Extended interview: Rose Byrne

So let's talk about if I had legs, I'd kick you. I'm trying to put myself in your shoes when you first read that script. What was your gut reaction when you read that script? My gut reaction, I still remember reading the first page and being like, it felt incredibly, what I read really reflected the film you see in that it's disorienting. You're like, where am I, what's happening, who's this character? And it slowly, more information comes in and so it's compelling. I was like, you know, I was intrigued. And then there was a lot of horror in there too, but then there was very dark comedy. Like I could find places to laugh and it touches on sort of more existential kind of ideas in the screenplay. And what struck me also was the symmetry of the screenplay, what is reflected in front of her, what's in her mind, what's not in her mind, but what's in front of her and how she can't see what's in front of her. And the sort of securitist nature of therapy was very much in the screenplay. So I was sort of, my breath was taken away and it also read like fire. Like I just sped through it and several times had to go back to check, oh, she's a therapist, hold on a second. You know, these beats that, so it was really like nothing I'd read before. It was very unique. And then I gave it to Bobby, my husband, and he's always my first sounding board. And he was like, oh, she's got something to say, Mary Bronstein, you should talk to her, like, you know, find out what this is. Did you have a sense, I need to do this? I did and I thought, but I'm so, I was like, oh gosh, where to begin? I was like, this is incredible. And then once I spoke to Mary Bronstein, it's her story, you know, this is, she's spoken about this too, but she had, her daughter was ill for a while and this is what they went through at a certain point in their life. So that made it even more, you know, to be the avatar for her to tell part of, you know, her version of this experience. But like any actress, you go, what a gift. Like, how could I not do this? Like, why wouldn't I do this? I just didn't want to mess it up. Yeah, yeah, it's exciting and petrifying at the same time. All the things, yeah, all the things, yeah. Were you able to shake Linda at the end of the day? My adrenaline, my adrenaline, forgive me, was very high. So I was just sort of a bit paranoid, like the character, I think, and constantly checking in with Mary. She was my lifeline, my touchstone. And we had the gift, Mary and I, of a rehearsal period of like five or six weeks where I would just go over to her house and we sat at her kitchen table for three days a week and we just combed through the screenplay. And the very first word to the, and just shared stories. She was very candid with me about her experience. And I had a million and one questions about this character. Who was she before? We don't know anything about her and how I respond to a crisis is very different to how she responds. You know, the character has a lot of hostility. And why, and where does that come from? Like, why is that her default? And so it was fun, it was very, but that was such a gift. I think without that, I would have been very untethered because you got, we got to set, we had 25 or six days to shoot the film and it was very fast once we got two or three takes. We had had all the conversations we needed to have before we got there. And then it became about, right, what's the other, you know, what's happening in the scene? Because you can't make a decision until the other actor is in front of you anyway. What is, you know, what's the scene about? Right, right. And when, I know you shot it so quickly. Yeah, it was fast. Yes, yeah. But would you get on the phone with Bobby or see Bobby and he'd be like, hey, no, you're not her now. You be Rose. I'd be like, where are you? I'm pretty good. I'm pretty church and state. I leave it at work. I try to very much leave it at work. I come home, I have little kids and they're so sort of in the best way in the moment, you know, and they're not somewhat disinterested in your day in the best way. Like they, they're very grounding, you know? So you're immediately at home and you're back to your role as a parent. And, and I find that, I like that because then you're just in the moment, but then you're, you know, you lie in bed and you go through it in your head. And this, yeah, there was definitely some days that were harder than other and the anticipation of certain sequences was, wouldn't make me worried. Yeah, yeah. Thinking about it. Yeah, the sequence on the beach, obviously it was a huge sequence and very physical. And when you're dealing with the elements, like that was very ambitious. But in a way, I think the first day was the hardest because you're establishing tone, relationship. And I was doing a scene with Mary Bronstein who plays Dr. Spring in the