Natalie Dormer plays The Hunger Games’ Cressida and Game Of Thrones’ Margaery. Now she’s starring in The Forest, a horror film about a woman who ventures to a suicide destination in Japan to find her missing sibling.
Go on, sell The Forest to us.
“It’s just a really good psychological horror. It gets inside your head.”
You’ve been in two pop culture phenomenons: The Hunger Games and Game Of Thrones. Which has had a greater impact on your career?
“Six of one, half a dozen of the other. I couldn’t pick two bigger zeitgeisty phenomenons. People ask me about …Thrones more often. For a long time, the question was, ‘Is Joffrey as horrible in real life?’ The answer was, ‘No, Jack Gleeson who plays him is absolutely gorgeous!’”
What’s in store for Margaery in season six of Game Of Thrones?
“New challenges and new foes. She’s desperately trying to get out of incarceration and she’s wily. You don’t know if she’s being sincere or not. That’s the thing I love about playing Margaery – I don’t always know if she’s being sincere. One take I’ll mean it and the next I won’t, and I’ll leave it to the editor to cut it together.”
The director of The Hunger Games, Francis Lawrence, has spoken tentatively about some kind of prequel or spin-off. Could that work?
“It could definitely work. The hunger is there for it – pun not intended. But it all starts with Suzanne [Collins, author of the novels]. The whole Panem universe comes from her, so if she doesn’t write it, it will not be.”
Jennifer Lawrence says she wants to get into directing. Will she be good?
“I haven’t got a fucking clue! But she’s a very talented storyteller and she’s good at human emotion and truth. I have so much respect for directors. It’s a hard, multifaceted job. I’m in awe of anyone who does it.”
What was Madonna like as a director on 2011’s W.E.?
“You need passion and instinct and Madonna has those. But I can’t really talk to you about that because I signed a confidentiality agreement that was thicker than my contract. But one thing I’ll say is she’s a workhorse. She really throws herself in 100 per cent.”
In the 11 years you’ve been working, have you noticed an improvement in the number of strong, well-rounded roles offered to women?
“Gradually, yes, and it comes from TV writing. Cinema is finally catching up with what TV has known for a while, which is that complex, identifiable women are something both male and female audiences respond to. Having a decent representation of half our population is overdue and it’s not happening as quickly as everyone would like. What we’re aiming for is gender irrelevance. It shouldn’t be about whether a character is male or female; it should be about whether they’re believable, whether the dialogue sounds real. Bad writing is bad writing and it all starts with the writing.”
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The Forest is out in cinemas today.