Gemma Arterton talks pre-MeToo industry and standing up for herself in sex scenes
The actress talks to Radio Times about returning to Sky comedy Funny Woman, avoiding one-dimensional roles and more.
This interview was originally published in Radio Times magazine.
Gemma Arterton shot to fame as a Bond Girl in Quantum of Solace, along with star-making performances in Tess of the D'Urbervilles, Tamara Drewe and St Trinian's.
She has since appeared on TV, film and stage, and now returns in the Sky drama series Funny Woman as its lead actor and executive producer.
Set in the '60s, it follows Blackpool beauty queen Barbara Parker, who moves to London, adopts the stage name Sophie Straw and gets her own comedy show.
Funny Woman is about a woman who disrupts a male-dominated world. Why did it appeal to you?
In the UK, we didn't have a female-led sitcom [written by a woman] until the '70s – and that was The Liver Birds [created by Carla Lane and Myra Taylor]. Further down the road, we had Victoria Wood and French and Saunders – but that was the '80s. It wasn't happening for women in comedy in the '60s! But it's a rich time to look at, because there was so much societal change happening and a lot to fight against.
Do people connect with the show because it addresses issues that are still relevant today?
These days, there are still struggles. There are lots of funny women making funny TV shows, but there is still a distinct lack of funny female sitcoms. There are loads of men having their time. There's still a gap in the comedy world.
Barbara's father instils in her an unwavering sense of self-belief. Did your own parents support your decision to pursue acting?
I wanted to act; I didn't expect to be successful. I wanted to do theatre and earn enough to pay my rent – I would have been happy with that. My mum and dad said, "Whatever you want to do, we support you and we're happy for you." But we didn't know anyone in the industry, so they probably thought it wouldn't work out.
In the show, Barbara leaves Blackpool to pursue her dreams in London. Did you make a similar journey from Gravesend?
I remember the excitement of moving to London! From the age of 15 to 23, I was a mod. I wore '60s clothes and did my hair and make-up in a '60s style. My flat was in west Kensington and I used to get the bus to Portobello Road [to look at clothes]. I love exploring. I also loved drama school – I had no expectations, I just enjoyed it. Barbara has a certainty that she's destined for something, I never had that. I was just along for the ride.
Barbara is working-class, with a regional accent, and her co-star is a man of colour. How important is representation on screen?
When I watch Funny Woman I don't notice the diversity; it feels so intrinsic. I wonder if it's because we're used to seeing representation – diversity doesn't stand out as much. Fifteen years ago, it would have been bold for the romantic lead to be non-white, or whatever. It was the first time Arsher Ali, who plays Dennis, had been offered a romantic lead. That baffles me; he is so obviously a romantic lead!
In the second series, Barbara works with two new writers who want her to dress up as a slinky cat woman. Have you been offered one-dimensional roles?
It was an interesting time for me to come up in the world, before #MeToo. When I started acting, there was a lot of nudity – you were just expected to do it. When I was younger I played sexy characters, the girlfriend. As I've got older, that's changed because I'm more successful and can choose the parts I want to play.
You have spoken out about having to do things that have made you feel uncomfortable…
I think because I've been vocal about these things in the past, people are aware that I don't want to do them anymore. It didn't fulfil me. It didn't feel like acting, it wasn't fun. It didn't feel like I was flexing my muscles in the correct way. So, they don't ask me. There was a huge sea-change in 2017–18, when the Harvey Weinstein stuff happened. It's different now. Roles for women are generally better.
It's not always easy to be vocal, especially early in your career. Were you ever worried about being perceived as "difficult"?
I remember being on a set once and the director said, "You're going to shag on the bed". And I said, "No, this scene was written for us to be off screen, so you just hear the noises. I'd never have accepted the role if it was going to be filmed." He put pressure on us on the day. The other actor, God bless him, was mortified. There were very high-profile people there. I said, "You can't do that, I'm flat out not doing it. I don't care if you think I'm difficult." But I only felt like I could say that because I was older.
And if you had been younger?
It would have been really hard. You might get the sack, or get a terrible reputation. It was before we had intimacy coordinators, who are the go-between now – it's a totally different landscape. Anything you're not comfortable with is not going to happen. I've heard other actors that are like, "I loved it when there was no intimacy coordinator", but I definitely think it's better.
In series 2, Barbara meets a Hollywood agent. Was that your big dream too?
It's weird – the industry is so much more global now. Nothing shoots in Hollywood any more because it's too expensive, but it's where a lot of directors live. I'd always like to be in that world, but I don't have to be there as much. I used to go out once a year for a couple of weeks to meet people – now you can just have a Zoom. There are all these amazing, ancient studios that are empty because of the cost – it's so sad that, in a way, that golden age is over.
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