Column: TV used to bore Kristin Scott Thomas. How ‘Slow Horses’ changed her mind

As I delve into the captivating account of Dame Helen Mirren and Dame Harriet Walter’s illustrious careers, I am reminded of the profound impact that these exceptional women have had on the world of acting. Having witnessed their artistry firsthand, I can attest to their undeniable talents and the sheer magic they weave on stage and screen.

Approximately a decade back, when inquired whether she might join Maggie Smith from “Gosford Park” (where they both acted) for “Downton Abbey”, Kristin Scott Thomas unequivocally stated her disinterest towards television shows.

“It just goes on and on,” she told the Guardian. “I get terribly bored. Series bore me.”

Five years later, she mercifully changed her mind.

She’s not talking about “Downton Abbey,” instead, she’s referring to television. Her recent roles include brief yet captivating appearances in “Military Wives” and “Fleabag.” However, her most significant role is in “Slow Horses,” where she plays MI5 second-in-command Diana Taverner alongside Gary Oldman as the cunning but sidelined operative Jackson Lamb.

Few cinematic encounters can match the elegance of seeing Scott Thomas go head-to-head with Oldman (or any other actor, if we’re being honest).

Following two years of enthusiastic reviews, a dedicated fan community, and surprisingly low-key promotion, “Slow Horses” wraps up its fourth season on Apple TV+ this Wednesday, now being discussed by many, even including Scott Thomas himself.

In her latest interview via Zoom, she admits that she’s observing it as if she weren’t a part of it herself. The stories are intricate and full of unexpected twists, leaving her bewildered at times with moments like, ‘I’d almost forgotten about that!’ Nevertheless, she finds the unfolding events incredibly exciting to watch, and she truly appreciates it, exclaiming, “This is really well-done!

She doesn’t require screeners – she watches it weekly just like everyone else, finding it more captivating than a complete-season release. “It creates tension, stimulates conversations,” she explains. “Recently, I attended a dinner with media company owners, and all they wanted to talk about was ‘Slow Horses.’

One of the many delightful aspects of the series is Scott Thomas’ exceptional portrayal of Taverner. Time and again, her acting skills shine, often outshining even Oldman’s performance, despite his infamous flamboyant shoes. Amidst chaos where others are losing their composure, she as Taverner maintains the ability to gaze into the turbulent void and devise a strategy, not necessarily to solve the problem, but certainly to conceal it effectively.

As it turns out, no actor living can do blasé ruthlessness better than Kristin Scott Thomas.

Despite the buzz surrounding her strong chemistry with her “Darkest Hour” co-star Scott Thomas, she admitted that she wasn’t aware he would be part of the project when she first agreed to join. She was informed they were seeking a notable actor, but not specifically Oldman. Also, she hadn’t read the Mick Herron novels upon which the series is based at the time.

According to her, it was the “outstanding writing and captivating characters” of the initial episode that drew her in. At first, she admits with a chuckle, she just entertained the idea of watching more. However, she didn’t anticipate that “four years later, we would still be here.” She had only read the pilot script and assumed Diana might have died or been let go early on.

Luckily for “Slow Horses” enthusiasts, it turns out that the character didn’t meet an untimely end. While actor Scott Thomas remains tight-lipped about Season 5 details, he has confirmed that filming is nearly complete. As we near the conclusion of the fourth season, Taverner manages to stay alive and active, working hard to conceal a series of dirty secrets as quickly as possible, alongside her fellow spies and new superior.

As a devoted film enthusiast, I’ve found myself grappling with the shift in the narrative during Season 3. Initially, it seemed that Taverner would step into Ingrid Tierney’s shoes as the head of MI5, but now, it appears I’m reporting to the sly Claude Whelan (James Callis), who was apparently brought on board to introduce transparency within our agency.

Without a doubt, Taverner isn’t portrayed as the hero in “Slow Horses.” Across three seasons, she’s carried out numerous reprehensible actions and has shown herself to be ready to compromise Lamb and his team of unconventional agents for the sake of avoiding any trouble.

