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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!”
Vogue – It is an appropriately serene afternoon in Regent’s Park: hazy golden summer light, long shadows and the smell of cut grass. We walk, Claire Foy and I, from a long, chatty lunch in Primrose Hill towards the West End, where she is due to drop off a signed contract with her agent. The brown envelope in the small hemp carrier bag she is swinging commits her to an upcoming project: Damien (La La Land) Chazelle’s First Man perhaps, playing the wife of Ryan Gosling’s Neil Armstrong, or Fede Alvarez’s The Girl in the Spider’s Web – the fourth in the Millennium series – in which she will play Lisbeth Salander.
“If this had happened to me when I was 23, I think I would probably have spun into a vortex”
One thing is absolutely certain. This brown envelope does not contain a contract committing her to a third season of The Crown, Netflix’s £100 million drama series written by Peter Morgan, in which she gave a masterfully poised Golden Globe-winning turn as Queen Elizabeth II. Foy’s commitment was to only two series – the second of which is released next month. By the end of this forthcoming season, which spans the years between 1956 and 1963, the monarch will be approaching middle age and Foy will therefore, in the interests of authenticity, be replaced by an (as yet unnamed) older actress. “To say that Claire is going to be a hard act to follow is an understatement,” says Morgan. “Everything – everything – pivoted on her performance, which was faultless, by the way. Without someone as technically brilliant and as hardworking as Claire at its centre, a show like The Crown would have completely disintegrated.”
Disintegrate it didn’t. If the naysayers needed proof that long-format television series were capable of filling a hole which a quick-fix society has left in our souls, The Crown was it. Clever writing, sumptuous production values and truthful performances gave it a core strength and solidity not unlike the 65-year reign of the woman whose life it follows – whether you support her or wish to depose her – and that has also threaded through the tapestry of our lives.
On paper, there is nothing to link the two women – one a jobbing actress from Buckinghamshire, the other a jobbing monarch from the mid-20th century – and yet… There is an essence, a certain poise, which chimes. It’s there in the face, in the pretty plainness that simultaneously distinguishes and disappears, and it’s behind it in the sense of a spirit, a silent strength which speaks – from somewhere beyond that blue-eyed gaze – of a certain knowing.
Bubbling and chatting and sharing jokes, as a lunch companion Foy, in dressed-down, fresh-faced mode wearing a blue denim Citizens of Humanity boiler suit, silver Converse All Star hi-tops and with her hair loosely braided back from her face, behaves like an old friend. But behind the jokes – the stories of her two-year-old daughter, Ivy, thinking that every stately home or town hall they ever pass is “Mummy’s work”, and her entire extended family trying to use her as a means to get to Matt Smith (her co-star in The Crown) and “basically lick his face” – there is a secret self that is harder to reach. This self is the one whose parents divorced when she was eight, whose single mother then struggled to make ends meet, whose early teenage years (more on which later) were marred by a battle with juvenile arthritis, and whose later teenage years were shattered by the discovery – and subsequent treatment with steroids – of a benign tumour growing behind one eye. Little wonder that, when asked if she had anything in common with the Queen, whose elusive combination of delicacy and steeliness she portrays so flawlessly, Foy was reported to reply, “I guess we can both be tough old birds.”
Making The Crown has required Foy to draw on all her deepest reserves of resilience. Famously hardworking – professional and uncomplaining to the umpteenth degree – she started filming the first series a mere four months after giving birth to her daughter. “On the first day of filming, I found myself halfway up a Scottish mountain, with engorged boobs and no way of getting down to feed my baby,” she remembers. “I had to ring my husband [the actor Stephen Campbell Moore, whom she met on the set of Season of the Witch] and tell him to give her formula. It was like someone had stamped on my heart and, as I sat in a Land Rover trying to get a broken breast pump to work, I felt I’d made the worst mistake of my life.” In retrospect, Foy – who had a very traumatic birth involving haemorrhages and blood transfusions – thinks her hormonal exhaustion might have served her well. “Because I was so tired, I just played each moment as each moment,” she explains. “I didn’t over-think it, and I genuinely didn’t have the energy to invent any emotions that weren’t there. It was just one steady bulldozer of emotion pushing me all the way through.”
For season two – in which we see the Queen entering middle age, with all the accompanying crises (particularly within her marriage) that that might entail, and her sister Margaret embarking on an explosive relationship with society photographer Tony Armstrong Jones (Matthew Goode) – Foy had a different kind of hardship to contend with. As well as the pressure of the success of the show, and always being “mindful of complacency”, she had to juggle the demands of her work – a rigorous, sometimes six-day-a-week shooting schedule sustained over nine months – with the needs of her family. Ever the company player, Foy – who, for the most part, had Ivy with her on location (“she’s basically in love with Matt [Smith]”) – took it upon herself to speak up for everyone when, on occasion, the demands of the production became too much. “Because I was number one on the call sheet, I was in a position to stand up for my department and say, ‘I don’t think you can work people on a Sunday. And no, I’m not being antsy and I’m not being tricky. I just think it’s out of order and we all need a day at home with our families.’’’
While on the one hand the success of The Crown spurred cast and crew on – “Everyone upped their game,” says Morgan – on the other, it played against them. For Foy and Smith, in particular, days off from filming were spent promoting the first series around the world. “Eleven-hour flight there, blah, blah, blah about the show, 11-hour flight back and straight back on set saying, ‘Oh, that was glamorous.’ Not! And now I’ve got an eye infection…” By the time filming finished in May, Foy was a physical and emotional wreck. As the director called “Cut!” on the final scene – an exchange between her and Vanessa Kirby (Princess Margaret) – disco lights started flashing and a spontaneous party was held on set. “And I didn’t cry or laugh or feel anything particularly. All I could think was, ‘I need to go home now.’’’
