Joy Taylor-Any, who has made a name for herself in the world of fashion and Hollywood, recently spoke to BAZAAR about her time living in Sydney. During her stint in the city, she discussed her nomadic lifestyle, her approach of kindness, her experience with imposter syndrome, and how she can relate to other stars who may feel the same way.
Dior cosmetics for the director’s image and creativity were done by makeup artist Philips Peter. The makeup was styled by Jillian Davison and photographed by Georges Antoni, with words by Frances Hedges.
Later, a couple of weeks after our conversation, ANYA TAYLOR-JOY remains ecstatic about her experience with Harper’s BAZAAR’s photoshoot. She enthusiastically proclaims, “We had an absolute blast.” Additionally, she declares, “That horse has become my latest fascination. The moment our gaze met across the enclosure, I instantly developed a deep affection for him. I exclaimed, ‘Hey there! We’re destined to be lifelong buddies.'”
She admits, “I’m slightly in a different realm now,” to adjust the punishing production schedule, she goes off alarm between 5 and 1.45 in the mornings, and says she has been having the entire day set on, going to bed at midnight the previous evening. The filming of the Mad Max prequel, Furiosa: Road Fury, is taking place in Sydney, where Joy Taylor is at 8 am. “I’m definitely pushing my body to a new limit,” she confesses.
Do you want to know why I’m an artist and why I enjoy making art? It’s because it allows me to build whole narratives and have fun with it. I am fortunate enough to work with people who are creatively obsessed. Starting a new project feels like a performance challenge to me, similar to walking on the red carpet. However, I still struggle with the idea of being interested in people’s opinions about me and my work, especially during interviews. Even though she finds interviews to be unnatural and uncomfortable, she remains friendly and polite throughout our conversation. She feels more at ease when asked about her own admissions rather than discussing her character in depth. She seamlessly transitions from one role to the next, whether it be wearing rags to play a dystopian character or dressing in ’60s or Regency attire. Of course, her best transformation is when she becomes Furiosa, with her “bloodiest and juiciest” makeup. She doesn’t mind looking like someone who has spent the past few months covered in gore and dirt, just like someone who has spent the past few months wearing a plain black t-shirt.
This is not bombast, evident since aged 16, she wrote a detailed letter to her parents outlining her plan to quit education. Her decision was supported by them, and they were supportive of her decision everywhere for audiences. She had long felt drawn towards creative industries, particularly to what she calls the “magical” quality of films, which provided solace during her sometimes difficult childhood at a private school in west London, where she felt like an outsider and was bullied. Perhaps still unsettled by her family’s move from Buenos Aires, where she lived until the age of six after being born in Miami, she found herself missing the rural beauty of Argentina and upon arriving in the United Kingdom, she only spoke Spanish. She had always leaned towards creative industries, and her clarity of purpose has been evident.
Since the initial release of New Animal, the Australian writer Ella Baxter’s Notes on Heartbreak and Annie Lord’s The Feminine Mystique, The Diary of Anaïs Nin is positioned next to numerous volumes placed on nearly every surface in her rented apartment, none of which are particularly effortless to read. “It’s incredibly inconvenient – I end up traveling with an absurd quantity,” she states. In order to satisfy her desire for reading, she surrounds herself with her preferred possessions: candles, her guitar, and stacks of books. “I feel like when I was a child, I received the most ideal preparation for the nomadic aspect of this profession… Now, when people inquire about my home, I respond, ‘Home is wherever I have slept for more than two nights.'” Acknowledging that the previous five months in Sydney represent the longest period she has resided in any one place since she was 16, she is now thankful for how adaptable it has made her, even though the transition was challenging at the time. “My earliest memory is that everything appeared gray – and that was not a color I had seen much of before,” she recollects.
She says that’s how you approach the creative process of this film – as an actor, you don’t stop. “Don’t assume that anyone else is going to do it for you,” she says. “Stay on top of your shots and work hard on set. There is no hierarchy, essentially. The idea is that I gave myself the cornerstones of the work, which is essentially a professional formative experience for me,” remembers Joy-Taylor. She barely had any connection to the outside world, as she filmed in a remote location six hours away from Toronto. She felt that it was a “sacred” and unknown experience. “But it felt really good, this feeling of being willing to do anything,” she says. “I felt like a loon running around the house. It was all so exciting to be offered anything, and on the same day, I remember being asked to be in a pilot for Disney Channel called ‘The Witch.’ I was so excited.” She successfully auditioned for a couple of minor television roles, and after being scouted as a teenager walking her dog in central London by Sarah Doukas, the founder of Storm Management, she has made a career out of herself. Challenging has been a theme in her career, as much as her reading habits.