Even so, it’s hard not to cheer her on, and this is especially true now. Although the main storyline of this season revolves around River Cartwright (Jack Lowden) uncovering why someone tried to assassinate his grandfather, Richard Cartwright (Jonathan Pryce), who was once the head of MI5, the secondary plot focuses on Taverner’s exasperation with Whelan, a situation that many people who have ever had to train a new and incompetent boss will understand.

Scott Thomas remarks that what fuels her determination during this period is the feeling of being left behind. He believes she’s more capable for the role than anyone else, but unfortunately, age and gender are factors hindering her from getting it. To address this issue, he advocates for older women, emphasizing our wealth of experience. Let’s hear us out.

This season, Whelan has tried Taverner’s patience much more than Lamb, making it difficult for Scott Thomas to maintain his composed character. Since day one, he has enforced a rule against profanity for Taverner due to his deep involvement in ensuring Whelan remains composed and collected.

Initially, she explains, “there were profanities scattered everywhere and I managed to get them taken down. I expressed, ‘Absolutely not, we can’t allow such explicit language.'” Taverner finds it awkward when mistakes occur, and in such instances, he might unintentionally use colloquial expressions, as put by others.

Despite this, Scott Thomas does not claim full responsibility for Taverner’s composed attitude; she attributes a significant portion of it to her role as a director. In her words, she recounts a scene where Taverner appears irritated by someone who departs from her office. “I’m on camera, expressing my exaggerated sighs and eye-rolls, enjoying myself and thinking ‘Wow, you’re really good.’ Suddenly, the director approaches me and says, ‘Could you just try to stay very still?’

She chuckles and admits that while Taverner typically gets one outburst per season, “when I’m collaborating with James, who’s incredibly funny, it becomes challenging to hide my irritation and annoyance. Someone needs to hold me back quite often and remind me that I’m Diana Taverner, not just myself.

Scott Thomas, as for me, has been quite vocal about her ambivalent feelings towards Hollywood. Following her roles in successful movies such as ‘The Horse Whisperer’, ‘Four Weddings and a Funeral’, and ‘The English Patient’, she deliberately took breaks from her film career in the English language at least twice to concentrate on French films, given that she resides in Paris, and stage performances.

Lately, she has been emphasizing the hurdles that mature female performers encounter. In 2020, she expressed her frustration to Radio Times over constantly having to express gratitude when someone comments about her still having talent. Despite her character in “Fleabag” celebrating postmenopausal life, she notes that the experience for female actors can be less radiant. At age 60, she states, opportunities become scarce. The industry remains beauty-focused, and this realization is hard to accept. She expresses her contentment with aging, but admits it comes with limitations. So, the question becomes: How do you navigate these constraints? Consider the risk of undergoing surgery at the expense of personal safety?

She describes the “Fleabag” role as a delightful stroke of fortune that came unexpectedly. One day, she received a call out of the blue from Phoebe Waller-Bridge, who asked, “Would you like to take on this project?”, and her immediate response was, “You must be joking! Absolutely, I will do this immediately.

Filming the monologue turned out to be more challenging than it appeared. Here’s why: The dialogue followed a unique Phoebe Waller-Bridge style that was intricate and precise. She pays close attention to phrasing, and every detail matters. I often found myself struggling to remember if it was ‘built-in’ or ‘in-built’ pain, which required us to pause the takes frequently. Nevertheless, working with her was a delight because she’s incredibly clever.

Additionally, it’s worth noting that this role was another deviation from the usual stereotype of graceful yet troubled women who had the potential to dominate her acting career in Hollywood. For instance, when she landed the part in “Gosford Park,” she felt let down upon discovering she would portray Lady Sylvia McCordle; instead, she would have chosen a role beneath stairs.

When the ‘Gosford Park’ script landed in her mailbox, she recalls thinking excitedly, “Finally, Robert Altman has found me!” She had hoped for a part as a servant, but instead, she ended up playing an aristocrat, complete with a fur.

She had no second thoughts about accepting the role; working alongside Altman surpassed her wildest dreams. “He was an exceptional director of actors, almost like a maestro. In our larger scenes, we’d have two cameras running, and he would stand there, towering over us with graceful long fingers, gesturing around as if conducting an orchestra.

