Credit: Arrow Films
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The Affair's Ruth Wilson: “All this is bringing women together... I hope it doesn’t end”

The actor on her new role as an abused sheep farmer in Dark River, the response to gender inequality and playing her own grandmother.  

At least part of the credit for Ruth Wilson’s extraordinary performance in Dark River is owed to a red-haired Border Collie. While she was in Yorkshire training to be adept at country life – shearing sheep, skinning rabbits, shooting guns and ratting houses – she worked with a sheepdog who seemed somehow as traumatised as the character she was preparing to play. “She was very skittish with humans,” Wilson recalls, “and wouldn’t look them in the eye. Her haunches would go down as if she’d been abused. And then on the field, she was focussed, aggressive, in control. So I based my character on her.”

The inspiration worked. As Alice, a skilled sheep shearer who returns to the farm she grew up on after her father dies, Wilson is tense and brittle, as though she might crumble to dust at any moment. For the past 15 years, Alice has been working around the world – New Zealand, Norway, “anywhere there’s sheep”, anywhere far away from the sexual abuse she was subjected to at the hands of her father (Sean Bean) as a child.

Her brother Joe, played with both tenderness and rage by Mark Stanley, has never left. He hasn’t forgiven Alice for leaving either, though neither of them is capable of articulating the potent mix of shame and resentment they feel. Just like in previous films by Clio Barnard, the heir to the gritty realist throne of Ken Loach, Dark River is driven as much by what isn’t said as by what is. “It’s sculpted,” says Wilson, “It feels like a held moment. There’s hardly any dialogue, but it just feels so full.”

We’re in a small office room in Covent Garden. Wilson’s been here most of the day, surrounded by pastries that she’s tried, and mostly failed, to foist on to journalists. When I turn down her offer too, she looks forlorn. “I ate half of one earlier, and they’ve brought a load of new ones,” she says with faux indignation. Doing press doesn’t usually fill Wilson with delight ­– even an endless supply of croissants can’t make up for the toil of being asked, again and again, about her personal life – and since she broke out as the psychopathic scientist Alice Morgan in BBC’s Luther, before landing starring roles in Anna Karenina, Saving Mr Banks, and on the hit Showtime series The Affair, she’s had to do a lot of it. But today, she says with a tone of surprise, is a little different. “I’ve sort of been looking forward to talking about this film.”

There’s certainly a lot to talk about. Dark River is a powerful but understated examination of abuse, and the psychological damage done when a person’s protector is also their abuser, their home also the site of their trauma. Alice is determined to fix the farm – which has fallen into disrepair while her father and brother have been in charge – but she can hardly stand to be there. The memories cling to it as stubbornly as the rats that have overrun it. “She can’t step a foot in that house,” says Wilson, “but she feels it’s what’s owed to her, so it’s that constant fight she has within herself. It’s a past, it’s a grave, it’s a memorial, but she has to come back and reclaim it in some way.”

Alice is also trying to reclaim the farm on behalf of her mother and grandmother, who once ran it. “She’s having to stand up to these men in every area,” Wilson says. “Whether it’s [the men] selling the sheep, or it’s her brother, or the guy coming to buy the land, everyone is a man that she’s having to kind of negotiate. She’s this woman struggling to have her own space and her own voice in a very male world.”

Wilson in a scene from Dark River. Credit: Arrow Films.

Through this film, Barnard wanted to explore objectification – both of the land and of the female body. “The way we objectify the countryside, and make it all seem beautiful and glorious, that’s what patriarchy has done to women for so long,” says Wilson, “objectify it, put it on a pedestal, [without seeing that] it’s much more complex than that, and it’s much more interesting and whole and full. Patriarchy has oppressed women and reduced them or undervalued them. It’s the same with the land, it’s much more brutal and complex than the beautiful countryside that we put on our posters.”

Wilson returns to the word “complex” throughout our conversation – in relation to the land, to the nature of victimhood, and to the relationship between Alice and her brother  –  but she rolls her eyes when I recall a quote from a recent profile: “Complex women are becoming something of a calling card for Wilson.” “People are complex aren’t they?” she says. “That’s what’s so annoying. Everyone is complex. We’re all a bit mad.” She thinks for a moment. “I suppose a lot of female parts are two dimensional. It’s not that there’s a certain brand of ‘complex woman’ to be played, [it’s that] so few people give female characters the time of day.”

The Affair, which made Wilson’s name in the US (after a potentially star-making turn alongside Johnny Depp in The Lone Ranger turned out to be a flop), lends equal weight to the inner workings of its two leads – a man and a woman, both battling demons, who cheat on their respective spouses with each other. But has Wilson seen progress, over the past decade, when it comes to the industry’s willingness to tell female-centric stories? The kind of stories that would pass the Bechdel test? “Uhh, no not really,” she says. “I mean that show fails the Bechdel test in every scene. If women do talk to each other, it’s about men.” A week or so after we speak, she reveals another of the show’s gender parity issues – that her co-star Dominic West earns more than she does, despite their equal billing.

