Ten Questions with Gemma Arterton

As a long-time devotee of cinema and a connoisseur of British television, I must say that Funny Woman has certainly earned its place on my watchlist. This captivating series not only showcases the remarkable talent of Gemma Arterton but also delves into the untold stories of women in comedy during the 60s – a time when female-led sitcoms were as rare as hen’s teeth.

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As a passionate cinephile, I recall vividly how Gemma Arterton burst onto the scene as a Bond Girl in Quantum of Solace, a role that catapulted her into stardom. She also delivered captivating performances in Tess of the D’Urbervilles, Tamara Drewe, and St Trinian’s. Since then, she has graced our screens on TV, film, and stage. Now, she reappears as the leading actor and executive producer in the Sky drama series Funny Woman. This series, set in the 60s, tells the story of Barbara Parker, a Blackpool beauty queen who migrates to London, assumes the stage name Sophie Straw, and secures her own comedy show.

Funny Woman is about a woman who disrupts a male-dominated world. Why did it appeal to you?

In the United Kingdom, it wasn’t until the 1970s that we saw a sitcom led by women as its creators – this groundbreaking show was “The Liver Birds,” conceived by Carla Lane and Myra Taylor. Moving forward to the 80s, figures like Victoria Wood and French and Saunders emerged, but they were still ahead of their time. Regrettably, opportunities for women in comedy were scarce during the 1960s. However, this era offers a fascinating perspective as it was marked by profound societal transformation and numerous challenges to overcome.

Do people connect with the show because it addresses issues that are still relevant today?

Currently, there persist challenges, particularly in the realm of comedy. While an abundance of humorous women produce entertaining television series, a notable scarcity of comedic sitcoms starring women remains. It seems that opportunities for men are more prevalent, yet there’s still a significant disparity within the comedy sphere.

As a movie enthusiast, I’m often asked about the role my parents played in my pursuit of acting. Just like Barbara’s dad instilled in her a rock-solid belief in herself, my parents were the ones who encouraged and supported me every step of the way, never wavering in their faith that I could make it big on the silver screen.

Initially, I aspired to perform in plays, not necessarily aiming for success, but hoping to make enough money to cover my living expenses. Performing theatre was something that appealed to me, and if I could manage that while paying my rent, I would have been content. My parents, however, were encouraging, saying, “Follow your heart; we’re behind you, and we’re proud of your choices.” Yet, they had no connections in the industry, so they might have doubted the feasibility of my dreams.

When I started acting, there was a lot of nudity – you were just expected to do it

In the series, does Barbara’s character move from Blackpool to chase her aspirations in London, much like your own journey from Gravesend?

Back then, London was where my youthful spirit thrived! From 15 to 28, I embodied the swinging sixties as a mod. My wardrobe and grooming reflected the era, with West Kensington serving as my home base while Portobello Road provided endless shopping opportunities via the bus. I’m an explorer at heart, and those years were no exception – they were filled with adventure! Drama school was another exciting chapter; I went without any grand plans, simply immersing myself in the experience. Unlike Barbara, who radiates a sense of predestined purpose, I was more of a free-spirited passenger on life’s journey.

In what manner does the portrayal of diverse characters on screen matter, given that Barbara, who comes from a working-class background and has a local dialect, shares the screen with an actor of color?

When I’m watching “Funny Woman,” I don’t focus on its diversity; it seems like such an integral part of the show. It makes me ponder if we’ve grown accustomed to seeing diverse representation, making it less noticeable. Fifteen years ago, casting a non-white actor in a romantic lead role would have been daring. Intriguingly, Arsher Ali, who portrays Dennis, had never before been given a leading romantic role. This fact surprises me; he is undeniably fitting for the part!

In the second season, Barbara is tasked with collaborating with two fresh screenwriters who propose that she dons a sleek catwoman costume. Has any such one-layered role been suggested to you?

Back in my early days, it was quite an intriguing phase for me as I made my way into the spotlight, prior to the #MeToo movement. When I first ventured into acting, there was a considerable amount of nudity involved – it was simply the norm. During my younger years, I often portrayed seductive characters, typically girlfriend roles. However, as I’ve matured and gained more success, I now have the privilege to pick and choose the roles that resonate with me the most.

You have spoken out about having to do things that have made you feel uncomfortable…

It seems that because I’ve openly expressed my disinterest in these tasks previously, people understand that I no longer wish to participate. They didn’t bring joy or satisfaction; they felt more like a job than an enjoyable activity. It wasn’t about showing off my abilities in the right way. As a result, they don’t ask me. There was a significant shift around 2017–18, with the Harvey Weinstein scandal. Nowadays, roles for women are generally improved and more appealing.

Speaking up isn’t always simple, particularly at the start of your professional journey. Have there been times when you were concerned that expressing yourself might be seen as challenging or problematic?

On one occasion, I found myself on a film set, and the director told me, “You’ll be making love on the bed.” To which I replied, “Actually, this scene was scripted for us to be out of frame, only the sounds will be heard. I wouldn’t have taken this role if it were filmed.” On that day, he tried to pressure us. The other actor, may he rest in peace, was horrified. Given the presence of influential individuals, I asserted, “You can’t do that, I refuse. I don’t care if you think I’m difficult.” However, I felt empowered to say so because I had more experience under my belt.

And if you had been younger?

It would have been quite challenging in the past, as there was a risk of losing your job or damaging your professional standing. However, now we have intimacy coordinators who act as intermediaries, making it a much safer and more comfortable environment for everyone involved. I’m glad that such measures are now in place, as anything that makes an actor uneasy can be avoided altogether. Some actors may have preferred the old ways, but I believe the presence of intimacy coordinators is definitely a positive change.

In series two, Barbara meets a Hollywood agent. Was that your big dream too?

The global film industry has dramatically expanded today, with Hollywood no longer being the sole hub for movie production due to its high costs. However, many directors still reside there. I’ve always been drawn to that realm, but thanks to technological advancements like Zoom, it’s no longer necessary to physically be present as much. In the past, I would travel once a year for a couple of weeks to network, but now those connections can be made virtually. It’s disheartening to see so many historic studios lying vacant due to financial constraints, marking the end of an era that once held a certain allure.

2024-09-11 15:04

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