Despite boasting a colossal and daunting ensemble – Maggie Smith, Michael Gambon, Helen Mirren, Eileen Atkins, Charles Dance, and Derek Jacobi among them – Altman remained unfazed by their presence.

As a dedicated movie enthusiast, I recall an instance when things seemed slightly off-kilter, and he called us over, saying, “Come closer, come closer.” We all moved in, a mix of Dames, Sirs, and other esteemed British acting talents, much like eager Labradors. Then, he declared, “One of you is the first to go,” and simply walked away, leaving us puzzled, asking ourselves, “Could it be me? Could it be me?” In response, we all stepped up our game.

Apart from Smith, whose sudden demise prompted a worldwide wave of sorrow and reminiscences, was known for her infectious humor and hearty laughter. “She was simply hilarious,” remarked Scott Thomas, “and she had this incredible ability to laugh out loud. In one dinner scene, she was seated at the head of the table with Michael Gambon, and they were engaging in improvisation. When the camera was about to roll, she could hardly contain herself, giggling so much that she clung onto the table for support.

Scott Thomas often collaborated with Smith. With her knack for delivering a sharp remark accompanied by an arched brow and a snobbish demeanor, it’s clear to many that she could be Smith’s primary successor, a comparison that Scott Thomas finds “extraordinarily flattering.

In simpler terms, “I believe I portrayed her daughter or niece on four different occasions. She was truly remarkable in appearance. Her beauty was striking, she carried herself with grace, and she had exceptionally beautiful hands. Her face often remained still, but it would unexpectedly light up with laughter, sparkles, and then return to its composed state, leaving me guessing what might happen next.

From Smith, Scott Thomas says she learned the importance of preparation and training.

To enjoy yourself fully, you first need to be well-versed in what you’re doing. This woman was exceptionally dedicated at work, capable of reciting her lines flawlessly and quickly recognizing cues. I’ve never encountered anyone with such a vivid imagination when it comes to acting. However, she was quite intolerant of modern methods, often disliking phrases like “I’ll just try that again” or mumbled speech. She had no patience for such behavior.

In a particular project, Scott Thomas recollects an actor who was constantly improvising, which caused him to finish his lines prematurely, making it difficult for Smith to deliver her own cue. He refused to stop acting, so Smith suggested, “Just clear your throat when you reach the end of your line, and I’ll understand when it’s my turn to speak.

In a fresh turn of events, Scott Thomas recently stepped into the roles of director and scriptwriter for the first time with “North Star,” a film that carries semi-autobiographical undertones. The story revolves around three sisters portrayed by Scarlett Johansson, Sienna Miller, and Emily Beecham. These sisters come together for their mother’s third wedding; in the movie, Scott Thomas takes on the role of Diana, the mother character.

She expresses her affection for all the actors and shares a charming tale in English, about you and your tribe, she mentions. However, she admits with a chuckle that she didn’t enjoy directing herself while acting.

The movie garnered both positive and negative critiques, yet Scott Thomas advocates for more boldness among artists and those in power, suggesting they shouldn’t merely give us what they think we desire. Instead, they should prioritize artistic expression over mass-produced content. There will be failures and successes, such as ‘Baby Reindeer.’ Whether you adore it or detest it, it was daring.

Interestingly, choosing to focus on television, which she refers to as “long-form”, has provided Scott Thomas with the flexibility to venture into directing, among other things. In March, she graced the runway for the first time, strutting for Miu Miu during Paris Fashion Week. “I dabbled in fashion,” she admits. “Last year I starred in a play, ‘Lyonesse’, which shattered 23 box office records. I also read Kafka stories to commemorate his 100th anniversary.

Later on, she expresses that she will return to reunite with her “Slow Horses” comrades and understand that she’s creating something exceptional, meant for an extensive, top-tier audience, which brings people together in numerous aspects.

Our goal is to create captivating narratives. If we manage to hold their attention, our mission has been accomplished.

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2024-10-09 13:33