Wilson in 2015 with her co-star from The Affair, Dominic West. Photo: Getty

Nevertheless she does hold out some hope that movements like Time's Up will finally accelerate the rate of progress, particularly when it comes to women's voices being heard. “Actually what is happening is that there’s a community of women now that are talking to each other. We haven’t had the opportunity to do that before; we’d be in competition with each other, or were made to feel that we were anyway. A consequence of all this stuff is that it’s actually bringing women together who are very talented, and they’re gonna support each other to make stuff for each other. I’ve never been in so many groups of women, and actually it’s been glorious. The piece I’m doing now is my own family history, but it’s all from the female point of view.”

That piece is The Wilsons, which Wilson is executive-producing and starring in as her own grandmother, Alison, who discovered on her husband’s deathbed that he was a spy in the inter-war years, had four wives whom he never divorced, and children with all of them. It’s a truth stranger than fiction. Last week, Wilson was auditioning boys to play her character’s son. So he’d be playing her real life father? “Yeah!” she laughs. “It’s so weird. I might have a breakdown at the end of it. If you never see me again, that’s why.”

Potential breakdown aside, Wilson is palpably excited about the project – particularly as it gives her the opportunity to centre women’s stories on screen. It’s the kind of work she’s confident this newly discovered support network is leading towards. “I hope this whole community just drives forward the female lens and the female experience,” she says. “I hope it doesn’t end, you know?”

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Robin Ince: Stephen Hawking made science relatable – why is it still so misunderstood?

We need more science and scientists in popular culture, so that children don’t give up on it as only for “boffins”.

I was 18 when A Brief History of Time was published. I had grown uninterested in science during the latter half of my secondary education, but I bought it anyway. I had fallen into the trap that Schopenhauer warned of, the failure to recognise that buying a book is not the same as reading it or indeed understanding it.

I read a little, then it went on a shelf. I read more of it than the surprise publishing hit of the previous year, Spycatcher. That book remains pristine in the shed, unlike A Brief History of Time, which is now pencil-marked, question-marked and annotated, if not fully understood.

The chuckled aside of “but no one’s actually read it” is really just another version of “what are those boffins on about, eh?”

The problem with popular physics books is that they are unlikely to be easy, especially if the last time you thought about physics was when you were using a bunsen burner as a weapon while distracted from discovering the energy of a peanut in class 3B.

Contemporary physics is counter-instinctual and eager to refute common sense. It takes time. If time exists, obviously.

As thrilling as it can be, you cannot read it at the speed of a thriller because it’s introducing you to a reality that appears so different to your reality.

It is easier to understand the actions of international spies in a Robert Ludlum novel than it is to understand the behaviour of particles and the curvature of space-time because we observe human fear and desire every day, even if we are not a rogue CIA agent.

Good physics books require frequent rest breaks – after all, they may well be turning your universe upside down, inside out or surrounding it with infinite other universes. There is no shame in being flummoxed by quantum indeterminacy and spending a while in a cool, dark room as you contemplate.

Carl Sagan, who wrote the original introduction to A Brief History of Time, wrote that children were born scientists, but they had it beaten out of them.

We are all curious, but with adulthood, our fear of embarrassment grows, and we temper our curiosity. Some close it down all together and embrace dogma and tribalism. At the time of birth, we all have potential to be scientists. Then culture, encouragement or lack of it, and expectations shape what we become. We do not have to give up on it; we just have to find the way in.

The connection with Stephen Hawking for many began with the peculiarity of his story. Here was a man who was physically immobile while his mind traversed the universe. Before you even tried to approach his science, there was a story.

People need stories to engage, facts are not enough.

Visiting schools during Science Week, I hear the frustration from teachers that they do not have time to tell the stories of science, just the information that came from them. They have to deliver the facts at a speed that reaches the target required for the next assessment. The lessons that show the passions and drives  and intrigue, the stories that can inspire, are a rare possibility. The curriculum needs space to enthuse.

Despite living in a world powered by scientific and technological innovation and in a civilisation whose future will be secured and enhanced by these innovations, mass media still treats the subject of “how the universe and everything in it from tadpoles to supermassive black holes came to be and where it is all going” as a niche subject.

We need more science and scientists in popular culture, more daily coverage so it does not become some otherness created by strange people who are not like us.

Let’s have more scientists with cameos on The Simpsons and Star Trek. Let’s not just have Benedict Cumberbatch on the chat show couch because he’s playing a scientist in a movie – let’s have the scientists on there, too.

It seems a pity to ignore the universe when there is so much of it.

It seems a pity to have a brain that has evolved to be curious, but not feed it questions – even if it does make it hurt sometimes.

Guinness World Records: Science & Stuff is out now.

Robin Ince is a writer and comedian. With Brian Cox, he guest edited the 2012 Christmas double issue of the New Statesman. He's on Twitter as @RobinInce.