Samantha Morton wasn’t intentionally humming during the famous pig-transformation scene in “The Odyssey.” As Circe, she was physically shaping Odysseus’s crew into pigs – revealing what she saw as their animalistic nature – and a subtle hum just slipped out.
That moment wasn’t planned – it simply occurred naturally during filming. After Samantha Morton finished her take, she glanced at director Christopher Nolan, anticipating a note about her performance, perhaps something like, “Let’s try that again without the humming.”
Nolan remained silent, so Morton repeated the action. The music she recalls – a blend of glass harmoniums and theremin – continued to play as Circe worked her magic, transforming her overindulgent guests who were busy eating her stew.
Morton, 49, explained while relaxing in her room at New York’s Hotel Chelsea, that the sounds she used were powerful enough to drive people insane. She believes these sounds, not just her touch, were what allowed her to transform men – they were the source of her magic.
Morton openly believes in the power of transformation. She wonders how else to explain her own journey: from a childhood spent moving between orphanages and foster homes, to living on the streets of Nottingham with a criminal record by age fourteen, to now sitting across from me at a Chelsea cafe, enjoying a cup of green tea.
Morton attributes her success not to skill, but to something more profound – the help of guardian angels and a powerful, loving force. The veteran actress, with 35 years of experience working with directors like Steven Spielberg and Christopher Nolan, firmly believes in the power of possibility. ‘I’ve always felt this immense love from somewhere else,’ she says, touching her heart, ‘and I know anything is possible.’
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Morton was overjoyed when Nolan asked to meet with her about ‘The Odyssey’ – she says she actually cried. She doesn’t apologize for the strong reaction, comparing it to the feeling an athlete has when they earn a spot on the Olympic team. She’d worked for years, perfecting her skills, all leading up to that phone call. When it finally came, she immediately flew to Los Angeles in January 2025, even amidst the wildfires, for what turned out to be the most important job interview of her life.
I ask her what she remembers about that meeting.
“I think it went really well,” Morton answers, laughing.
Morton admitted to Nolan that she’d never read “The Odyssey,” which is understandable considering she left school at age twelve. On her flight back to England – where she lives with her husband and their two children, Edie (18) and Teddy (12) – she remembered recognizing some elements of the story from a parody she’d seen on “The Simpsons.” She’s a big fan of the show, saying her family is “completely obsessed” with it.
Morton avoids extensive research now, ever since playing Jane Eyre in a British TV series at age nineteen. She remembers being frustrated when the show didn’t closely follow Charlotte Brontë’s novel, even though she had meticulously marked up her copy of the book. After that experience, she decided to focus on the script and trust her own creative instincts.
Circe reminded Morton of her childhood visits to the library with her father. Despite being very poor, he always made sure they had a library card. She specifically remembered discovering Howard Pyle’s “King Stork” and being captivated by the story’s evil witch. Thinking back on witches in folklore – like Baba Yaga – she saw them as frightening figures who were also, at their core, women whose innocence had been lost through difficult life experiences.
When asked about how they filmed the scene of Circe turning Odysseus’ men into animals, Morton playfully avoided giving specifics. She explained that she used to consistently refuse to do behind-the-scenes interviews for DVDs, so she wasn’t about to start now.
Honestly, I wasn’t trying to be difficult or anything, but in that moment, it felt really personal – like something just for me. And you know what? A little bit of keeping things private is kind of appealing, I think. I actually enjoy the idea of leaving a little mystery around things.
A moment after seeming worried, she started laughing and realized something: her husband had shown her an Instagram post from Christopher Nolan’s film set that revealed the character of Cyclops wasn’t a real person, but actually a puppet.
Morton enthusiastically shared her love for puppets, excitedly talking about Jim Henson and declaring “The Dark Crystal” a personal favorite.
She explains that the famous “Odyssey” scene didn’t use any digital effects – everything you see happened practically, filmed live. She was so focused during the shoot that she only remembers fragments of it, just quick flashes of moments.
