Claire Foy is a part of the December issue of Vogue USA, which celebrates the 125 years of Vogue, and she talked about her carreer, about her life and about the second season of ‘The Crown’. She was also photographed for the issue and you can check everything related to this below:
What happens to an actress once she has played the queen? Does some magisterial DNA rub off on her? Helen Mirren, Kristin Scott Thomas, Judi Dench have all been appointed dames. Only Cate Blanchett, who so magnificently illuminated Elizabeth II’s namesake, Elizabeth I, is yet to receive a title. But since she’s an Aussie and thus, technically, a subject of Her Majesty, there’s still a chance. Besides, Blanchett exudes innate queenliness.
“The role can give you quite a lot back if you let it,” says Peter Morgan, who should know, since he wrote not only The Crown (for TV) and The Audience (for the stage) but also The Queen, the 2006 movie that arguably restored the monarchy’s popularity following Princess Diana’s death. “When Helen was a guest of the Obamas at the White House Correspondents’ dinner,” says Morgan, “everyone else was being mercilessly teased, but the entire room stood up and cheered her. I’m not sure Helen didn’t grow two inches.”
The glow of imminent stardom flickers like Saturn’s rings around Claire Foy, who will be back as Elizabeth Regina in season two of The Crown this month. Directors from Steven Soderbergh and La La Land’s Damien Chazelle to Evil Dead’s Fede Alvarez have lined up to work with the prolific but previously little-known 33-year-old British actress. Far from being in character when we meet for chamomile tea at the chic London members’ club Quo Vadis, she is wearing tortoiseshell glasses, her blondish hair scraped back with visible roots—the remnants of her role in her recent movie Breathe, opposite Andrew Garfield— and a denim jumpsuit from Citizens of Humanity. (There’s no such thing as a bad jumpsuit day in Foy’s book; at the Emmys in September, she arrived in a silver-trimmed black version by Oscar de la Renta.) By the time you read this, she and her jumpsuits will have decamped to Atlanta to film Chazelle’s First Man, which traces America’s determination to get its man on the moon before the Soviets. Foy plays Neil Armstrong’s wife, Janet, opposite Ryan Gosling.
“She’s incredibly resilient and very physically fit,” says Foy, a knotty contrast not just with the body language required for the queen but also, she says, with herself. Janet would happily have gone to the moon, while Foy feels nervous on a crowded Tube. Then there’s Janet’s voice. The dialogue coach, she says, “keeps saying, ‘Stop! You’re doing the queen with a different accent.’”
Foy is used to range. She has played two queens (Anne Boleyn, on the TV version of Wolf Hall, and Elizabeth), an angelic Dickensian heroine (barely out of drama school she was cast as Little Dorrit in a fourteen-part BBC adaptation of the Dickens blockbuster), and Lady Macbeth (onstage, opposite James McAvoy). With each, she excavated layers that academics have sometimes overlooked. “She’s a lot of fun in person and has a kinetic energy,” says Chazelle, “but when you really talk, you realize how much else is going on. When we first discussed the part, she came with this idea of an interview with Janet she’d found. There was nothing in the script about it—it was astounding she’d unearthed it. I wound up putting some of it into the movie.”
With the weight of so much praise comes a burden of expectation, and Foy seems hell-bent on staying grounded. She likes to tell entertaining stories at her own expense. Today it’s about how she’s been struggling to juggle the care of her two-year-old daughter with her mother and her husband, the actor Stephen Campbell Moore, who starred in The History Boys. How she’s a homebody who likes to bake cakes and, having weaned herself off “terrible reality TV,” watches documentaries, particularly those by Louis Theroux. Foy and Moore recently bought a house in Wood Green, an “up-and-coming” corner of North London, and she spends her weekends puttering around the neighborhood shopping for rugs and cushions. “I love putting everything together,” she says, “but nothing makes sense.” She talks about how no one ever recognizes her. How her first forays onto the red carpet “were like roadkill. If it hadn’t been for Felicity Jones, who knew exactly what to do, I wouldn’t have even known you’re meant to twirl.”
But in the golden rays of a fall afternoon, it’s her pellucid blue-gray eyes, the delicate, below-the-surface incandescence—which Tina Brown, writing in The New York Times, described as “luminously ordinary”—that draw you in. For most of our conversation she leans toward me across our little table, back curved: the Conspiratorial Girlfriend Hunch. She can communicate beauty, comedy, or pathos seemingly by tilting her head, depending on whether sexual sorcery or prim, plain-as-milk sourness is required.
