Suffragette star Carey Mulligan has hit out at the lack of “fully rounded” film roles for women and said that television offers more interesting opportunities.
“I think for the most of female actresses I know it’s just about going where the better writing is. Films have tended to provide a lot for men in terms of great leading roles and not so much for women. I think it’s been led by the writing and the opportunities particularly for women.”
Mulligan, who has also starred in films including An Education and The Great Gatsby after scoring her break in British TV dramas including Bleak House and The Amazing Mrs Pritchard, highlighted the strong roles in HBO’s Big Little Lies as an example of television’s more empowering opportunities.
“I just want to play the most interesting, complicated, real person, and interesting complicated real people in film are really, really rare. I think essentially following great writing, trying to play real people and not play the girlfriend, the wife. I’ve done that a lot and it’s not fun and this is the opportunity to play a fully rounded, flawed interesting person,” she added.
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Collateral, which is produced by National Treasure producer The Forge, is set over four days and explores the repercussions of the shooting of a pizza delivery man. Mulligan plays pregnant ex-pole vaulter turned police officer Kip Glaspie, who is determined to discover the truth. The murder, it seems, is not just a random incident, but something that brings together a range of issues including illegal immigration and how the government, church and military is involved. The four-part series also stars State of Play’s John Simm, Last Tango In Halifax’s Nicola Walker, and Penny Dreadful’s Billie Piper.
Playwright Hare, who also wrote Nicole Kidman feature The Hours and BBC’s Worricker Trilogy starring Bill Nighy, said that he felt a “tremendous responsibility” to illegal immigrants who cross the Mediterranean to make it to Europe in the drama. “[We were] very, very squeamish about in no way exploiting them or using them as bones to make soup with. We wanted to make it entirely appropriate the way that journey was treated as part of a contemporary drama,” he said.
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