film. The camera was, you know, so that for me was the, I think the scariest day. I was very, very nervous. Yeah. And then you got in the groove. And then I got somewhat in the groove, yeah. But the adrenaline definitely helped me kind of just carry me. I want to go, we'll come back, but I want to go back and start about your beginnings. You started acting professionally at a fairly young age. Was there ever any thought of another path or was it always acting? Yeah, it's funny. When you start that young, there's definitely a moment in your life where you reassess. And for me, that was probably, I was around 18 or 19. I went to university. I went to Sydney University. I did an arts degree. I didn't finish it. But, and I think that's when I sort of took stock. And I was like, am I fulfilled this trying to pursue this pretty hard career? It's like, the odds aren't great for an actor of actually making a living. And I did. And I was like, I do. I'm taking stock. I want to, I love this. And I started very young. And it is that it's a different thing when you start so young, it's sort of. But that was sort of the point when I was about 18, 19. I was like, no, I do want to try to do this. Yeah, for me. But I started, yeah, I started acting classes when I was at the Australian Theatre for Young People. Do you remember that initial feeling that made you say, I need to do this? I mean, I just loved it. I loved it. It was so fun. I mean, it's fun for any child. It's so imaginative. It builds your confidence. It's like you're with friends. It's play, you know? And that's what, you know, so many children, it's all about. They say with parenting, you know, play is the way to communicate and discipline and all that sort of stuff. So, but for me, it was absolutely a joy and creative. And I mean, it's so fun. And then, and then a casting agent came to one of my acting for the camera classes. And that's how I got on this audition and got part. Yeah. And it was around that time that you were, you know, deciding, yes, I want to do this, for real. You were 18, 19? Yeah, about 18, 19, yeah. That was when you got Two Hands. Yes, so I booked a film called Two Hands with a young Heath Ledger. So he was coming off of a TV show in America called Roar. And this very talented filmmaker, Gregor Jordan, had written this very cool screenplay. And he had a great eye for casting and knew Heath was his guy. And he came in and then, yeah, we did this film Two Hands with Brian Brown, another wonderful, lovely actor. And, and then that film kind of took off in Australia and then we went to Sundance. And yeah, my life really changed, yeah. It was life-changing? It really was. I mean, Heath was very instrumental. He was, he would introduce me to casting agents and get me in on the books. And he kind of shepherded you along as best he could. He was always very generous. Yeah, he had a very generosity of spirit. And he had a big house where we would all used to congregate on the Aussies. Would you sleep on his couch sometimes? We all would. I mean, my friend Joel Edgerton was there, and Nash, Edgerton's brother, my friend Gary. Like all these young actors were out there and he would be off working and we'd often be up at the house. This was early days. But that's kind of, I think when you come from far away from Australia and it's a very small population, you hang on to people you meet along the way and you help each other out. And that film got me to the States and got me an agent and I got to start to audition over here. But it was years of going back and forth. I was working in Australia and then I slowly, yeah, and I eventually booked a job. I booked a job over here in 2003, I think, yeah. And pretty early on, you were in some big films. I mean, Star Wars? Blink and you'll miss me. That was a, I'm a handmaiden. But it is amazing to be just even a tiny, micro, cosmic, tiny bit. I'm not talking about, a tiny little bit in that universe is wild. It is such a religion for people, obviously that Star Wars world and legacy and it's so far reaching and it so has captured the imaginations. I think myself now having little boys, I understand it better because it just captures your imagination as a little boy and a little girl. But in my case, being a mother of boys, I really see it now and can understand how it works. Do your boys think you're extra cool? Say? Even if you're just in it for a moment. I think I got a few points, but I'm so quick. I think they're like, was that you, really? And then they move on. But it was fun, it was fun. And then you're in this other huge picture, Troy. Yes, yeah. What are your memories of that? I remember I was on set in Montreal and I got a call like, you got that part? And I had read with Brad and he was a gentleman and I couldn't believe it. That was a huge deal. Obviously that was in the days of those big kind of epic period pieces. It