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Helen Mirren: They’re such different characters, Cara and Maeve—but I was kind of thrilled to be asked to be in MobLand, because, you know, it’s actually much more my world, much more up my alley, than 1923. Don’t get me wrong, I loved doing 1923, and it’s always great to explore a world that you’re not familiar with, but MobLand is sort of more my kind of vibe, if you like. It’s London; it’s urban. And I’m a London girl at heart. Although both, as the modern world does, break the mold somewhat. It’s funny, the way human beings have always loved to be told a story. You know, it’s The Canterbury Tales and far beyond. I spent time doing experimental theater with Peter Brook—he’s passed away now, but he was the greatest 20th-century theater director, and recognized as such. We were traveling through Africa into these villages, where they had no concept of what theater was. They knew religious ritual, which was their version of theater, of people getting dressed up and dancing. And they had these traveling storytellers: balladeers, like medieval balladeers, who would ride from village to village to tell the story of what was happening back in the big city or, you know, the war that was happening over here, or the love affair that was going on, the illegitimate child that was being born or whatever. I think word went out that there was a bit of competition going on, this weird group of English people were arriving, performing these weird things. And so this balladeer arrived to sort of shut us up, all feathered and dressed up on a horse. And it was a theatrical performance, a storytelling. And so all I’m saying is that we’ve wanted to tell each other stories forever and, you know, MobLand, 1923, it’s just another version of that, really, of the balladeer riding into town on a horse, telling a story.Skeleton Born To Work My Ass Off And Be Buried By Taxes Tee Shirt
You’ve said about Cara Dutton, who’s your character in 1923, that complex female characters didn’t much exist when you were coming up. I wondered if you would say the same thing about Maeve Harrington in MobLand—and if there’s a kind of progress at work. There’s massive progress at work, and it’s not just Maeve. It’s all the other female characters in MobLand. You know, if MobLand had been made 20 years ago, none of those female characters would have existed. If you were lucky there’d be a pretty young girl who usually had to take her clothes off and have a sex scene with someone, and that was as far as you went with female characters. Even the great Sopranos, which is enormously respected by writers and actors alike—a truly great piece of storytelling, of television, of drama, on every level. But the female characters were…wives, you know? Girlfriends. The kind of agency that the female characters in MobLand have, all of them, not just Maeve, is great to see. And it’s great to be a part of it.
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