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And I just remember thinking, “This is amazing,” but also, “This is terrifying,” because the minute the child goes, “I don’t want to do this anymore,” it’s like, “Oh, okay.” But working with a child is kind of the ultimate thing, because it’s not about you. What matters is serving that child, so it was actually quite freeing, really interesting and quite fun. You were also physically and emotionally put through the wringer in this film. Was there a particular scene or day that was especially challenging? When we were on the water under the hull of the boat for a long bit [in the climax]. We couldn’t get warm, because we were all wet and lying together, and that bit was challenging. Helena has such extreme feelings because it’s so confusing to be going back, and her own adrenaline and hormones present themselves in such strange ways. I had so much energy, but I was also exhausted. There was crying, there was laughing, there were all things happening, and we were sort of just chugging away at it. Our producers were incredible, and that day was pretty grueling. It was a marathon, but it was also great. And then, from that day, we went into the woods for the end, and I was like, “I can be wet and cold, that’s fine. Let’s get into the forest.” It was a bit mad. It’s a movie about being brave, but when you look at it from the point of view of a fan of your work, you made your Broadway debut during the pandemic, and you’re about to take on Star Wars once again. Why do you think so many of your roles radiate bravery? I don’t know, I think it’s just happening, and we gravitate toward things we’re feeling, so it’s not a conscious choice. Like going to Sundance with Magpie, there was something there that I really wanted to say, and it was a different type of bravery. And with Star Wars, it’s just sort of happening! But with Helena, bravery is just there, and it’s not even necessarily correct, but she’s just so quick to act. A lot of stuff is happening to her that is so beyond her control, but she’s like, “I’m going to do this. I’m going to take my child and I’m going to take down my dad.” And it’s wrong, in a way, but it’s such a fascinating thing. So it’s honestly not a conscious choice that I’ve made. It’s probably just in my own way, too. And also, we’re just drawn to things that we like. You have an identical twin uncle. Was that a no-brainer, or did that need some convincing to make sure the story of the novel was honored? It was a no-brainer, and it was very odd. I think Joey would have done both parts if she could have. Our art departments did an amazing job. They went to the nth degree of making our exact shirts, so I think that made a big difference. One of them looked a bit worse for wear, and the other one was much fitter, because you never see them at the same time. But it was kind of mad, because the cast was like, “What is happening?” It was quite confusing for them, but it was also happening at a very little level in the story, so I think it nailed it. And they both did a fantastic job! What did you learn about survival and resilience while submerged in this story? I mean, how we’ve all made it this far, I don’t know. We’ve all been through strange years in these two years. I think there’s a world where people are like, “We’re looking at ending as it was, because nothing really matters.” And with Helena, she’s like, “I’m looking at ending my dad and taking back my child, whatever that takes.” And it’s just interesting how people get to their specific end points, because hers is quite extreme. But maybe we’re all closer to that. Maybe we’re not as safe as we think we are. There were some really interesting stunts, too. How was that? It’s really fascinating, because it’s doable, and people do it. Things do exist where people live off the land, but sometimes, it’s hard to fathom. But our stunt coordinator, James Armstrong, did an insane job. And we had such an amazing crew. I mean, the stuff I did in Marsh King was actually quite light. Like, I was comparing it to some of the things I did in Star Wars, and some of the things then were madness. So it’s hilarious that you push yourself in different ways. And Ben Mendelsohn is a star. He doesn’t break character, like, ever. He’s a riot. What’s next for you? I don’t know! Well, I’m waiting for the next Star Wars, and I’m doing something a little later in the year that I can’t really talk about. It’s weird, because a few years ago, I had an idea of what the next few years were going to be like, and this year happened, and now I don’t have a clue. It’s just really hard to plan things, and there are so many people who had their lives intricately planned, and now it’s all just gone. And while I’m in a bit of a different position because I have been working, the general plan is completely out the window. I’m excited about the next Star Wars, and I’m just hoping that we’re all safe and healthy and that life keeps happening. It’s a really scary and transformative time for everybody, but let’s see what happens! The Marsh King’s Daughter is an American psychological thriller film directed by Neil Burger. The film is based on the best-selling novel of the same name by Karen Dionne. Daisy Ridley stars as Helena, a young woman who must return to her feral roots to save her family from her father, a dangerous fugitive. The film also stars Ben Mendelsohn, Caren Pistorius, and Brooklynn Prince. It is set to be released in 2022.