She says, laughing. “I recall thinking, I’m truly glad it’s this movie and not one of my others that people are watching right now.” Her lively portrayal as Emma Woodhouse in Autumn de Wilde’s vibrant film adaptation of the Jane Austen novel demonstrated that she was a skilled comedic actor, and for many viewers — myself included — was synonymous with the freedom of pre-pandemic life, having been in cinemas just before the lockdowns. (It is difficult to believe she was teased at school for the same facial features that now have brands from Christian Dior to Tiffany & Co. Lining up to secure her for their campaigns.) The lead in the BBC’s television adaptation of Jessie Burton’s novel The Miniaturist, which maximized her haunting beauty, followed, including a skillful collaboration with Olivia Cooke as a pair of disturbed schoolgirls in 2017’s sleeper hit Thoroughbreds and the series of intriguing roles. Fortunately, others were more confident in her talent. “I suppose I’m not always the best judge of my own work,” she says. “I thought I had done a really poor job, and I saw myself failing miserably with this dream I had for such a long time.” Earned critical acclaim, much to her surprise, The Witch — and Taylor-Joy’s captivating performance as an innocent young girl who gradually succumbs to the forces of evil around her — premiered at the 2015 Sundance Film Festival.
I’m LUCKY enough to work with people who are as OBSESSIVELY CREATIVE as I am, and we BUILD WHOLE NARRATIVES together
Surprisingly, I experienced a deep connection with Beth. I physically sprinted to meet Scott and, right before the audition, I managed to read the entire book in just one hour. She honestly tells me, “I envisioned it all immediately — I knew exactly how to approach it.” Her concept revolved around Beth’s vibrant red hair, and she meticulously crafted every aspect of the character, collaborating closely with the director, Scott Frank. “However, I’m starting to notice that the more I work, the more the boundaries become blurred,” she confesses. “I didn’t consciously choose to become a method actor, nor do I aspire to be one.” Even seasoned actors acknowledged the unique way she handled the chess pieces, showcasing her unwavering dedication to portraying the character of Beth Harmon, a chess prodigy grappling with drug addiction. When Netflix’s The Queen’s Gambit became a must-watch during the pandemic, Taylor-Joy’s fame skyrocketed during the height of lockdown.
She declares, “This is incredibly strange and dystopian, reminiscent of Orwell’s works.” “When I witnessed my own image appearing, I felt an overwhelming desire to cease existence.” “The entire ensemble was seated on the stage, and then my face was projected onto a colossal cinema screen behind them.” Her latest film, “The Menu,” a gruesome satire depicting the world of fine dining, features her alongside Ralph Fiennes and Nicholas Hoult. She had to virtually attend the Toronto International Film Festival to promote it. Even now, she occasionally gets taken aback by her level of fame, especially during her recent virtual appearance at the Toronto International Film Festival to promote her latest movie. Taylor-Joy’s portrayal garnered enthusiastic reviews, leading to an influx of interview requests, television invitations, and brand partnerships. “The Queen’s Gambit” was viewed by 62 million households within its initial 28 days.
Joy-Taylor has been instrumental in helping the international superstar navigate life, allowing her to blissfully remain in a location that promotes ignorant bliss.
She says, “I’ve never even seen them and there are massive billboards with my face on them in New York.” She thinks it’s good for her peace of mind. However, she acknowledges that jumping from one project to another may not be sustainable for her mental health. The next day, I remember driving back from the English countryside to start work in Soho. “I need to start focusing on what you’re going to do tomorrow,” I said, and I’m grateful that I can finally let out a sob and take a moment to breathe. I had a day off and on the last night in Soho, I watched Edgar Wright’s psychological-horror film, which was made in 2019. I feel like I have a bit more control over my own life because I’m curious to see how things will work out in the future.