was around the time of like, I think Alexander had been made. It was like a, obviously based on the Iliad, but it was this huge historical, epic filmmaking piece directed by Wolfgang Kubitsch, which is rare. They don't make them that much these days. So it was very much of a time. And then, yeah, I was in Malta and London and Mexico and it was a huge budget and production and yeah, I'll never forget it. Yeah, absolutely wild, wild experience coming from sort of in film in Australia and yeah. Yeah. And I mean, you're in this very famous scene of Brad taking off his clothes. I know. Very focused on the scene. Tied up. Yeah, no one focuses on him anyway. They're watching you. I literally didn't realize, I was taking my role very seriously, as you should, but most, everyone's just like, how about the, like, you know, the movie star with no clothes on. But it was, it's played a lot, that movie, too. It's always on a loop. Like, it's always on channels. It's a fun film. It's got really good action in it. Do you stop to watch it if it comes out? No, no, no, I don't think I do. I'm a baby. Oh my gosh, I look like 15. I was like really fresh-faced and young and yeah. So you had those two, you did Maria Antoinette with Sofia Coppola, but you really made your mark here in TV. When Damages came along. Absolutely, yeah, mm-hmm. What was it like to have that steady gig and such a great gig? It was incredible. We came out the same year as Mad Men, so it was sort of, HBO had set the bar already with, like, Sopranos and Six Feet Under, but it was still, like, Netflix hadn't started, like, you know, House of Cards hadn't come out yet, so it was very much the early days of that renaissance of television before it became, you know, this extraordinary thing we have now where the quality is so huge and movie stars are doing TV and it was still that, just that early sort of renaissance of storytelling on television. And I couldn't believe I got to watch Glenn Close work and be in scenes with her where she would be terrorizing me and, like, you know, creating this character with the creators, with KZK, Todd, and Glenn Kessler and Daniel Zellman, they really were collaborative and wanted to come up with this young ingenue between us and figure out who she was and get to see Glenn work. And, God, she worked so hard, too. She's such a, she's one of our greats and she works so hard. She's, her attention to detail is unparalleled and she's taught me a lot. And, yeah, it's all very close and she's been very supportive and, but that was a huge turning point, for sure, doing that show and just the hours you clock, it's a very rigorous schedule. And, you know, the serialized nature of storytelling, you get an intimacy with your character that hadn't really happened before and then I got to do them all. So, it was, yeah, game-changing. After five seasons of Damages, did you feel like you were starting to get kind of pigeonholed as a serious actress? That's a good question. I think I did. I made a very active, well, you know, attempts to be like, I would love to audition for comedy. I would love to, I think, yeah, once you get pigeonholed in one thing of doing a serious, very serious, you know, lawyer who's pursuing justice and, you know, has an earnest quality to her. So, I was desperate to try to do something else like any actor. I think you're always trying to figure it out. I learned quickly you will get, that's the roles they're gonna try to, you know, send to you or audition you for in the future and how can I, how can I, how can I change that? So, I tried, yeah. Yeah, and then Bridesmaids. I know. Oh my goodness. The thing, and I think you've talked about this, but it was, Bridesmaids was huge. The annoying thing that came along with it was this idea like, wow, women can be funny? That kind of undercurrent that went with its success. Did that bother you? I was very naive. I did not realize we would be getting asked that question a thousand times. We didn't even talk about it. Yeah, you know, you never know with, you just can't anticipate ever how a project will be received or if it will be, have a success, obviously. And that film really took off in a way none of us had expected. And then, yeah, we were just on constant conversation about that. And I really leant on, you know, on Kristen and Maya and Melissa and Wendy and Ellie who were, who had come from more traditional comedy backgrounds of that, of how to deal with that. But I remember at one point, I think it was Maya or someone saying, you know, we're not a group of dolphins. I don't know why this is such a big deal. Someone said that at one point on the press tour. And yeah, I kind of just leaned on them for that because I was a little naive around it. I didn't think it would be such a point of conversation. Can you remember what was going through your head riding this wave of bridesmaids? Oh, yeah, I