Morfydd Clark on her latest Saint Maud and the Lord of the Rings movie


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I question at the beginning, SO, Morfydd, how do you pronounce your first name? “It’s all voiced,” in her light Welsh accent, the actress explains to me. And there’s a trilled R.”And there’s a trilled R.”The “Morrrrrfyd,” rolls out and stops like a Keith Richards riff, “R”

It’s a timely lesson, because we all have to learn how to say it soon. Morfydd Clark is becoming a name which is very familiar. As we speak, she is working in New Zealand on a top secret project (she starts whispering when she even hints at it). We both know that she’s shooting Amazon Prime Video’s latest TV adaptation of Lord of the Rings, and the strong speculation is that she’s playing Galadriel (Cate Blanchett’s role in the Peter Jackson film trilogy), but she doesn’t say anything. “I’m just sworn to secrecy,”I’m just sworn to secrecy.

She eventually confirms that she is currently playing Galadriel a few weeks after we talked, but that morning (actually, that night, where she is right now) all Clark wants to say is that her days “involve a lot of physical activity. So, my body is kind of like, “What happened?” It was a big shock after spending most of my life being naturally thin and not exercising.”

Of course, it’s likely that you’ve seen her already. In Armando Iannucci’s whimsical Dickens adaptation, The Personal Biography of David Copperfield, you might have seen her when it came out in January. (But did you remember that she played both the fiancée of David Copperfield and his mother?) Or maybe you saw her in the role of Mina in the wacky version of Dracula for the BBC by Mark Gatiss and Steven Moffat last Christmas. She also starred in last year’s His Dark Materials TV adaptation.

In reality, Clark has been a regular both on TV and in films like Pride and Bigotry and Zombies, Love and Friendship and Everlasting Beauty since her first on-screen appearance in 2014 (in a couple of episodes of the historical drama The New World) (which came out last week).

But if you want to get a true sense of what she’s capable of, your first port of call should be her latest film, Saint Maud. The serious, terrifying, psychological horror movie by debut director Rose Glass is a great showcase for her skills. The main character, a young hospice nurse with profound and publicly troubled religious convictions, is played by Clark. For a choreographer played by Jennifer Ehle who, despite her illness, nevertheless attempts to live a hedonistic lifestyle, she becomes a palliative care nurse. Suffice it to say, it’s not going well here.

Read more: Study of Saint Maud by Damon Smith

The film examines lust, obsession, religious faith and monomania in a British seaside town of cheap glitter and grime as it slowly and inexorably progresses into darker waters and toward a climax that is both fateful and profoundly surprising.

Long story short, that’s really cool. And in it, Clark is really sweet. It’s one of those performances that guarantees that people in the future will be looking for her name.

It overwhelmed her, Clark says, when she read the script. “At every turn, it was this mixture of shock. And this horrible inevitability of what happened, too. That’s what was really cool about it.

Many of my family work for the NHS, too, and I have never had the skills to do that. I did not have good grades, and when people were sick, I panicked. So, I was still pretty curious. How are you doing this? ”

As for the religious side, “My father is a Glasgow Catholic from Northern Ireland, so I’ve got some kind of insight into that world.” I haven’t been religious, but there are people in my immediate family. I was always intrigued by the possibility that I might one day be there.

“In short, it may have been written with Saint Maud in mind. “As for the aspect of the nurse, and this notion of losing confidence and seeking… For most of my life, I felt like I had been studying her; two of my obsessions rolled into one.’

As for Maud herself, the film’s writer and director, Rose Glass, recently told Esquire Magazine that her elevator pitch for the film was to “imagine Maud as if Travis Bickle were a young Catholic woman living in an English seaside town.” What’s Clark’s take on Maud? “I’d say she’s ever


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