Morton emphasizes that the special effects weren’t computer-generated. Instead, she attributes the impact to the skill of the team and a deep connection she felt as an actress – almost like a dance. While not explicitly sexual, she aimed for a very sensual portrayal of her character’s interactions with both the men and animals, suggesting a feeling of complete unity with them.
Morton recalls a moment on set when Chris bravely volunteered to do something she was hesitant about. She compares it to the famous scene in ‘Raiders of the Lost Ark’ where Indiana Jones reaches into a dangerous space – it was that nerve-wracking! Chris actually ended up cutting his finger, which made her feel safer knowing he’d go first, much like testing cold water before diving in. She felt really protected and supported throughout the whole experience thanks to him.
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As a total movie fan, I loved how the director wasn’t afraid to really update the classic story. They went with a much more intense Cyclops, a Circe with a seriously darker edge, and even invented a completely new ending! It felt like they took this 2,700-year-old poem and totally reimagined it for the big, immersive IMAX experience.
When Odysseus’ crew reaches Circe’s island, they’re starving and ask for food. Circe appears frightened, which makes sense given she’s alone and they’re soldiers known for raiding and taking what they please. However, she’s also a powerful witch, so it’s unclear if her fear is genuine or a trick to get them closer.
When I approached that scene, I really tried to portray genuine fear – like my character was truly shocked by what was happening. It was also important to me that she didn’t feel limited by age at all. So in one moment, I played her as a young sixteen-year-old, and then shifted to embodying someone much older, even ninety! Really, I wanted to create a character who felt timeless, able to be a sister, mother, or grandmother – any age, really.
Morton, looking out for Circe, stresses that transforming Odysseus’ men was not purely vengeful.
She explains it’s more than simply hatred, harm, or anger. It’s a complex force, almost like a wise teacher embodying a powerful goddess—a reminder that our desires can have unintended consequences, and issues like excess and greed are at play.
The play also taps into a powerful, modern feminist anger, brilliantly updating “The Odyssey” in a way that feels both strong and unsettling. It’s a key reason audiences are buzzing about Morton’s performance after seeing the show.
Nolan believes the success of his film hinged on one character, calling her the central point around which everything revolved. He shared with The Times that the crew applauded after she finished a particularly good take – something his producing partner and wife, Emma Thomas, hadn’t witnessed since Heath Ledger’s performance in “The Dark Knight.”
Morton fondly recalls working with Heath Ledger over 20 years ago on Terry Gilliam’s 2005 film, “The Brothers Grimm,” where she was cast alongside him and Matt Damon. However, Miramax head Harvey Weinstein removed her from the movie, believing she didn’t fit the desired look.
Morton fondly remembers Heath Ledger’s generosity and empathy while working with him. She places him alongside Philip Seymour Hoffman as an actor who brought a uniquely personal and sincere quality to his performances, showcasing both vulnerability and a deep commitment to his craft. Both actors, she says, had a lasting emotional impact on her.
Morton has mentioned following her heart several times during our talk. She recently brought her son, Teddy, to New York City for the premiere of “The Odyssey” because it’s where her passion for creating really began. Morton first visited as a teenager to promote “Emma,” then returned the next year for “Jane Eyre.” After that, she fell in love with the city and decided to stay, even if it meant temporarily living with friends while she pursued her artistic goals.
Morton fondly recalls New York City as the place where her love of literature began. She remembers spending hours reading authors like Charles Bukowski, browsing the shelves at St. Mark’s Bookshop, renting movies from Kim’s Video, and enjoying breakfast—especially hash browns and eggs—at the Waverly Diner.
Soon after, Morton got the part that earned her an Oscar nomination – the first of two so far. She played a silent laundry worker in Woody Allen’s “Sweet and Lowdown.” The film provided her with accommodation in Greenwich Village, and when filming wrapped, she moved to the nearby East Village.
The diner is all that’s left, but Morton is still determined to take Teddy around the Village, visiting places his mother used to frequent, and of course, stopping for soup at the Waverly.
Morton said with a smile, “Things are going well for me at the moment. Maybe I’ll treat myself to some hash browns.”
2026-07-23 13:34