To say that The Crown has been life-changing for Foy is an understatement. Little more than a year ago she was relatively unknown, aside from her complex portrayal of Anne Boleyn in the BBC’s Wolf Hall. Now she is a Vogue cover girl (“Who would have thought it? Claire Foy on the cover of Vogue!” she laughs), the star of a show that has been watched by tens of millions around the globe. “I know, it’s completely mental, isn’t it?” she says. “I can’t really get my head around the fact that people like Elton John and Helen Mirren actually know who I am because of my acting.”
An unlikely pairing, Elton John and Helen Mirren, and one that makes Foy laugh – as she does frequently and uproariously throughout our interview. But that’s just the madness of it. One minute she was a quietly jobbing actress, the next she was getting letters of admiration from Mirren – “incredible stuff that she really didn’t need to say” – and accepting Golden Globes in a shimmering pale pink sequined Erdem gown. “Genuinely the weirdest experience of my life,” Foy remembers. “There I was, standing in a sandwich between Stevie Wonder and John Travolta, having a completely out-of-body experience.” For a moment, at the after-party, Foy started to feel utterly overwhelmed. “All I kept thinking was, ‘Um, I don’t know what to do with this. I don’t know what to do with this thing that’s happening to me.’ But then I had an espresso martini and WhatsApped my family and friends with all the gossip, and then I felt fine.”
If there’s a certain guilt that comes with Foy’s new-found fame – “I really cannot see why this has happened to me and not to someone else” – there is also a healthy cynicism: “I’m under no illusions as to how fickle success can be. I’ve been on the outside of it enough to see it come and then see it go. If this had happened to me when I was 23, I think I would probably have spun into a vortex but I genuinely have enjoyed the past year for what it is. It’s great that people like the show. Really amazing. But I have never, at any point, thought, ‘Yes. This is where I should be,’ because, dear me, if you do think that then you’re going to have some serious problems further down the line.”
The world that Foy grew up in was a world away from the one she now inhabits – “I didn’t even know these people existed. I’d never met an actor.” The youngest of three, she was born in Stockport but moved to Buckinghamshire when her father, a salesman for Rank Xerox, got a job there. Foy endlessly forced her older brother and sister to stage plays in which she usually cast herself as the star. Aged 11, she joined her siblings at the local grammar school, where she gravitated more towards sport than drama. But at 13 she was diagnosed with juvenile arthritis and taken off games indefinitely. “I didn’t really register that I was ill,” Foy recalls. “I was simply annoyed that I had to be on crutches while the other girls were running around, and that my knees were swollen while theirs were being shown off in miniskirts.”
If it was at this point that Foy’s interest turned towards drama, her ambition crystallised five years later when she was struck down by another auto-immune condition, this time the tumour behind her eye. “It was horrible and debilitating, but it made me realise that I needed to grab the life I wanted,” she says, matter-of-factly. “If that hadn’t happened, I don’t know if I would have been brave enough to throw my cards on the table and say I wanted to study drama.”
After gaining a degree in drama and screen studies at John Moores University in Liverpool, Foy studied acting at the Oxford School of Drama. Success was by no means a given and Foy worked hard – “for a film catering company, in a hat-making factory, you name it” – to support herself between bit-part acting jobs. Her big break came in 2008 when she was chosen to star in Little Dorrit, a BBC adaptation of the Dickens novel. “What stood out was her fragility and her extraordinary eyes,” remembers director Dearbhla Walsh. “Big saucer eyes that were like a window into her soul.”
By the time Foy went to audition for The Crown some seven years later, she had built up an impressive CV made up of mainly television roles – Peter Kosminsky’s The Promise, Upstairs Downstairs, White Heat and Wolf Hall – and was six months pregnant with her first child. “I’m sure that’s why I got the part,” Foy remembers. “Because by that point in my pregnancy, I was so distracted.” Peter Morgan remembers it differently: “She was electric, even in composure and silence.”
Several months before our interview, Foy filmed a banquet scene at Wilton House near Salisbury, set during John F Kennedy’s presidential visit to England in 1961. In it, she and 60 other actors, including Matt Smith, Michael C Hall (JFK) and Jodi Balfour (Jackie Kennedy) are in their full finery, but it is Foy who stands out – not for anything she says or does, but for all the things she doesn’t say or do. As she walks through a majestic backdrop, head high, saying nothing, it is, above all, her stillness that resonates. “Claire has a very powerful ability to do very little and speak volumes,” says director Stephen Daldry. “It’s an incredibly powerful combination which serves the role perfectly. On the one hand we, the audience, feel that we know her Queen, but on the other hand we don’t feel that we know her at all. When in doubt, I just put the camera on Claire. Even in silence, she can say a million things.”
When Foy acts, she does so with her gut. “She instinctively knew things about my mother that even I, the person who arguably knows her best in the world, didn’t know,” says Jonathan Cavendish, the producer of Breathe, the tear-jerking true story of his father’s refusal to be cowed by a paralysing bout of polio and his mother’s unbreakable love for him, in which Foy stars opposite Andrew Garfield. “Claire didn’t mimic my mum. She felt her way into her. It was extraordinary to watch.”
Despite her self-deprecating insistence that “it could all be over in five years”, Claire Foy is indisputably here to stay. Yet she puts her chameleon powers to good use, as a means of disappearing into normality. She lives a grounded, consciously unstarry life in a small house in Wood Green; her greatest extravagance is a second-hand Bechstein piano on which she can hardly ever play because the only space for it is directly underneath her daughter’s bedroom. But this is the way she likes it – keeping life simple, maintaining her integrity, and staying invisible when she needs to.
“I’m telling you, nobody recognises me at all, ever,” she insists, when I question whether she can really travel by public transport unnoticed. “I think it’s because I look normal, like someone’s sister or cousin.” As she says this a woman approaches – a polite, middle-class, middle-aged woman who will surely have watched The Crown – and asks the way to Baker Street. “Oh, crikey, now you’ve got me,” says Foy, getting out her phone to help. I watch, delighted, waiting for the passer-by to register that she’s talking to the Queen and watch, deflated, as she walks away. “You see?” Foy smirks triumphantly, amusement dancing in those majestic clear blue eyes, as she puts her phone back in her bag and walks purposefully on.
