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I still get stage fright horribly. I still get nervous. I do tend to find when you're playing characters, often - just for the time you're playing them - there are sides of your personality that get stronger because you draw on them more.

Vanessa Kirby

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Vanessa Kirby
Age: 36
Born: 1988
Born: April 18
Actor
Film Actor
Stage Actor
Tv Actress
Vanessa Noola Kirby
Vanessa Jane Kirby
Time
Playing
Fright
Stage
Draw
Sides
Nervous
Often
Draws
Stills
Tend
Character
Stronger
Still
Characters
Find
Personality
Horribly

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My dad is a big extrovert - he's a doctor - but he always loved [William] Shakespeare and he took us to tons of theater.
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[Princess Margaret] was loud, an extrovert, an exhibitionist, loved fashion, loved color, loved music, loved drama, loved the theater, wanted to be a ballerina or actress, was always the little one putting on the school plays, and [princess] Elizabeth reluctantly did it and got stage fright.
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That external struggle mirrors the struggle of this life force of energy that [princess Margaret] was.
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[Princess Margaret] was always trying to radicalize things.
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I would argue [princess] Margaret is the tragic figure of the century.
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At the same time, [princess Margaret] had a fragility and an insecurity in who she was and her position, because her sister had always got the education ever since David [Edward VIII] abdicated.
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I started to really enjoy the fact that [princess] Margaret was an exhibitionist. Even on a day-to-day basis, Margaret's costumes were always so much more dramatic and bold than Elizabeth's were.
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I did a lot before [being cast] because I knew how important it would be for playing somebody real, or attempting to - to show the team [the role] was something I would be fascinated to do. I read a couple of biographies and I watched everything I could find [about princess Margaret].
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I watched her do speeches, but the only footage we could find of [princess] Margaret was archive footage, which was of her public presentation of herself.
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People are so much more fascinated by the royal family generally than in England.
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That's exactly how I felt. So getting to suddenly know this young [princess] Margaret, who had this extraordinary life - it was sad and tragic and difficult and sort of astonishing and getting to know her young self was amazing because it completely defied all my expectations.
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I really enjoyed stepping into that side of [princess Margaret] and being silly and naughty and fun.
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I watched tons of archive footage of princess Margaret and listened to the music she loved that was really immersive and brilliant.
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Once you start [filming] you have researchers who are constantly giving you information. Ultimately it isn't about impersonating or trying to be an image of somebody and more trying to capture the spirit and the soul of the person somehow.
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I remember somebody saying something to me about Frost/Nixon, when Anthony Hopkins does his famous speech, and the difference in the way Anthony did it was to dramatize, essentially, what was a documentary-style version of that speech. I remember someone saying to me, There is artistic liberty.
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Some of the biographies [of princess Margaret] were really sensationalist, News of the World sorts, but they were great because they also gave first and secondhand accounts of her at home. The butlers come forward and give little moments, some of which you discard and some which ring somehow true and you use.
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[Queen Elizabeth] is just the granny queen! She's our granny queen who shakes people's hands!
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Marking the differences between them was really important. It just became second nature. When we were choosing pajamas or something, instantly you'd be able to spot: those are [princess] Margaret, those are [princess] Elizabeth. It became this sort of language, really, of the two sisters.
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