One Friday, a few weeks after our tea, I catch up with Foy over breakfast at the British Academy of Film and Television Arts, where she is about to take part in a Q & A as part of a whirlwind promotional tour for Breathe. Tonight she will catch a plane to Zurich. On Monday she hits New York. Meanwhile, the Internet has been ablaze with speculation as to what she will bring to her newly announced role in The Girl in the Spider’s Web. If Janet Armstrong is a swerve away from Foy’s previous roles, taking on the raw, anarchic, borderline anorexic Lisbeth Salander in Fede Alvarez’s reboot of the Stieg Larsson franchise is the giant leap actresses dream of. For Alvarez, it was never a stretch. “From her first scene of The Crown, I fell in love with the way she was able to tell an emotional story,” he says. There’s already a cybersphere mock-up of Foy in Salander’s goth makeup and tattoos.
Her take on Larsson’s divisive thrillers, which she devoured, along with the movies, when they first came out, is characteristically nuanced. She doesn’t find the violence misogynistic. “I think the books show how this girl was taken advantage of by the system and by men and had chosen her sexuality,” she says. “Mind you, it’s weird when something’s written by a man. Are you just playing a woman through a man’s eyes? Then again, it’s my job as an actress to bring that missing link.”
Foy is efficiently working her way through a croissant with jam and butter. “The sugar-free thing isn’t going too well today, as you can see,” she deadpans—five minutes earlier she’d been telling me that her greatest luxury, apart from the Bechstein piano she bought post–The Crown, is stocking up on healthy food. Not many actors would be able to segue seamlessly between French baking, blonde highlights (“Being blonde changed my life. I loved it. When you’re brunette, people don’t hold the door open for you—but the upkeep!”), and devastating insights into three different characters. Four if you count Steven Soderbergh, with whom she recently worked on Unsane, a film shot in New York on an iPhone over ten days, and whom she (semi-) jokingly refers to as “a man of mystery.” Unsane was the ultimate antidote to The Crown. “There was no time to stress or overthink anything, no extraordinary lighting and cameras. Steven likes to explode reputation, and that’s completely what I needed.”
It’s probably safe to assume that professionally, Foy will not look back when she leaves The Crown after the two seasons to make way for an older actor and a more recent timeline. “Generally, there’s less pomp in the second season,” she says. “Matt”—Smith, who plays Prince Philip—“and I were always saying, ‘Can we have more domestic scenes?’ because you really, really want to see them as human beings. What’s so interesting is what slippers they wear, and those sorts of things.” As the mother of a newborn, then a baby she nursed on set during filming, Foy found the royal couple’s prolonged absences from their children hard to wrap her head around. During a Commonwealth tour in 1953–54, for example, the queen and Prince Philip left five-year-old Charles and three-year-old Anne at home for five months.
Foy’s own family—sprawling, Irish, and raucous on her mother’s side; unknowable on the other, since her father was adopted—is a tight nexus. The youngest of three siblings, she was eight when her father, a salesman for Rank Xerox, and her mother, an administrator in pharmaceuticals, divorced. Initially, despite the alacrity with which Foy performed at home for anyone who’d watch— acting, dancing, and playing piano, despite not being able to read music—she didn’t even consider a career as an actor, deterred, she says, by the prospect of “singing songs and having to pretend to be animals.” She turned to it only when her application to study broadcast journalism was rejected.
In her youth, Foy suffered from a congenital form of arthritis, which meant she couldn’t do much sport, and spent a lot of time watching old movies on TV. She’s still careful to get rest (“I’m like a child; I like to be in bed at nine”) and insists that after Spider’s Web, “that’s it. I’m categorically taking time off.” Then, at seventeen, she developed a (benign) tumor in her eye that required steroids. “It was definitely disfiguring,” she says. “Before, I had a relatively symmetrical face, and now my right eye is a completely different shape.” The sunny interpretation is that the tumor’s aftereffects somehow caused what Alvarez describes as “her ability to express a sea of repressed emotion with only her eyes.” “Maybe the muscles had to learn to work in a different way,” muses Foy. “What it taught me is that it’s human nature to get ill.”
Which means that, like the queen, for whom she has acquired enormous respect, she is stoic. Foy has met Her Majesty only once, briefly, at a Buckingham Palace celebration of Charles Dickens’s birth in 2012. They shook hands—Foy remembers the queen’s were gloved. “My overwhelming feeling was, God, it’s 10:30. She’s in her 80s, and she’s still up. How incredibly hard she works! What really breaks my heart,” she continues, switching back to the show, “is her relationship with her sister. Margaret’s so effervescent and aliv… I think the queen would love her freedom. But she wouldn’t do what Margaret does—which is the point.”