“Breathe” is in cinemas from October 27.
The Telegraph – In her roles as Queen Elizabeth II and Anne Boleyn, Claire Foy has demonstrated a quiet genius for conveying a multitude of emotions and thoughts without saying a word. It is all there in the face: porcelain pale, with perfect features and those startled-wide eyes.
The pauses, the almost imperceptible shifts in expression; the steely, basilisk gaze. It is hard to take your eyes off her. It is something she shares with Mark Rylance – whom she acted opposite in Wolf Hall – and which is rooted in a particular ability that may not be immediately apparent to the average viewer.
‘The one thing they do better than any other actor that I know is listen,’ says the director of Wolf Hall, Peter Kosminsky. ‘In real life you don’t know what the person you’re talking to is going to say next, so we listen very carefully, not least because we have to work out what our next remark should be.
‘The problem for actors is that what is about to be said is known to them – they’ve spent much of the previous day learning it. But somehow they have to make it feel that what they’re about to say flows out of what’s been said to them, and that is about listening.’
Foy in person is much more animated than her facility for silences might suggest. A petite figure, dressed in a black jumpsuit and trainers, we meet for lunch at a hotel in Clerkenwell, where she arrives precisely on time.
There has been a mix-up over booking a table, but we shan’t worry about that, so we sit in the bar, eating crisps, dips and Scotch eggs, which Foy devours – she’s not the least bit regal, and somewhat bemused by the whirl of attention occasioned by the extraordinary success of the Netflix series The Crown.
The second series of The Crown arrives on our screens in December. It is Foy’s swansong in the role. In the third series the Queen will be played by an older actor, yet to be announced. While the first series dealt with the Queen struggling to come to terms with her position, and the conflict between duty and family, the new series concentrates more on her marriage to Prince Philip.
‘They’ve had 10 years of a relationship,’ Foy says, ‘and it’s changed beyond belief from when they first met each other. Rather than just talking to each other, they’re essentially fighting the entire time, which is awful. But it’s also about her advancing into middle age.
The monarchy are weirdly a reflection of us… They are at our whim, we can turn on them in a second.
‘When she first came to the throne she could do no wrong in peoples’ eyes. Then, coming in to the ’60s, it’s more a case of, “Who are you? What are you for? Look at your hair! What on earth are you wearing?” And her going, “I feel a bit frumpy. I’m wearing the same clothes as my mother.” She is realising that she as a person is open to criticism and that the institution is, too. It’s “change or die”, but she’s in a quandary of “I don’t know how to change”.
‘I think that’s the nature of the monarchy as a whole; they are weirdly a reflection of us. A lot of people may think they are incredibly privileged, but they’re at our whim. We can turn on them in a second and you’ve seen it happen time and again, when they’ve carried on and then realised they have to catch up. They reflect public attitudes and they have a responsibility.’
For Foy herself, playing the Queen has also been a process of change, modifying her attitudes to the monarchy. ‘That’s why I think the series is so good; instead of just looking at the institution, it’s looking at them as people, what experiences and challenges they’ve had and what you can learn from how they’ve dealt with things.
‘I don’t think you can take away from her the fact that she has never had a choice to do what she wants to do. She has completely lived for her country, and she’s still working now, at her age, and I really admire that.’
We are meeting to talk about Foy’s new film, Breathe, based on the true story of Robin Cavendish, played in the film by Andrew Garfield, who in 1958 was struck down by polio at the age of 28. Paralysed from the neck down and able to breathe only with the use of a mechanical ventilator, he was given three months to live.
But a year later – against the advice of his doctors – he was able to leave hospital and, thanks to the development of a Heath Robinson-esque mobile ventilator, attain a degree of mobility that enabled him to live at home and even travel abroad.
Supporting his family by playing the stock market, he became a tireless advocate for the disabled, helping to develop numerous devices to provide independence to the paralysed. He lived to the age of 64. Produced by Cavendish’s son Jonathan, Breathe is the directorial debut of Andy Serkis, best known for his motion-capture acting roles as Gollum in Lord of the Rings and as the giant ape in King Kong, and with whom Foy appeared in 2008 in her first major role in Little Dorrit.
It is a remarkable and deeply touching film. Garfield gives an extraordinary performance (most of it lying on his back) as the indestructible Cavendish. While Foy – who is becoming something of a specialist in playing living characters – is superb as his wife Diana.
The couple had been married for only a few months when Cavendish contracted polio; he urged his wife to switch off the machine and build a new life without him. Refusing to let her husband succumb to despair, she nursed, cared for and went on to campaign alongside him.
‘She was very young when they met,’ Foy says. ‘And so suddenly meeting the love of your life, and him saying, “I’m done for,” her reaction was, “Well, you’re not. I know it’s terrible, but trust me. If you’re going to be alive, you’ve got to make the most of it.”
‘How incredible that he was able to come out of that depression and say, “This isn’t the life I wanted, but I’m going to go on living it.”’
Throughout his life, Cavendish was always just three minutes away from certain death – the amount of time he could have survived had his respirator failed due to a power cut, a blown fuse or – as happens in one particularly heart-stopping moment – a playful dog yanking out the plug.
‘That happened,’ Foy says. ‘But thankfully they had a bell that he was able to ring.’
In other emergencies, Cavendish was kept alive by Diana and Jonathan hand-pumping the respirator. True, one thinks, to Cavendish’s indomitable spirit, Serkis injects a light-hearted vein into what could otherwise have been a sombre story.
This includes the presence of Tom Hollander playing identical twins, and a knockabout scene where the family make a hair-raising journey to Spain in their converted Bedford van, to the accompaniment of Lee Marvin’s Wand’rin’ Star.
