Saoirse Ronan’s Mary Queen of Scots Costume Physically Altered Her


-Welcome back.
-So nice to be back. -I’m thrilled to have you back. Now, last time you were here,
you were about to host “SNL.” -Yes.
It was the last time, yeah. -With U2.
And you were talking about how you had taken your mother to see
“Lady Bird” in the theater. -Yeah.
-And you were very nervous about getting recognized,
and no one recognized you. -No one recognized me.
No. Nobody. [ Laughter ] -And yet here you are.
It did not get to you. That did not sink your spirit. -No it’s not —
it’s not a big deal. -Yeah.
You just pushed right through. -Yeah. I’m fine.
Um, I’m fine. -That’s good.
I can tell. But now, have you taken your
mother to see this film yet? Have you taken her to see it? -I took her to the New York
premiere of this film, so everyone had to recognize me.
-Yeah. [ Laughter ] Why take chances?
-Do you know what I mean? -Yeah.
-There were posters everywhere. I would, like,
stand next to them. “That’s me in that.” So it really impressed her,
I think. -There’s a — There’s a lot
of wigs and a lot of — I always feel bad,
because this is obviously — You’re playing —
you and Margot Robbie both are playing
these really powerful women, but because of the age
it takes place, so much wigs. So many corsets.
-Yeah, a lot of corsets. And when you’ve been wearing
them, like we did, for months, you take them off
at the end of the job, and, like,
your shape has changed. -Really?
-Yeah. Like, I didn’t
have any curves before. And then I took it off, and for about a month,
I was like, “Oh.” -Wow.
-“Wow, look at that.” -And then is about a month
when it goes back to — -Yeah.
-Okay, gotcha. -Went back to…
-Yeah. [ Laughter ] Yeah, there you go.
Wow. It never occurred to me
that it worked. -Yeah, because it’s squishing
you’re insides. -Yeah.
-And it’s on — Like, we’d have it on for,
you know, 12 hours a day. -Yeah.
-And it’s tight. Corsets are tight.
So when — yeah. And so it actually does change
your shape for a little bit. -I don’t know. This has turned into a weird
advertisement for corsets. -Yeah, I feel like —
Yeah, don’t — don’t wear them. Don’t do it. Stay in school.
Don’t do corsets. [ Laughter ] You obviously have an incredible
co-star with Margot Robbie. -Yeah.
-And there — Really late in the film
is the first time — You know, obviously,
it’s based on history, but you guys don’t meet
until very late in the film. -Yeah.
-And it’s very powerful, because these two,
you know, women we’ve seen throughout the film,
we haven’t seen them meet. -Yeah.
-And do they actually — Did you guys put some thought
into how much time you should interact as actors
before that scene, yeah? -Yeah, we didn’t
have any interaction at all. So we both decided
in rehearsals — Like, I had heard —
We’ve all heard about actors staying apart
for the whole thing or being in character and
staying method and all of that. And I’ve never really felt the
need to do that, necessarily. but with this I just thought — For Margot and I,
we knew each other a little bit. We knew that we sort of worked
in a similar enough way. And we could —
we could kind of go for it. So we rehearsed separately. We shot separately. She did all of her stuff first. And then,
her last day was my first day, and it was that big scene. So we stayed apart for the whole
first half of the scene where we’re sort of hidden
behind these sort of sheets in a — in a cabin in the woods
that we’re in. And — And then when —
Or, you know, physical appearance is finally
revealed to each other. That was actually
the very first time we saw each other in character. So I had never seen Margot
with the red wig and the Golden Age makeup. I hadn’t seen any of it at all. So the first take was us
just being like, “Oh, my God!” and, like, really emotional. -Well, there was a moment,
for those — You drop the accent,
and you just say, “Holy [bleep]” -Holy [bleep] “Jesus, Margot!”
-Yeah. -“What’s wrong with your face?”
-It’s jarring. I will say, it’s a really — -It takes you out of it
for a sec. You won’t notice it, really,
though. Once you watch it again,
you don’t know. -Yeah, but the first time,
you do have a moment of like, “Did she Irish and call her
‘Margot’ right there?” [ Both laugh ] -And it really speaks
to how good you guys are that you immediately
go right back into it. -Yeah, yeah, yeah.
-She’s Australian. And then she’s like, “Hi, mate.
How’s it going, Mary?” [ Laughter ] -You —
So, you obviously — You had to have
a Scottish accent for this. “Lady Bird,” you — you know,
you’re from California. Your accent — this —
You came by this very honestly. Is it true
that you developed your skill and your ear for accents
because your dolls all came from different places?
-Yeah. -Yeah.
-So I am — I’m an only child. [ Laughter ] Obviously. “Aww.”
Someone just went “Aww.” [ Laughter ]
Yeah, we thought that, Saoirse. And I would, like — Basically, I would
visit my dolls every evening like a soap opera. So there would be episodes,
so I’d come back every day, and I’d be like, “What’s
Polly Pocket been up to today?” And I had this mini figurine
of Woody from “Toy Story” back when, you know,
fast-food stores used to give out
really good toys. And this was when —
And I still have him, and he was Polly Pocket’s
boyfriend. [ Light laughter ]
And he — he was American. He was, like, generic American.
She was from the South. And she lost her arm
in a car accident. -Really? [ Laughter ]
-Because in real life, I actually broke off her arm
by accident. -Got it.
-So I had to rewrite that. -Yeah.
You had to rewrite in a way where you weren’t culpable.
-Right. Exactly, yeah. [ Laughter ] It actually worked out
really well… -Yeah.
-…for the grit of it all. -Yeah, of course.
I mean, I think when you — Obviously, when you’re
making a doll soap opera, you need things to happen.
-You need the drama. -Yeah.
-And I wanted people to know, like, this is real life.
This — You know,
people lose their arms. Yeah. Because
that’s the thing about dolls. They live
such sheltered existences. -They do.
Plastic, if you will. -They could go their whole life, and they don’t even
leave the house. -With two arms.
-Yeah, exactly. -They have two arms
their whole lives, and then every other doll
is like, “Oh, I’m always
gonna have two arms,” and that’s not the case.
-Yeah. And so, if anything, it was a
cautionary tale for the other — And I think that you’ve said,
none of your dolls ever went out
driving again after that. -No. No.
-Yeah. -It was — I’m glad I could just
give something back to them. So, go see
“Mary Queen of Scots.” [ Laughter ]