mean, it was really joyful. I was so, I'm such a fan of those girls anyway. So it was joyful for me to be part of it. And I think the film is a little bit magic and the stars really lined up. And so it felt like a wild roller coaster, but it was, I think for Kristen would have been, you know, I've got to speak to her, but you know, she wrote the film. So I, you know, for her, I can't imagine how that would have been. But it was joyful and amazing. We all really got along really well. And that's lovely. You know, that's not always the case. I'm sure you've got a million actors in this chair the experience you have doesn't always reflect how the film was received. It rarely does. And for me, it was both. It was a joyful experience shooting it and then having the success of it. Yeah. Yeah, I was really lucky. Then you did two Neighbors comedies. And did you have any input as far as making this wife, not the nagging wife, she's part of the fun? Yeah. No, that was a very early on. And I also learned that really from Paul Feig too, because he was such a, he's so brilliant with actresses, Paul Feig, the director of Bridesmaids, and also Spy, another, you know, very funny comedy I did with Paul and Marissa McCarthy. And he spoke to that early on of like, how women are often pigeonholed in broader comedies as being nagging or not fun and all this kind of stuff. And so going into Neighbors, it was very much a conversation I had early on with Nick Stoller and Seth Rogen about this. These characters are a pair. They're kind of as ridiculous as one another. They're as like, as stupid as one another. And she's actively not gonna be that. And it's gonna be, they're a pair. And they're actually a happily married couple. And they really love each other. And they're a team. And so that, we really lent into that. And again, it was a great, you know, Seth and I immediately had a good sort of chemistry and understood the rhythms of each other's comedy, I guess. Like, I'm sort of this more of a straight man in that, but like, that's an important role, you know, in setting up jokes for him and him for me. So we immediately had a good understanding. And that's hard. That's a bit like lightning in a bottle, you know. It's like, you know, it definitely happens. Why do you think you and Seth click? I don't know. People ask that. It's an odd thing. I mean, he's Canadian. I'm Australian. We're from the Commonwealth. But we just have an easy rapport like that, which is very, which is why we wanted to reunite on Plutonic. I was like, how can we work together again? What can we find that is similar but different? And that was really fun opportunity because it's about a friendship. So something that's not as typically examined, particularly in sort of a television format like that. So, but I was really lucky. We immediately had a nice rapport, you know. For you, it's just so interesting, this arc of starting out as the serious actress, wanting to break into comedy. And now here you're getting all this recognition as the serious actress again. It's like a full circle moment, I guess. I know. I mean, I always, I love performances that have both, you know, that are, because the stakes have to be really high in comedy to make it funny. And comedy's so hard because just most comedians are very serious. You know, they're not particularly funny people. And if you're a funny person, doesn't mean you're a funny actor. So it's a very strange alchemy of what makes it, I think. So for me, with legs, I could, it's obviously very dark humor in there, but I love that. So whatever that speaks to of my preferences, but I felt there was a lot of opportunity in there to find the beats of her, to have delusion of the characters and where those beats could be, have a moment of release for the audience to laugh, yeah. And you're right. It's kind of your two worlds combining into one, the serious and the comedic. A little bit, I mean, yes. It's like, it's what comedy's so hard to, it's very subjective, like what makes it funny and what might not, you know, whereas dramatically, we can sort of agree what is sad, you know. But I do think legs rides that fine line of tension and then a release and then through laughter and then tension, high tension and then some relief. So, but that's why it's so scary and fun, that tightrope, you know, trying to ride that tightrope. Yeah, and we're all there right with you. When you won the Golden Globe, I know you're a great actress, but you seem genuinely surprised. I was, I was. Yeah, that was extraordinary. It was such an, I mean, oh my gosh, there's performances for actresses in my category. I mean, you know, I saw Cynthia Erivo do the Palo Alto on Broadway and I will never, it was a religious moment. She's extraordinary, that woman, you know, and all of the women in that category. So, I really was very surprised and my speech was ridiculous. And