‘Andy said he wanted to make a cross between The Diving Bell and the Butterfly and Chitty Chitty Bang Bang,’ Foy says with a laugh. Diana is now in her 80s and ‘the most extraordinary woman’, says Foy, who spent time with her to prepare for the role.
‘She doesn’t see herself as a hero at all. I asked her, “What’s the worst thing I could possibly do?” And she said, “Over-sentimentalise it and make me some angel.”
Jonathan said, “I saw my mother cry once, at Christmas, because she was given a kettle as a present.”’ Diana’s precisely modulated upper-middle class tones, and her practical, determined and no-nonsense manner inescapably calls Foy’s role as the monarch to mind.
‘There was a moment when I thought maybe I just can’t do this, because they are similar people in many ways. But there is no way I could have not done the film. ‘It’s the same kind of time period, and they’re a similar generation. They’re both very much: “Don’t complain, just get on with it, suck it up.”
I have more debt than when I was 16… I live beyond my means. My Ocado shops are off the scale
‘You say to Diana, “Did you ever get depressed?” And it’s, “Of course not! Why on earth would I get depressed?” You get up and get on with it and have a cup of tea.’ It’s the war generation. They must just look at us now and think, ‘“My God, you’re going to see a therapist?”’
The daughter of a salesman, Foy was born in Stockport and is the youngest of three – she has a brother and sister – but moved as a child to Longwick in Buckinghamshire. Her parents separated when Foy was two, leaving her mother to bring up the children on her own.
‘I don’t know how she did it. She took a job that meant she could be there for us when we got back from school. She is an extraordinary mum and an extraordinary grandmother. There is not anything she hasn’t given us.’
Circumstances were difficult. ‘I was always very, very aware of money and not having any.’ At 14 she was working for pocket money at the local pub. ‘I always knew there was no money coming from anywhere else, so it was a case of, “Well, I’ve just to get out there and make it myself.”’ She laughs. ‘It makes me sound like I was some sort of pickpocket or something.’
After grammar school, Foy attended Liverpool John Moores University to study drama and screen studies with a view to becoming a cinematographer. But following the advice of her drama teacher to concentrate on acting, she went on to drama school instead. Her first role was a small part in the TV series Being Human, which led to her being handed the title role in the 14-part BBC adaptation of Charles Dickens’ Little Dorrit.
For Foy, the role was a seminal education in learning how to convey more by saying less – or nothing at all. ‘I was playing this character who never, ever asked anything of anyone, and who was a complete angel, really giving, unassuming and shy. But I was like, “That may be the way she acts, but it’s not what she’s thinking.” And I remember Dearbhla [Walsh, the director] saying, “You just need to trust you can convey what you’re thinking without having to move your face.”
‘I don’t need to make exaggerated facial gestures. If you know where your character is coming from and going to, and all those sorts of things, then you can be in the moment and let it happen – you don’t have to do any more.
‘What I love is when you’ve done a scene and you can’t remember what you did. That means you weren’t thinking about the guy holding the boom, or that your shoes were too tight, or “I can’t remember my next line”. That’s the dream – but to try and do that every time is a fool’s errand.’ ‘Trying to be in the moment,’ she adds, is her, ‘constant endeavour in life.’
On Wolf Hall, Kosminsky says the challenge facing Foy was to play a character who was initially deeply unsympathetic.
‘A lot of actors – particularly leads – are very nervous about these roles because they want to be liked by their audience. So they will either avoid them or they’ll try to make them more likeable than they are written. ‘But Claire really went for it. She was able to take you on this journey so you ended up being powerfully moved and affected by Anne, despite her idiosyncrasies.’
Kosminsky recalls talking to Hilary Mantel in the early stages of making Wolf Hall, trying to get ‘some early pointers’ about how to take on the challenge of adapting her book to the screen.
‘She said, “Please remember these people don’t know they’re in history; they’re not playing the ending. They don’t know that every child in Britain has read that Anne Boleyn is parted from her head. She believes that within the vagaries of fate, life and luck, she is master of her own fate. She’s not a historical figure – she’s living her life, just as you and I.” And I think that’s very true of Claire’s Anne – you didn’t feel at any point that she was playing the ending.’
What is also rare in Foy, says Kosminsky, is her ability to move in and out of a role almost at the flick of a switch. ‘She can be chatting quite happily as Claire Foy, then seemingly in a moment switch into character, with no sign whatsoever of any diminution of focus, attention or depth of performance. Then as soon as “cut” is called, switch right out of it.’
Foy offers the theory that as the youngest of three siblings, it was almost pre-determined that she should become an actor. ‘You find a lot of youngest are actors; they’ve been given free rein because a lot of the time with the youngest it’s a case of “take care of yourself – we’ve got a lot on”. But also they’re looking for someone to say “this is who you are”; that feedback that you don’t get otherwise.
‘It has been really weird this past year that suddenly people seem to view me in a different way: “Oh, you’ve been in a successful TV show!” I mean, I was in Little Dorrit then and blah, blah, blah – but I’ve never had that “Pow! Off you go to Hollywood” and all that. I’m just very grateful that it’s happening now, because I know how it works. If it had happened when I was 23 I would have been massively overwhelmed and probably affiliated a lot of my own self-worth with what everyone else thinks about what I do.’
Presumably, she has more pocket money now. ‘I have more debt than when I was 16…’ She would rather like a six-bed house on Hampstead Heath, ‘But unless I have, like, £8.9 million, that’s never going to happen.’ As it is, she lives in a terraced house in north London. ‘I live beyond my means. My Ocado shops are off the scale.’
She is married to the actor Stephen Campbell Moore, whom she met in 2011 when both were in the Hollywood fantasy film Season of the Witch, and who has recently recovered from the removal of a brain tumour. They have a two-year-old daughter. (Foy was pregnant throughout the shooting of the first series of The Crown.)