100 thoughts on “Saoirse Ronan’s Mary Queen of Scots Costume Physically Altered Her

  1. A few extra lbs would look good on her but I would imagine she has a fast metabolism combined with nervous energy which doesn't allow much weight gain .Love the bones of her though …he he

  2. My daughter's an only child. She talks to her dolls. I always try to stop her … Maybe I shouldn't!??

  3. She grows to be a beautiful woman..i watched her in one or two movies in her teenage but she is one actress who sticks in my mind. Her acting is memorable.

  4. I always thought Saoirse was pretty, but I really think she is getting even more so…. perhaps it's just more elegant with age.

  5. I fancy myself pretty decent at immulating accents, impressions and such. Hers is incredibly difficult. So, I'm all the more impressed by her a ability to turn it off when she needs to.

  6. From this interview and her telling about creating stories for her dolls, I can see why she was chosen to play the young Briony Tallis in "Atonement".

  7. They were both sensational in Mary Queen Scots. This woman will have a long and storied career. Who doesnt want to work with her?

  8. There are three persons I could watch doing interviews all day long :
    1. Catriona Gray
    2. Greyson Chance
    3. Saoirse Ronan

  9. She says she had no curves before the corset, so, was that not all her in the swimsuit in Brooklyn? Cause Eilis was curvy.

  10. If I had known who you was, but I was thinking why does your eyes roll over I'm ugly so I keep walking on the sidewalk. Love ya

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