the 1960s Montana, she has a living life-course of women through history, women whose own ways were too limited to be relieved by a willpower and a stamp.
Since 2015 Suffragette – A movie she says revived her feelings about women's rights today – Mulligan has played some kind of modern woman searching for marriage with a battery of riders 1874 England (Far from Madding Crowd), a grown woman went to after-WWII Mississippi by her husband (Mudbound), and in Paul Dance Richard Ford Adaptation Wildlife, a captured, meaningless woman whose husband (Jake Gyllenhaal) leaves her and their 14-year-old boy (Ed Oxenbould) in a remote Montana city while he walks out to fight forest fires.
"They are all kind of strange and not of any design," Mulligan said in an interview last month over tea on a rainy morning. "But there is some sort of continuous line. It's like a woman's liberationstrilogy."
The roles have jointly been an education for Mulligan, each of which is of major importance for today's struggles for gender equality within and without the film industry. But Mulligan is also – and she emphasizes this – ready for something more modern.
"I die absolutely to make a contemporary movie. I can not even start telling you how much. Every time I get a good script, it just happens to be a period movie. There is something wonderful about visiting different epochs. would also love to do something modern. But it just does not happen, Mulligan says.
The appeal, however, by Wildlife was two-sided. There was a chance to work with long friends. Mulligan has for years known Dano, Gyllenhaal and Zoe Kazan, who wrote the script with Dano, her partner. (Kazan and Mulligan co-starred in 2008 Broadway staging of seagull.) And it was also a kind of part that Mulligan rarely had the opportunity to play. When her husband controls them, Jeanette Brinson curses and confuses, and she desperately fools in search for stability – all while her son is watching troubled.
"What really scared me was the thought of failing your children," said Mulligan, who has two children with songwriter Marcus Mumford. "Thinking about the concept of somehow making them come in the future in a deep way, it's just so scary."
During the festival war, both in Cannes and at the New York Film Festival, Mulligan has tried to defend Jeanette whose wheels can come from, but she does her best in tight circumstances. "Someone in Cannes was like," Yes, she's such a terrible mother. "I was like," Hang a minute, "Mulligan said.
Kazan – who for years changed draft Dano – realized that she wanted to "advocate" for Jeanette.
"I began to feel very adapted to Jeanette. Being a woman during the specific period of time must meet the archaeological constraints of the wife and mother so narrowly defined, Kazan said by phone." It was something that felt very very important ".
That Mulligan was right for a more messy character, says Kazan, was clear from performances in Steve McQueen Shame and her stage work.
Echoing widespread praise for Mulligan's performance in Wildlife, New Yorker wrote: "Mulligan throws away his natural sweetness to give us a sour soul, driven only by the courage of her confusion."
"She's like a great ballerina," says Kazan. "She's so accurate. You can ask her to do something because she has the untrue thing that you can not buy or train by an audience who feels empathy for her."
Mulligan also recently challenged by staring at the widow's show Girls and boys, in both London and New York. She played a mother of two who told a story that begins comic before he gets dark and violent. Mulligan's character was simply listed as "Woman".
Laughing, she calls the one-woman's play "a scoop-list thing that I'm so glad I did and I'll never do it again."
At 33, Mulligan radiates a calm despite her love for more tortured spirits. Even her defensiveness about her famous husband has ebbed some.
"It used to quench fear in my heart if someone said," So you're married to Marcus? "Said Mulligan." I would be like: "Ahh!" And jump out the window. But now I'm like, "Yes. Married for, like, kind of long time." It does not make me anymore. "
But if Mulligan's life is steady, she drives as an actor to the opposite.
"I do not want to do anything too seriously. Maybe I do not want to play heroine anymore," Mulligan says.
"Suffragette and Madding Crowd "They are quite deliberate, noble reasons. I loved that Jeanette is the opposite. She is the complete anti-heroine. Everything in her hands gets up. "- AP / Jake Coyle