You get ONE HOUR to HEAVE and SOB and be GRATEFUL for the incredible experience you had, and then you need to START FOCUSSING on what you’re going to do TOMORROW
Together in life, we’re just craving. We know silly sounds, but… It’s fun to wake up and go for car service and breakfast, to sort things out and have a great time. When McRae and I spend time together, it’s like peacefully doing nothing. At the time, it felt great, but now I haven’t seen that toothbrush in about a year. “Wryly adding,” she says, “I didn’t pick it up again, knowing that I barely lived there.” She was very excited by the notion of putting down a toothbrush, relishing the prospect of creating her own house in London two years ago. Kitsuné and she are now a “little family unit,” and I eventually wanted to have some downtime in their company, more than just a kitten. She says, “I might be able to get my companion soon.” Okay, I thought, this might be the time for me to leave the shooting schedule behind and be able to really enjoy nature in Sydney. It was understood that she adopted her ragdoll cat Kitsuné upon her arrival in Sydney and there have been rumors that she secretly married her partner, Malcolm McRae, the musician, in early July 2021. Recent important additions to her life include these two.
She expresses, “it would have to be a sensation that I was the correct individual to narrate this tale.” “I don’t believe I would guide something just to be capable of achieving that achievement –” and is receptive to the concept of one day going behind the camera herself, though only for the appropriate project. She has an extensive wishlist of filmmakers she would adore to collaborate with — “Quentin Tarantino, Wes Anderson, James Mangold, Damien Chazelle, Greta Gerwig” — and with Robert Eggers for his highly anticipated remake of the timeless vampire movie Nosferatu. There is discussion of reuniting with Scott Frank to collaborate on an adaptation of Vladimir Nabokov’s Laughter in the Dark, and after the arduous experience of filming Furiosa, she has grand plans for 2023. Amsterdam, where she joined a prestigious group of stars including Margot Robbie, Christian Bale, and Taylor Swift — and after the grueling experience of filming Furiosa, she has ambitious plans for 2023. After a hectic period promoting two films in two months — The Menu follows closely after October’s historical piece, For now, however, breakfast and the car will have to postpone, because Taylor-Joy has tasks to complete.
Another entrance opens, you know, and then they desire to continue collaborating with you if you’re kind to individuals and work diligently. Benevolence will prevail in terms of long-term strategy,” she says philosophically. “I’ve certainly endured the gloomy encounters of it — but everything possesses an equal proportion of brightness and gloominess.” Her triumph instills her with confidence that the industry is not entirely corrupt. “Because I’m inherently a people pleaser, I believe everything possesses an equal proportion of brightness and gloominess,” she contemplates. “However, eventually you begin to assert yourself and decline when you are mistreated to the point that you arrive there had I not been compelled in a certain manner, I don’t believe I would have reached that point. Or ‘You’re not listening to me’ — and that’s actually not acceptable with me,’ or ‘Hey, I’ve certainly acquired the knowledge to say, ‘In the previous couple of years.” Although women have to exert much more effort than men to assert their rights, she remains aware that she has to exert much more effort than men to assert their rights. Unfortunately, I believe societally it’s been ingrained in our minds to think, perhaps it’s not my place to express this, or perhaps I need to remain silent for a longer period and then propose a solution, because I don’t want to exceed the proper limit,” she reflects. “But there’s definitely a point where, I’ve always been very straightforward with my ideas — directing stems from a sense that, as a woman, she has a right and a duty to make her voice heard. Part of her interest in directing stems from a sense that, as a woman, she has a right and a duty to make her voice heard.”
I’m naturally a PEOPLE PLEASER. But eventually you get STEPPED ON enough that you start to STAND UP and SAY NO
“It’s going to be amazing,” she says with an ecstatic grin, pausing for a moment. “Today is just another day in the wet and bloody wasteland,” she continues. “Looking out of the window, she stops talking and asks, ‘Will it sustain you? Do you know how much I love you and how passionate I feel about spending seven months living across the world, away from everyone?’ I find myself in a position where I am lucky enough to ask myself this, but admitting, ‘Saying no is genuinely difficult for me because I always want to do everything.'” If the answer is yes, she says, “There is certainly no shortage of open doors for you to choose which challenge to go through right now.”
This article is featured in the December 2022 edition of Harper’s BAZAAR Australia/New Zealand, which can be ordered for delivery here.
