The Australian star of Alice in Wonderland on her new film, a feminist take on Punch and Judy, and why her costumes need pockets
Australian actor Mia Wasikowska trained as a ballet dancer in her teens before switching careers. In 2010 she was the highest-grossing film star in the world after playing the lead in Tim Burtons Alice in Wonderland and starring alongside Annette Bening and Julianne Moore in The Kids Are All Right. She has since starred in Jane Eyre opposite Michael Fassbender and as the writer Robyn Davidson in Tracks. Now she plays Judy in Judy and Punch, Mirrah Foulkess unruly, subversive, feminist take on the traditional puppet show.
How was it working on Judy and Punch?
It was a rough shoot. Low budget Australian film-making is full on. We had babies, dogs, horses, puppets so many uncontrollable elements but got through it. Melbourne weather is notoriously horrible and [meant] we were unable to drive down to the location an artists estate. The cast and crew had to trudge down a very steep slope and we were stuck there for a couple of days.
What is the moral of Judy and Punch?
Judy gives a speech in which she says the witch might appear to be her today, but everybody lives in fear that tomorrow they might be perceived to be witches. It is a brilliant message that pinpoints the fearmongering happening here [in the UK] and in America.
Was it difficult to get Judys emotional reactions across with such an economical script and speedy plot?
It was hard to get the emotional content because the film jumps between humour and drama. But we thought it was very important for the dramatic moments to hit, to be a counterpoint to absurdity. We wanted to make the film a conflict for the audience like the puppet show itself. Youre not sure whether to laugh or cry.
Youve just turned 30 do you feel like laughing or crying?
Weirdly, I feel better about turning 30 than I did approaching it. Twenty-eight was harder. I measure my life in terms of age; I envy people who dont. For me its about asking, have I stopped long enough to choose to do what Im doing?
Your career has been pretty nonstop since you gave up ballet. Why did you jump tracks?
I was desperate to be a ballet dancer. I was super in love with it but it became evident Id never become a prima ballerina, I didnt have the right body. It was devastating to realise that. It speaks of the toxicity within ballet I was 14 and tiny. I remember one audition where they did not watch anyone dance, just checked our proportions and flexibility. I was heartbroken. I was probably a lovely dancer.
I first saw you in the HBO drama In Treatment playing a stressed teenage gymnast. You were brilliant and obviously knew how that gymnast felt.
In Treatment was my first job in America. Over the 10 years Ive been in the US, the people who made In Treatment Rodrigo Garcia and Sarah Treem have become milestone people in my life. Then came Alice [the Tim Burton film] another turning point. The transition to Hollywood was difficult in having to let go of control of how I was perceived. Its embarrassing to admit you care, but as a 20-year-old you do. Pimped out to a world of press, you can feel picked apart. Before, no one knew me.
How Australian do you feel when not in Australia?
I staunchly stay in Australia and love being there but Im not a patriot. My mum is Polish and I have seen her struggle, seen the negative side to our culture in terms of bigotry. She gave me empathy for people outside classic Aussie culture I especially feel empathy towards our indigenous culture whom weve displaced and continue to undervalue and disempower.
Do you get homesick?
I do. Ive an underlying anxiety when overseas because I cant swim home. I want to be on the same land as everyone I love. I particularly miss the floral smell of Sydney in spring.
Your parents are photographers Have you inherited their visual sense?
I have been obsessed with photography and taken photos from the perspective of an actor on set. Filming Jane Eyre, they even sewed a secret pocket into the bustle of my skirt for my camera.