I was like, totally underwhelmed. It was wonderful. It was actually so real. And everybody wanted to know about the Bearded Dragon. I know. Oh my God, never in my life will I announce something like that again in an awards show. But I was truly just so, so shocked. And it was great, my brother was there, George, and he was such a, he's so grounding and it was, but those things are heady, you know, and I hadn't been to those events, an event like that for a while. But it was very meaningful. Our film is a small film, it's not, we didn't have a big budget for the press and so for it to have reached that far and to get that acknowledgement really, it's just a reflection of the film to me. The character is the film and the film is the character. So, I feel I could just share it with Mary Bronstein and she directed the hell out of it. Maybe I'm reading too much into it, but it seems like an extreme act of love to skip the Golden Globes and go get a bearded dragon with your kids. But that's what you do, you know, when you're in, you're just juggling. Like in the film, you know, you are, you're constantly trying to, you know, nourish your home and nourish your work. It's those, that thing that David Zadara says, right, of all the burners in your life, like this could be going well, relationships, but work is not great or your health is suffering or, but this is really good. So, it's just trying to keep all the burners alive and obviously being a parent is your number one and like, you know, building these little people is obviously the greatest role and challenge and all the things, but yeah, it's like any working parent, you're always trying to, you know, juggle the animal expo with the, I mean, that's a bit extreme, but I always put it in perspective. I think it's my Australian thing, staying grounded. Do you, do your kids have a sense of what's happening? Yeah, no, they're really cute. They're totally celebratory. No, they are. It's like a perfect balance of being curious. They have great questions. They're so brilliant, but also a healthy, and then we move on, you know? So, I appreciate that because it's, it's so grounding because this stuff is consuming and it's like, it's the most grounding sort of force field to have is your family. Yeah, yeah. Do they understand what an Oscar nomination is? Yeah, they're cute. No, they're so excited. They're very cute about it and they're like, I think, yeah, no, of course they do. My elder one, my 10-year-old is a real cinephile and he loves movies. So, he's got a curate, more of a curiosity, but we move on quickly. I try not to, like, make it all about, and it's good. So, it's not a consuming thing in the house. They're there. They've got a healthy, a healthy understanding, but they, yeah, they're like, they have their, they're so in the moment, children and that, so it keeps you in the moment. That makes sense. Will everyone be here for the Oscar nomination? I hope so, yeah. We'll figure it out. It's like, it's the juggle of the weekend, but yeah, it's all kind of coming together. What are we, a month out? So, I guess I'm, day by day, piecing it all together. I don't know yet what I'm wearing or what this or that or anything like that, but yeah, it's fun. Yeah, it's a, I went once before. We presented The Castle Bridesmaids in 2012 and it was a crystal, Mr. Holmes, and it was so magical. You know, it's one of the few shows we got in Australia growing up. So, you remember watching it? Yeah, I mean, it's not like, we got shows, but we didn't get everything. And so, it was like, we got Letterman and we got the Oscars. So, it was, the pageantry of it is so fun and I'm really enjoying it. And have a speech soon. I know, I know. I'll have a long one. I'm gonna probably write pages, ready to go. Yeah, we'll see. Yeah. Did you, starting out, or even along this journey, did you dream of getting nominated for an Oscar? Winning an Oscar? I love that question. And of course, there is like a magical quality to it. And of course, you have those imaginative dreams as a little girl watching the show. And of course, you do. And I agree with Jacob Elordi. I think if you don't admit that, then it's not, of course, you do. It is a part of the kind of, part of the fantasy or whatever it may be. And it's like, it would come and go and all that sort of stuff. But I think there is an element to it that is absolutely magical. Oh my gosh, to have got that far is really to remember those feelings and be like, oh my God, that's incredible. It's so wild to get to this position and to enjoy that. Because it's like, you know, gosh, what are we here doing? What are we doing here? Like, that's, you know. Yeah, is there a part of you that's like, steps back and goes, whoa, this is all happening. I think there's a natural inventory where you're like, wow. And you do look back and you reflect a little bit. I'm 46. I