‘My life has changed extraordinarily since I’ve had a child, but I’ve just been working, really. I mean, I’ve had some time off, but I’m in a cycle – I’m working now, then I have time off, then work again. I always would have wanted to go back to work, but you can’t have it all. If I’d said, “I’m dedicating the rest of my life to you, darling,” then 18 years down the line, it’s, “Bye, see you later.” “What? I gave you everything!’ She laughs. ‘I think it is important to keep that part of yourself, but I wish the hours weren’t so mental.’
Her next role will be playing the astronaut Neil Armstrong’s first wife, in a biopic directed by Damien Chazelle, the director of La La Land. Foy says she ‘is in the throes of an existential crisis’ at the prospect. But at the same time, happy to move on from the role of the Queen that has come to define her.
‘I feel she’s still there, somewhere, deep down, but I can’t wait to see someone else playing it,’ she says. ‘I think it’s going to be weird watching it, and I think I will pine, definitely, but in a good way. I feel very lucky that I played her out of time, when she was younger – I’m not the “Queen Queen” that everybody recognises now.’
I disagree, I joke; she’s made it impossible to look at the Queen without seeing her as an imposter. ‘Well there you go then,’ she laughs, ‘I’m just going to have to take over.’
Hello Giggles – Lots of young actresses dream of wealth and fame. But that was never the end goal for Claire Foy, the British actress whose rise to fame recently skyrocketed after winning a Golden Globe award for her portrayal of Queen Elizabeth II in the Netflix series The Crown. It’s so popular, even the real Queen watches the show IRL!
Foy has been acting for ten years, mainly in BBC biopics such as Little Dorrit, Upstairs Downstairs, and Wolf Hall. Prestigious, yes, but far from mainstream. But all that changed when she stepped into the Queen’s shoes for The Crown.
We all know that Foy’s performance was brilliant. But the actress says the fact that people watched the series in the States shocked her.
“We knew it got good reviews and people were watching it,” Foy told NYLON. “We knew people in the industry were watching it because we got some lovely emails from colleagues and peers and stuff. But I had no concept of the fact that anyone watched it in America or anything, because it’s thousands of miles away.”
It wasn’t until doing press and hearing her name was announced at the Golden Globes that Foy realized just how many people were watching — and loving — the show.
“When I won, it was a very surreal and slightly disconcerting moment,” she continued. “The thing that I really remember is, I accepted it, walked off the stage, and just kept saying, ‘Oh my god, oh my god, OHMYGOD’ really loudly. And then we won drama series and I was like, ‘What the fuck is going on?’”
Despite Foy’s surprise, it’s not shocking to us that she won — her performance was stellar.
Luckily, we’ll get to see her work her magic in a bunch of upcoming projects. She stars alongside Andrew Garfield in the new film Breathe, which just hit theaters yesterday.
But that’s not all.
She’ll also play Lisbeth Salander in the forthcoming film The Girl in the Spider’s Web. AND, Damien Chazelle cast her alongside Ryan Gosling in the Neil Armstrong biopic, First Man. Phew!
And of course, we can’t wait to see her reprise the role of Queen Elizabeth II! Season 2 of The Crown hits Netflix in December.
The Sun – The star of the hit Netflix drama says she wouldn’t be willing to support the monarchy if people opposed its existence – and, as well as comparing Queen Elizabeth to Madonna, said she is delighted she doesn’t have to play her any more.
Claire Foy has made some surprising comments about her view on the Queen, whom she plays in The Crown
Mum of one Claire, a Stockport native who identifies as a “commoner”, has played the now-91-year-old monarch for two series, and is now handing over to an older actress.
And explaining why she was more than happy to stop playing the Queen, Claire told The Daily Mail’s Weekend mag: “I need change.
“I need to play somebody who’s able to communicate on a more open level. And that’s not Elizabeth.”
She added: “I’ve been released! I’m no longer her, so I feel like I’ve escaped!”
The Crown has wowed critics, though some fans think it is not critical enough of the monarchy
Asked her general feelings on the British monarchy, Claire was not brimming with praise, and said she wouldn’t “personally” feel inclined to support them.
She said: “I don’t know if the Royal Family will always carry on, and if they don’t, I don’t know that I’d be out there waving a placard saying ‘Save the Monarchy’!”
She went on: “I don’t know whether I’d personally be doing that at all…
“I think the monarchy only works if it’s a source of good, and the British monarchy has done very well at realising that they’re there to serve the public.”
But after playing her for two series – which she never expected to do when the project first came her way – Claire is well aware that Queen Elizabeth is a nuanced character.
Comparing her to a slightly less regal woman, Claire said of the Head of State: “She’s sort of timeless and bias-less, which is how she needs to be… A bit like Madonna, really!”
Claire – who stars in the upcoming Stieg Larsson sequel The Girl In The Spider’s Web – added that she admires the Queen for “making time for herself” by occasionally escaping from her royal duties.
Giving her thoughts on the constraints of the Queen’s life, she explained: “There were moments…. when I really understood that she was trapped where she was, that she couldn’t get out.”
However, Claire’s ability to empathise with the monarch is limited, as she admitted: “Some of the decisions she makes, I struggle with….
“But I think that through making this amazing show I will always have a small understanding of her, but also a huge amount of respect for her because of what she’s had to go through, and how difficult times have been for her.”
Quite unlike her on-screen alter-ego, who she plays for the last time in series two of The Crown this December, Claire says she has worked all kinds of jobs “except medical stuff”, including being a checkout assistant in Tesco.
She said: “[It was a] dream job because I’d always wanted to work on a till – seriously, when I was younger I used to sit and look at tills in the Argos catalogue, I was so obsessed with them.
“So when I started working at Tesco, I was thinking: ‘Okay! Here we go! Ping ping!’. I loved it.”
But now a career in movies and TV means relaxed days with her husband Stephen Campbell Moore and their daughter, who’s two-and-a-half, are “few and far between”.
Series two of The Crown is being released on December 8 on Netflix when it will be available to binge watch.
People – We already knew that the corgis starring in The Crown were talented – they have their own trailer for the new season, after all! But they really seem to have the acting thing down to a fine art.
