“My father told me I should go into word processing”

Actor Gillian Anderson on slapstick, motherhood and the perils of Googling yourself.

You're starring in the slapstick comedy Johnny English Reborn, which seems an unusual choice for you. Was that part of the appeal?
I generally like to make choices based on who I'd like to work with - and I liked the idea of playing the MI7 [spy agency] role with Rowan Atkinson. I think the thing that surprised me the most was how technical it was . . . I was aware of how I needed to work my technical muscle in a way that I hadn't before.

Is the atmosphere on the set of a comedy film different from that on, say, a period drama?
There's a heightened sense of comedy around and there's a bit more laughter. On the other hand, it seems to be more serious, because it's quite serious business, comedy.

Is there snobbery about doing a broad comedy?
Very early on, when I signed on to this project, I had read on IMDb [that] somebody was commenting on why I would choose to be in this film. And I thought, hang on a second - if I was doing a Jim Carrey film, nobody would be having that reaction.

It worries me that you are reading IMDb comments. Do you google yourself a lot?
No! I was looking up something else.

Some people do.
Ha, the first thing I do when I get up every single morning, after I feed the kids, is I go and google "Gillian Anderson".

Are your children affected by your fame?
No, the very, very first situation that we had was when we went to see Cars, and at the movie theatre we were handed a popcorn box with my picture from Johnny English Reborn facing me. My almost-five-year-old said: "Mummy, that's you!" really loudly and proceeded to turn the box around to find out where Daddy was.

It was very funny, but that was the first time that any kind of explanation was needed. And
I can't even remember what we said to him at the time - we sort of tried to push it under the table. It's too early for him.

If any of your children wanted to act, what would you say?
Well, I have a 17-year-old, and that would be the one to come to me soonest. Fortunately she is not interested. I have to say I'm a bit relieved she doesn't want to be an actor.

Because of the lifestyle or the insecurity?
Yes, because the statistics show, I think, that only 5 per cent of actors are working at any one time. My father gave me a lecture at one point when I was younger and told me that I shouldn't be an actress because I should probably get a real job, and that I should go into - what was it back then; computers were really young? - it was word processing.

You've done several period dramas. Are the roles available better?
It's a joy to do that kind of stuff. Every time somebody comes to me and says do Dickens, do Ibsen or Chekov or whatever, it's an honour. If there were two roles sitting in front of me and one of them was Ibsen and one of them a modern piece, I'd probably choose Ibsen. The other side of that is, yes, there is a shortage of good material for women that is as provocative and complex as some of the writing in the classics. But I don't feel like I'm choosing those [the classics] because there's nothing else out there. I am choosing those because I want to do them.

You were in A Doll's House at the Donmar Warehouse in London. What is it like to act in such an intimate theatre?
Each theatre has its own, very strong person­ality. There's something quite arresting about being in a space that small. The closeness of the audience lifts you in a very different way.

Why do you like Ibsen?
Ever since I don't know for how long, people have come to me and said, "You have to do Hedda Gabler; that's a role that's made for you." I'm not sure how much of an insult that is.

In March, you chose Barack Obama as the person you "most admire". Is that still true?
Well, I don't know about most admire. I still think he is a person I admire, but it has been a horrible ride for him since he came into office. And I just cannot imagine waking up every single day and having that burden on your shoulders and not just wanting to crawl under the covers and say, "I'm done." I still hold him in high esteem; he is doing his utmost for everybody. I am amazed what he still handles and the grace he continues to operate under.

Do you vote?
Yes, but in the States. Very enthusiastically for Obama coming into office, and this time round it will be Obama again, no matter who comes up on the Republican side.

Was there a plan for your career?
No, I've gotten lucky.

Are we all doomed?
No, not at all. Only some of you.

Defining Moments

1968 Born in Chicago. Grows up in London and Grand Rapids, Michigan
1993 Lands star role in the X Files TV series
1994 Marries her first husband, Clyde Klotz, and gives birth to her daughter, Piper
1997 Wins an Emmy, Golden Globe and Screen Actors Guild Award for The X Files
2005 Stars in the BBC's Bleak House
2006 Gives birth to her son Oscar
2008 Her second son, Felix, is born
2010 Is nominated for an Olivier Award for her role in A Doll's House at the Donmar

Johnny English Reborn is in cinemas now.

Helen Lewis is deputy editor of the New Statesman. She has presented BBC Radio 4’s Week in Westminster and is a regular panellist on BBC1’s Sunday Politics.

This article first appeared in the 17 October 2011 issue of the New Statesman, This is plan B

Photo: Getty
Show Hide image

Women’s stories triumph at the Emmys

Winners were original stories told by diverse voices, that shone a light on society's injustices, or engaged with the current political landscape in the USA head on.

The 69th Emmy Awards was a great night for stories about women, starring women, and written by women. The biggest winners of the night, which celebrates excellence in television, were The Handmaid’s Tale (with five awards) and Big Little Lies (also with five awards). Both are female-fronted series tackling wider issues of patriarchal violence in a sexist political climate. Black Mirror: San Junipero and Veep also picked up multiple awards.

The Handmaid’s Tale won the biggest award of the night: Outstanding Drama Series. But it also picked up awards in every category it was nominated. That meant awards for drama writing and direction, while Elisabeth Moss won the Emmy for a lead actress in drama. Ann Dowd won the best supporting role award for the terrifying Aunt Lydia, while Alexis Bledel picked up the award for best guest performance, announced at the Creative Emmy Awards last week.

Big Little Lies won Outstanding Limited Series, with Alexander Skarsgård, Laura Dern and Nicole Kidman all picking up acting awards: Kidman delivered a powerful speech on the importance of representing stories of domestic abuse.

Lena Waithe became the first black woman to win the award for Outstanding Writing for a Comedy Series for her work on Master of None, thanking her “LGBTQIA family”. Black Mirror won Outstanding TV Movie and a writing award for its love story between two women, “San Junipero”.

It was a night of firsts more generally: Donald Glover became the first black winner of Outstanding Directing for a Comedy Series, and Riz Ahmed became the first man of Asian decent, and the first Muslim, to win an acting Emmy.

Firsts aside, Julia Louis-Dreyfus made Emmy history for the most awards won by a single performer for one role, picking up her sixth consecutive award for Outstanding Lead Actress in a Comedy Series for Veep. Reed Morano of The Handmaid's Tale became the first woman to win the award for Outstanding Directing for a Drama Series in 22 years, while Sterling K Brown from This Is Us became the first black man to win Outstanding Lead Actor In a Drama in 19 years.

All in all, the winners, be it The Handmaid’s Tale, Big Little Lies, Saturday Night Live, Veep, The Night Of, This is Us, Black Mirror: San Junipero, or Atlanta, were generally original stories that placed diverse voices at the centre, shone a light on societal injustices, or engaged with the current political landscape in the USA head on.

Oh, and if you’re wondering why Game of Thrones and Twin Peaks were snubbed: they weren’t eligible.

The full list of winners can be found here.

Anna Leszkiewicz is a pop culture writer at the New Statesman.