Foy, meanwhile, relishes not just freedom but risk-taking, which is why she’s ready to say goodbye to the queen. “I’ll probably cry when it’s finally over,” she says. “But what’s the point of doing all this if you’re going to play it safe?”
Netflix released, recently, the full trailer, more stills and behind the scenes pictures for the second season of ‘The Crown’, where Claire Foy plays beautifully Queen Elizabeth II. Check out below:
Vanity Fair – The Crown has cast Olivia Colman as its new queen. The actress, seen most recently in the U.S. in AMC’s The Night Manager and Amazon’s Fleabag, will step into the role of Elizabeth II for the series’ third and fourth seasons, replacing Claire Foy as the action of the show moves closer toward the present day. Creator Peter Morgan has said he always planned to replace the cast in later seasons in order to accurately portray the show’s characters as they age. And Foy, for her part, is “thrilled” to pass the crown to Colman.
“I’ve known for a long time. I found out many, many months ago, and I was just like, yes, just do it! Whatever happens, don’t let her get away. Make her do it,” Foy told Vanity Fair at the B.A.F.T.A.’s Britannia Awards in Beverly Hills Friday evening, where she was honored with the British Artist of the Year award. “It was to the point where I actually spoke to her on the phone and told her, you have to do it. You have to do it! She’s the most extraordinary actress and person in every single way. I love her, so I’m thrilled. I have always loved her. I can’t wait to see her in it.”
Foy, who has won a Golden Globe award and a Screen Actors Guild award for her compelling performance as Queen Elizabeth, has one piece of advice for Colman—not to compare herself to the other actresses who previously portrayed the Queen.
“There’s no shortcut in playing the Queen. It’s for her to discover, and she’ll probably find out lots of things that I never found out,” said Foy. “She’ll play the Queen at a very different time to me. It’s a rolling thing, and it’s ever-changing and ever-revolving. That’s the secret in portraying the Queen—no one owns it. It’s everyone’s interpretation, and that’s also the beauty of it. I think the most important thing for her is to just do it, and not think about anyone else who has ever done it before. It’s a challenging role, but she knows what she’s doing. She’ll completely reinvent it and make it her own.”
The second season debuts December 8 on Netflix, and it’s been several months since Foy has wrapped production. Now that her successor has been announced, her time on The Crown is officially coming to an end. What she’ll miss about playing Queen Elizabeth is not the beautiful costumes or the grand sets, she says, but her costars.
“People have said it before, but it’s the truth. We really became a family, and I will miss them the most. Meeting John [Lithgow], meeting Matt [Smith], Vanessa Kirby, Victoria Hamilton, Peter Morgan—they are these people who I got so close with and had such a bond,” said Foy, who will next appear as Lisbeth Salander in the upcoming film adaptation of The Girl in the Spider’s Web. “We shared such an experience. So that’s what I’m going to miss, the people. I’ll miss them so much!”
During the Britannia Awards ceremony, Foy reunited with Lithgow, who earned an Emmy last September for his portrayal of Winston Churchill. While presenting Foy with her award, he gushed to the audience that “acting with Claire was one of the greatest joys of my life in my 50-year career.” He also shared that he was in awe of his costar’s professionalism and her strong work ethic.
“Though she was unquestionably the star of this vast project, I never once saw her assert the slightest whiff of privilege or entitlement. She cheerfully slogged through the mud to the makeup trailer from her cramped Honey Wagon dressing room, identical to everyone else,” said Lithgow. “I never heard her mutter a single complaint or even saw her frown at any of the daunting conditions that we frequently worked under. And this was the young mother of Ivy Rose, a beautiful 1-year-old baby girl. Claire’s kind nature prevailed over the cast and crew of 100 people. Off-camera, she never let more than 40 seconds pass without that cheery, bell-like laugh breaking forth. In fact, the only problem that Claire and I faced in playing the many two-handed scenes between Elizabeth and Winston Churchill was cracking each other up.”
Besides missing her costars, the one regret Foy has from her time on The Crown was not being able to take home any props from the set. “I wanted so many things, but we weren’t allowed,” she said. “They need it all for the next couple of seasons. A crown would have been fantastic!”
Claire Foy attended, on October 27, the Britannia Awards in Los Angeles to receive the award of British Artist of the Year and you can check photos and videos below:
Appearances & Events > 2017 > Oct 27 | AMD British Academy Britannia Award – Arrivals
Appearances & Events > 2017 > Oct 27 | AMD British Academy Britannia Award – Show
Appearances & Events > 2017 > Oct 27 | AMD British Academy Britannia Award – Backstage
Appearances & Events > 2017 > Oct 27 | AMD British Academy Britannia Award – Awards Room
— The Crown (@TheCrownNetflix) 29 de outubro de 2017