can't imagine being Jacob, who's 27. Like, so young. Or all the young actors who've been, you know, Mikey Madison. Like, she's so, you know. I can't imagine at such a young age having that. That is very heady and very, so I think, for me, I'm grateful that it's, that I'm who I am now and I have family and it's a real line in the sand before and after you become a parent. So I think it would be far headier being younger and having this attention. But at my age, I think it's something I can appreciate and have, and also, like, have a good, and understand the randomness of it, too. Like, have a perspective on it that only comes as you're getting older. So it's like, but by the same token, to just celebrate and enjoy it. It's both. And you touched on this, but how did having kids change how you looked at work? It's just such a line in the sand of before and after and your priorities just shift. They naturally shift. Of course, you have this little person and you're trying to balance it all. So you're more discerning, you're more, you know, it's way more, I'm married to an actor, so it's like, all of those things of always trying to juggle how do we, how do we feed both parts of our life? And sometimes it's, and it's really hard and it's always like, how do you do both? I'm always asking other actor couples, like, how do you do it? And everyone's trying to figure it out and ask each other. I think it's community. I think it's building your community and your neighborhood and your friends, your family, all the people you lean on to build a community around your family and your children. So, but there is, obviously, everything shifts once you have children and your priorities of what you really wanna do and what you really can do and letting and knowing something doesn't come your way or doesn't work out, that's okay. That's, for me, has been such a grounding force field. Have you said no to more things? Of course, absolutely. No, things won't work out or I can't do it or, you know, for sure. And made mistakes along the way, always making mistakes. But that didn't, I should have pushed this more or that more or I should have said no or I should have said yes. I am as imperfect as the next person trying to figure it out, yeah. It's not a big mistake. No, no. And you've, you just mentioned this, so now I wanna ask about it. What's the best part of being married to an actor and what's the not-so-good part about being married to an actor? I'm gonna say all positive. I think, you know, it's always that thing, obviously, we're so, I'm an Australian, you know, we're obviously so different, so that's always, that's great. That keeps it interesting. And then I think there's a great sounding board and a creative conversation that you can have when you're married to an artist and an actor and I have such respect for Bobby. He does a lot of theater, so that's always something I lean on him with. He has great intuition about work and material and he's always my first port of call for like, of what you think, you know, in your gut of stuff. He's very intuitive and that's, so that for me, it's been a positive and I think because we're so different, it still makes it interesting. You know, like, I think that's like any couple, right? And it was always, it's always a, I think that difference keeps it, yeah, keeps it interesting, yeah. You're different how? Well, I'm Australian. He's from various parts, you know, he grew up in Jersey and Florida and Puerto Rico. He's like, and I think that that's, you know, he's Italian-American, I'm Irish-Australian, so you're married to an Italian-American, I just discovered. But I think that probably, you know, the similarity of being creative and loving the arts and like, you know, our favorite thing to do is like, go see a play if we can. Like, that's, I love doing that kind of stuff. So, yeah, I feel lucky to have that sounding board, yeah. And if he would have read, If I Had Legs and said, hmm, you need to pass? Yeah. I would absolutely, no, I would be like, what's the, like, let's have a conversation about it, totally, and like, and also you respect how that person feels, you know? Like, if you show your friend something and they, you know, that means a lot and they're sensitive, you're sensitive to that. So I, there's that part of the conversation too, but yeah, we're, and we have similar tastes, I think, as well, you know? Bobby's really funny, he understands comedies, he's really funny. So we, and I think it's also, you know what the other person doesn't like, you know? And it's important to have arguments about that too, and like, creative conversations, it's like, I think that's also a healthy part of a creative conversation, yeah. Whether it's with him or with my agent or whoever, like, you've gotta have that dialogue around it so you can understand different perspectives of why you choose to do a job, yeah.