And their skills are on full display in a certain scene coming up in season 2 of the Netflix drama, which PEOPLE observed during a set visit earlier this year. As Queen Elizabeth, played by Claire Foy, and Jodi Balfour’s Jackie Kennedy wrap up a scene where they have an intimate, get-to-know-you chat, Foy’s character says, “Right, we’re going now.” And in take after take, the dog, resting in her lap, faithfully looked up at her right on cue.
Foy may have the magic touch in capturing the look and character of the Queen’s younger years, but she modestly brushes off praise for the way the corgi behaved in her lap.
“Dogs are quite perceptive and if you talk to them they tend to look in your direction. Often they don’t. That was probably just lucky,” she says. “I definitely don’t have some sort of Dr. Doolittle secret!”
Along with the corgis, the upcoming season features a few new arrivals with the births of Princes Andrew and Edward. Season two will also touch on the Queen’s difficulties to adjusting to a new era on the eve of the ’60s.
“I think [Queen Elizabeth] starts to realize she needs to pay more attention to her personal life now that the other part of her life is going all right,” says Foy.
“The world’s changing faster than anyone can catch up with. There is no letup. She just keeps having to go from one crisis to another to another, and at some point, it’s about five crises at the same time and you have no idea how she manages to get up in the morning,” Foy adds.
Mirror – Actress Claire Foy is hoping to be victorious, happy and glorious at the Emmy Awards tomorrow after wowing 200 million viewers worldwide.
British star Claire – a young Queen Elizabeth in The Crown – is hotly tipped to be voted Outstanding Lead Actress in a Drama Series.
Yet despite her role alongside Matt Smith in the Netflix hit – plus huge parts in Little Dorrit and as Anne Boleyn in Wolf Hall – Claire can still walk down the street unrecognised.
And while enjoying the lack of intrusion, she admits she’s a little bit miffed!
Mum-of-one Claire, speaking ahead of the ceremony in Los Angeles, even said she would have to beg to get attention!
She said: “I am not joking. I’ve actually been out in my Queen’s wig and full costume for dinner in London while we’ve been shooting, and even then people [didn’t care].
“Me and Matt walked into a restaurant together and a woman went, ‘Oh, you look nice!’ I was like, ‘Are you joking!’
“It never happens. I was on the Tube – I mean, I can’t even tell you! Like, throw me a bone! Christ!”
Claire was on fine form as she told how producers bent over backwards to accommodate her once they decided she should play Elizabeth.
She was heavily pregnant and insisted that being allowed to breastfeed on set was “non negotiable”.
Claire, wed to actor Stephen Campbell Moore, 37, had a daughter in February 2015 – just before filming started.
She said: “I was obviously really pregnant, so I was like, ‘My baby would be three months old when I start this job’.
“And then I did a screen test dressed as the pregnant Queen, and they were like, ‘Yeah, we want you to do it.’
“And I was like, ‘I need to be able to breastfeed on location. I probably need a trailer for the baby.’ ‘Okay, sure.’
“I was like, ‘Oh my God.’ I didn’t go massively power hungry. That’s where my demands stopped.
“I’m so grateful they decided I was the right person. I feel very, very lucky.
“And I know that is very unlikely in every other job that I do that I’ll have that free rein . . . which is a bit of a pun.”
Of life on set, she added: “There was a lot of walking around with child in pram, very tired listening to the Queen make Christmas speeches on my iPhone and reading and just cramming really.”
Claire said she only took the role after convincing herself she could juggle work with being a mum.
She said: “I didn’t know what physical state I would be in. You could be annihilated. But I also thought ‘what if I don’t respond well to it mentally?’
“It’s like ‘what if, what if, what if’?”
The actress also revealed she and co-star Matt , who plays Prince Philip, initially feared The Crown could be an expensive flop. Talking about the lavish £85million budget, she explained: “It was quite terrifying. It was the unknown. I looked at the actors, the directors and the writer and all the creative team and crew and I went, ‘this is something very, very special regardless of whether anyone likes it or not’.
“Because you’re so used to being in things nobody watches, or nobody cares about, or everyone thinks is rubbish and everyone’s got an opinion and blah, blah, blah’. And so it felt like, in a weird way, it felt like it was just for me.”
Claire’s fears were unfounded as the show became a massive success. Netflix , along with Left Bank Pictures, spared no expense in making the first series over a year.
It has since won a Golden Globe and been nominated for four BAFTAs – while Claire was voted outstanding actress at the Screen Actors Guild Awards in LA.
And the most uncomfortable on-set experience for Claire turned out not to be baby related at all.
She broke an elbow in a tumble at a friend’s wedding – then had to film scenes where the Queen mourns her father King George VI.
Looking back on her early days, Stockport-born Claire recalls suffering stage fright as a young actress. She overcame it and shot to fame with the BBC’s Dickensian drama Little Dorrit in 2008.
Claire said: “It was a real learning curve for me. I am quite expressive, loud and big and she was very contained and tiny and meek.”
She has finished work on the second series of The Crown, which airs at Christmas and will be her last.
And she added: “It’s wonderful to be part of something people have enjoyed. It’s very weird to suddenly be in a position where people think that you’re worth their attention. Even if at all ends from there, it is all really lovely.”
The Hollywood Reporter – One of this year’s biggest breakout stars — she won Golden Globe and SAG awards for her portrayal of young Queen Elizabeth II in the most expensive TV series ever made (Netflix allocated $100 million for its first two seasons) — reflects on auditioning while pregnant, playing a woman famous for hiding her emotions and growing as an actress.
“For me, the most challenging thing about it was endurance,” says Claire Foy, the 33-year-old British actress whose portrayal of Queen Elizabeth II on season one of Netflix’s The Crown earned her best actress in a drama series Golden Globe and SAG awards earlier this year and has made her the frontrunner to win the equivalent Emmy. As we sit down at Netflix’s FYSee interactive exhibition space in Beverly Hills to record an episode of The Hollywood Reporter’s ‘Awards Chatter’ podcast, Foy continues, “I had a small child, I had the biggest job of my life, I broke my elbow — so it was more of just, like, ‘I can do this!'”
