Through a thoughtful discussion, Miranda Otto reflects on subjects as varied as her latest role as a regal sea creature to the profound lessons learned through theatrical mistakes and fan interactions.
The most recent role is the monarch of the cuttlefish in The Pout-Pout Fish; if you could be a fish for a day, which one would you choose and why?
Straight away, the blue groper residing near a specific shoreline – because it’s like an institution, and individuals visit specifically to spot it. It strikes me it’s cool that a resident aquatic creature that people actually go and see and talk about – it’s a special fish.
Which movie do you repeatedly watch, and why?
Ernst Lubitsch's 1942 comedy To Be Or Not To Be. I adore this film. During my growing up, it used to come on television every now and again, and one time I recorded it. I just thought it was hilarious. It’s Carole Lombard and comedian Jack Benny. Not long ago they were playing it at the Ritz and I discovered that it was also the favourite film of a friend of mine, and so we attended and simply chuckled repeatedly. It’s such great piece of humor and all the actors in it are fantastic. Mel Brooks remade it in the 1980s – which was not successful. But Lubitsch's version is a brilliant comedy, to be watched often.
What’s the best lesson you learned from someone you’ve worked with?
Years ago I performed in A Doll’s House with Pete – my husband now, but back then we were not together. We portrayed characters opposite each other and on opening night I tripped up – I skipped forward a few lines in the script. I didn’t know of my error but I abruptly sensed something wasn’t right. I remember looking at him, and he expertly rescued the moment, and then our performance regained momentum and went really, really well. But I think what I learned then was, firstly, always trust the individuals in your scene. When you lose where you are, by looking and toward the people you’re with, you will find your correct position in some way. It’s such collaborative endeavor, performing live. And next, just to have a sense of fun regarding it. Sometimes when something goes wrong, things can ignite in a wonderfully positive way if you’re fully engaged in that moment. It can be a gift when things go completely awry.
Can you describe your most touching interaction with a fan?
It’s not just one particular interaction but when I meet fans of Lord of the Rings, particularly women, I am told numerous accounts about what Eowyn impacted them when they were younger … events that occurred in their lives and how much Eowyn meant to them and was some kind of help to them in those times.
Which questions get asked most frequently by Lord of the Rings fans?
The most detailed question is always about the stew that Eowyn serves Aragorn. “Did that stew taste really that bad?” It has evolved into such a joke, the whole thing involving that dish, and all fans wish to know the contents of the stew, and its preparation method, and in your opinion she’s a better cook now, or do you believe she really is a poor chef? People are, in my view, obsessed with the humour of that scene. And I provide great detail describing the components that constituted the concoction – because I remember what they did; such as adding pieces of red cotton to make it look like blood vessels in the meat. They went to extreme measures to render it as bad as they could.
What was your most cringeworthy run-in with a famous person?
I attended a pilates class and another participant on a mat exercising, and the instructor remarked, “Hello Miranda, meet Miranda.” And I attempted some joke inquiring, “oh, are you a journalist?” Because it’s an unusual name and often when someone’s a Miranda, they work in media. I wasn’t really seeing who it was. And as she rose, it was the actress Miranda Richardson. Then I didn’t know what to say. I was obliged to complete my class, and I felt so embarrassed. I wished to explain: “Oh my gosh, I do know your work!” I consider her talent is immense and I was just too starstruck to utter a syllable.
Articles have confidently claimed that you were named after Prospero’s daughter in Shakespeare’s The Tempest, and yet I’ve read you saying otherwise – can you settle the matter once and for all?
Indeed, I was named after a district in Sydney. My mother heard on the radio that they were opening a shopping centre at Miranda, and she thought sounded like a nice name.
What was the chaotic thing that’s ever happened on set?
When I was working in Brazil on Reaching for the Moon I experienced the least organized set I’ve ever worked on, and yet the film turned out brilliantly. But the local crew operated in a distinct manner. Their concept of time there is unique. Typically, you receive a call sheet and must arrive on set punctually. But this was sort of open ended – one would appear at one's convenience. It was a novel approach for me. All aspects were all coming together at the very last minute, and at times the plan was unclear where they were shooting or how we were going to do it. And then I would be in the middle of a scene and be like, “What caused that sound that disturbed the scene? Ah, it was the producer opening some champagne on set, to start a party.” The result was excellent, but goodness, it’s a really different style of film-making.
What are you secretly good at?
I naturally possess good with numbers. I retain numbers easier than I memorise words often, I simply have a numerically-oriented mind. So I think if I hadn’t pursued acting, I probably would have worked in something to do with numbers, like math or accounting.
What is the greatest piece of advice you have ever received?
During my time in secondary school, a speaker came to speak as we were graduating and stated, “don’t be afraid to fail” … which I think is supremely valuable counsel, because you learn so much more from setbacks than you learn from success. With success, you never really understand exactly how it happened. Failure, the lessons are abundant.
Elara is a passionate writer and photographer who shares insights on creativity and mindful living through engaging storytelling.
