When you grieve, there is this sense that there's so much left unsaid. There's regret and confusion, this lens looking backwards at your entire relationship. I lost my mom a couple years ago, and it was the most complex emotional experience I've ever had. I had a baby, and then seven months later, my mom passed away. There's the Kübler-Ross stages of grief, but it's not cyclical. It's not linear. It's just chaotic.
Was the parallel cathartic, or do you draw a line between your experience and the character you're playing?
I'm not the kind of actor who's like, "I want to go and leave it all on the field." But I think there is something I wanted to process, or else I wouldn't have picked it. It's not the easiest thing to show up every day and scream and cry and have to access that place in real time. But there was probably something in me that wanted to sit in it a little bit more.
This story is from the July 15, 2024 edition of Time.
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This story is from the July 15, 2024 edition of Time.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 9,000+ magazines and newspapers.
Already a subscriber? Sign In
Kate Winslet Puts Lee Miller in the Frame - Kate Winslet loves tables. She loves them so much that the Oscar-winning actor collects them.
Kate Winslet loves tables. She loves them so much that the Oscar-winning actor collects them. There is nothing fancy about these antiques, but they enchant her. "It's the knots and the whorls, the shape and feel," she says. "They can feel like old friends, and there is something emotionally charging about an old table that comes with a history-I find imagining what that might be enormous fun."
Alfonso Cuarón Goes Long - The Oscar-winning filmmaker finds pathos in our lonely present in his first TV miniseries
A perceptive, generous-spirited child draws on her imagination when she's subjected to the cruelty of a boarding-school headmistress. A lone astronaut, cradled in a damaged space capsule and having lost any hope of returning to Earth, experiences a hallucination that saves her life. A young household servant, abandoned by the man who's gotten her pregnant, miscarries-though his betrayal helps her define what family truly means to her. Loneliness, so universal it has virtually become trademarked the Human Condition, is everywhere in art, and in life: we tend to fetishize it, or at least dab it with a perfume of sentimentality. But Alfonso Cuarón, now more than 30 years into a wide-ranging career that spans pictures like the Frances Hodgson Burnett adaptation A Little Princess, the space reverie Gravity, and the memoir-as-film drama Roma, is more interested in subtle emotional textures, in gradations of feeling that are always specific to the character at hand yet also joltingly recognizable. And now he brings his big-screen, big-story gifts to a limited series, an adaptation of Renée Knight's 2015 psychological thriller Disclaimer.
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