Foy was born and raised near Manchester, England, and briefly flirted with careers in dance and cinematography before committing to acting and eventually studying it at the Oxford School of Drama. Soon after graduating, she began working on TV projects of growing prestige, including several BBC offerings — the 2008 miniseries Little Dorrit; the reboot of the drama series Upstairs Downstairs, which ran from 2010 through 2012; the 2012 miniseries White Heat; and the 2015 miniseries Wolf Hall — as well as Channel 4’s 2011 miniseries The Promise. Her performances generally won widespread praise from critics, but it wasn’t until last Nov. 4 of 2016, when Netflix dropped the entire first season of The Crown, that a much larger audience began to appreciate what a remarkable talent she is.
At the recommendation of casting director Nina Gold, who previously had cast Foy in Wolf Hall (and “who I owe my life to,” the actress says), she was invited to audition for the principal part in the drama series, which Netflix had commissioned with 10 seasons in mind, each chronicling a different chapter of the Queen’s ongoing reign. Informed that it was the brainchild of Peter Morgan, the same man who was behind the 2006 film The Queen and the 2015 Broadway play The Audience (both of which also center around the Queen, and which brought Helen Mirren an Oscar and a Tony, respectively), and that several of its episodes would be directed by Stephen Daldry (who also helmed The Audience), she was intrigued — but faced a dilemma. “I was five months pregnant,” she says with a chuckle. “I was like, ‘Well, I’ll just go in and meet them. I’m not gonna get it, but it’ll give me something to do for the next couple of weeks.'” As it turned out, her physical state was not a deal-breaker and she was brought back for a screen test and then offered the part.
Netflix spared no expense on the prestige production, with seasons one and two costing a combined — and unprecedented — $100 million. The first spans the Queen’s marriage to Philip, Duke of Edinburgh (Matt Smith), in 1947, through the resignation of Winston Churchill (John Lithgow), prime minister of the United Kingdom, in 1955. “That journey that she goes on in that first series is a fascinating one,” Foy says. “‘You think you know someone,’ is essentially the tale — you think you know someone, and actually you don’t know where they’ve come from, and don’t underestimate them, and don’t think that their life has been all wonderful and marvelous and ‘isn’t it great just’ because of the position that they’re in.” (Season two, which is expected in the fall, will pick up from there.)
For Foy, preparing to play the Queen involved juggling not only a massive script and a newborn child, but also studying biographies of the Queen, audio recordings of her giving speeches and footage of her throughout her early life, as well as working with a dialect coach. Once on set, she faced a new set of challenges. The years of the Queen’s life that she was to portray had to be shot out-of-sequence, starting with her coronation, and then jumping backwards and forwards, which was less than ideal. She also somehow had to convey the emotions of a monarch who has made a specialty of hiding her emotions. And, on top of all that, she broke her elbow mid-shoot. But the experience of making the show was never anything less than wonderful and felt less like working on a TV series than on “a very long movie,” she insists. “It more felt like a movie because the attention to detail and the heads of department and all the people that were on the crew were the best — the best of the best of the best of the best. Everyone. All the set dressers, all the costume standbys, all the makeup girls.”
As people have caught up with The Crown, Foy’s profile has grown, and many have speculated about her future. Some have inaccurately suggested that she has elected to leave the show after season two, when, in fact, it always was the plan for a new crop of actors to cycle through at that time. And she’s as excited as anyone to see what happens them: “I’ll be so interested to see how it works and what they do with it — they’re bound to do something really clever because they’re all really clever. And it is that thing of going, ‘It’s not about one person,’ because it hasn’t been — Kristin Scott Thomas has done it, Helen Mirren has done it—” and now Foy. (There are reports that one of the Queen’s sons and his wife have screened The Crown for her and that she has enjoyed it very much. Foy, who briefly met the Queen at a reception for Little Dorrit years ago, can’t help but laugh at the thought of this — but says she’d have a very different reaction if she actually saw the Queen again, having lived in her skin for The Crown: “I’d cry and I’d tell her I love her,” she says.)
As for widespread rumors that Foy may replace Rooney Mara as Lisbeth Salander in the sequel to The Girl with the Dragon Tattoo, she declines to comment, except to confirm that she wants her next project to be a major departure from the sort of period pieces she’s done recently. “I definitely don’t want to do something that’s similar to this [The Crown], just for my own sanity,” she says, before cracking, “but it doesn’t necessarily have to be me going mental.”
Meanwhile, Foy insists that outside of the industry, in the real world, not many pay her much notice at all. “No one gives two shits,” she says with a laugh. “I’m not joking. I literally would have to beg. I’d have to go out in my [Queen’s] wig. I’ve actually been out in my wig and full costume for dinner in London while we’ve been shooting, and even then people [didn’t care]. Me and Matt [Smith] walked into a restaurant together and a woman went, ‘Oh, you look nice!’ I was like, ‘Are you joking?!’ I mean, I was on the Tube — I mean, I can’t even tell you! Like, throw me a bone! Christ!”
More seriously, though, she expresses immense gratitude for the opportunity to star in The Crown and the interest in her that it has bred. “It’s wonderful to be part of something that people have enjoyed,” she says. “It’s very weird to suddenly be in a position where people think that you’re worth their attention — as in, it’s very enlightening and also lovely and also scary. But it’s a very, very interesting position to be in, and I think very few people are ever in this position, and I’m very much following John Lithgow and his sort of way of being in life, which is just, ‘Huh, this is what’s happening now? This is interesting, OK.’ And just receiving it all and just going, ‘This is lovely,’ and really enjoying that people have loved something that I’ve done. Even if at all ends from there, it’s really lovely. Really lovely.”
