The Wentworth interview bonus feature (aka the offcuts)
Not everything got a run in my interview for various reasons. So, as requested by @iwoofjaneway, here is the stuff I left out:
Q: On being a now world-famous villain … Has it changed Pamela’s life significantly?
I don’t know the answer to that. What’s lovely is that I’m still, so far, knock on wood, not doing much different than I did much before. Still managing to work some theatre gigs, still some wonderful opportunities around the filming of the WW series. It’s so wonderful to have a work family like the WW work family is, to be able to come back to them over a number of season.
… But I feel very lucky to be having this opportunity and this opportunity, yes, has changed my life. But I’m not living a life of glamour! (laughs)
I’m heading over to the UK in a couple of months to do a couple of events, I’ll let you know.
Q: Please do. I’m sure you’ll be mobbed.
I’m sure… (droll laughter)
Q: On Joan’s mental state
That goes back to the very first question – the capacity to actually erase events and feelings, something that’s been well trained into her by childhood I suspect.
Q: By her dad…?
And certainly some other challenges that face her in this next series are to do with her ability to be many things to many different people.
Q: On Goldfish and the unravelling
When those pigeons came home to roost the interesting way of trying to figure out dramatic ways and credible ways for it to affect her, that was really exciting.
Q: Do you remember doing much of that episode?
I do. It’s a really interesting thing and it’s something I also love about the structure of series TV as opposed to serial TV, and WW is particularly good at this.
With a series that runs for a really long time, covering many different story arcs, many different character arcs, you can trust that the writers can focus in on one particular character or relationship in one episode and the audience will believe that other things are going on.
And when you just drop in for a slightly closer look on someone’s story, as with Joan in the Goldfish thing, you can give them a much more (words incoherent) that they don’t necessarily think, ‘oh where did that come from because I didn’t see the preparation for that to come from in the narrative?’
They just accept, ‘all right, now we’re going to put this character under the microscope’ and that gives you a lot of freedom as an actor.
Also there was a great pleasure that I had Kevin Carlin directing that episode to help me navigate that particular thing.
Q: On what Joan was thinking after Doreen gave birth and called her a freak.
I think that she so started to overlay Jianna onto Doreen that it was actually a kind of a shudder of awakening, really - realising that she had been in a kind of a sleep; she’s been in a delusional state or something. So that it was as much at herself, anger at having lost it, lost herself for a moment, lost control.“
Q: On whether Joan plays the violin - ie there’s one on her wall.
Yes, I know… I suspect so. That came as a surprise as much to me arriving on the day. (laughs) I certainly think if she did, she would be very good at it. And I either think it was her, or it might have been her missing mother’s.
Q: Who is this mother? We never see her.
Yessss…. I know! It’s very good (the mystery).
Q: Joan says ‘You’re pointless, you’re worthless, you’re nothing, no one cares about you, no one misses you’. Do you think they are words she has heard directed at her.
Yes.
Q: Is Ferguson lonely?
I think she wouldn’t call it that but yes. I would think that she would think that that’s a price she has to pay for sublime leadership.
(Helpless laughter.)
Q: That is the funniest thing.
She is a LOT of fun (laughing).
origamiaround
2087
yousharknotpass
kianamaiart
turnnoffyourmind
dailybridgerton
andulkaphoto