Variety – Claire Foy is officially playing Lisbeth Salander in “The Girl With the Dragon Tattoo” sequel, “The Girl in the Spider’s Web.”
Variety first reported in May that Foy was the frontrunner for the gig as the precocious Swedish computer hacker.
The new installment of Sony Pictures’ Millennium franchise will commence production in January in Berlin and Stockholm, and the film will be released on Oct. 19, 2018.
The film will team Foy and director Fede Alvarez, who helmed 2016’s “Don’t Breathe” for Sony.
“I couldn’t be more thrilled about Claire taking the reins of the iconic Lisbeth Salander,” he said. “Claire is an incredible, rare talent who will inject a new and exciting life into Lisbeth. I can’t wait to bring this new story to a worldwide audience, with Claire Foy at its center.”
Foy is nominated for an Emmy for her portrayal of Queen Elizabeth in the Netflix series “The Crown,” from Sony Pictures Television. She previously won the Golden Globe and Screen Actors Guild Award for the role. Foy also recently starred as Anne Boleyn in “Wolf Hall” and stars with Andrew Garfield in the drama “Breathe,” which premiered on Sept. 11 at the Toronto Film Festival.
The screenplay for “Girl in the Spider’s Web” was written by Steven Knight along the team of Alvarez & Jay Basu, based on David Lagercrantz’s bestseller. Amy Pascal and Elizabeth Cantillon will join Scott Rudin and Yellow Bird in producing the film.
“The Girl in the Spider’s Web” will be the first in the series to be produced into an English-language movie in its initial adaptation. The previous books in the franchise have been adapted into three Swedish-language films, starring Noomi Rapace. Sony’s “The Girl with the Dragon Tattoo,” starring Rooney Mara and Daniel Craig, was a remake of the Swedish film of the same name.
“The Girl in the Spider’s Web” was published in 2015 and is the first novel in the series not authored by Stieg Larsson, the series’ creator and author of the first three Millennium books about Salander and journalist Mikael Blomkvist. Larsson died in 2004.
The studio continues its development of the next book in the Millennium series, “The Girl Who Takes an Eye for an Eye,” which was released this week. Sony’s Columbia Pictures retains the rights to all future Millennium series books.
Deadline – A pioneer in the field of computer-generated performances with such films as Lord of the Rings (portraying Gollum) and King Kong—in which he plays Kong himself—Andy Serkis found his directorial breakthrough in The Jungle Book, which was pushed to 2018 so as not to conflict with Jon Favreau’s 2016 adaptation of Rudyard Kipling’s classic collection of stories. But no matter—in the meantime, Serkis shot another film, Breathe, which bowed at the Toronto Film Festival this week.
Starring Andrew Garfield and Claire Foy—an Emmy frontrunner for her turn as Queen Elizabeth II in The Crown, that can’t quite process that reality at the moment—the film tells the true story of Robin Cavendish (Garfield), a young man paralyzed by polio, and Diana, the strong, brilliant woman who supported her husband through his deep depression and ultimate acceptance of his fate. With very little expectation of a long life for Robin, he and Diana elect to invent a new life for themselves, straying from Robin’s mandated hospital stay and pioneering in technology to better the lives of those suffering from this terrible condition.
Interestingly, this remarkable true story came to Serkis through his business partner at Imaginarium Productions, Jonathan Cavendish, the son of the couple on display in the film. Known for his work in very different kinds of movies, Serkis made a passionate pitch to direct the film. “Five or six years ago, we started Imaginarium [Productions]. It was a performance capture studio and a production entity with the view to creating lots of different projects, ‘next generation storytelling’ sort of projects, and then we had an old slate of films that he was wanting to make. One of these films was a film called Breathe, which he’d been working on for some time before we got together,” Serkis explains. ” I read it one night and, as most people did who read the script originally, I couldn’t stop crying. It was just so powerful, such a brilliant piece of writing, and I said to Jonathan, ‘I know I’m sort of more known for directing dwarves, goblins and creatures of Middle-earth, and jungle animals, but I really would love to direct this. What do you think?’”
“He said, ‘Absolutely’—without a blink, he just said, ‘Yeah,’” the director remembers. “So we started to develop it, and what I loved about it—what really inspired me to want to do it, actually, apart from the fact that it was the most amazing love story—was that it seemed to me to be a story about pioneering. At that point in the story when Diana says, ‘How can I make life better for you?’ and he says, ‘Get me out of here,’ from then on, they are basically creating life afresh in a way that had never been done before.”
Like Eddie Redmayne in The Theory of Everything—a film which delivered that actor his first Oscar—Garfield is confined to a chair throughout the film, with a ventilator attached to keep him breathing. Undoubtedly, the role must have presented physical and logistical challenges for Garfield, among others, but as with his remarkable turn in last year’s Hacksaw Ridge, the actor is ever modest, placing the focus on the material and the remarkable people who really experienced these events.
“There’s a magic to it. There was a magic to their lives, there’s a magic to Jonathan, there’s a magic to the script that Bill Nicholson wrote, without wanting payment until the film got made. There was a magic to the whole process, and it was palpable,” Garfield says. “From my first reading of the script, I was so deeply and profoundly moved because it felt like a story that was so much more than about these two people. It was about how we can create meaning as human beings, how we can create lives of meaning and of joy, and of community amidst such terrible tragedy and loss, and laugh at the cosmic joke of existence.”
“And those words don’t do it justice,” he continues. “Their lives felt like a poem.”
A real logistical challenge for Serkis—more familiar with the extended shooting schedules of blockbuster films—the director and actors had to tell their story in 7 weeks, three of those weeks, in South Africa. While the production schedule was “incredibly intense,” it was the singular purpose of those involved with the production that made it all possible.
“We really were blessed, actually, because we had a fantastic crew—the most amazing people in all departments—who were all there because they wanted to tell the story,” Serkis says. “So that was brilliant. But watching these guys work together was so phenomenal, and what they released in each other was just beautiful to watch every single day.”