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Juno Temple grabs the first ever cover for Heroine magazine.

Interviewed by her Horns co-star Daniel Radcliffe, check out what the 25-year-old actress had to say:

On playing with accents: “That’s my favourite actually [Southern accent], but Boston was hard. Johnny Depp playing Whitey Bulger was just one of the most amazing transitions I’ve ever seen. He had these crazy contact lenses in his eyes that almost reminded me of lizards so when you were acting with him you were genuinely quite frightened, but he was lovely, so encouraging. And then Scott is just the perfect circus ring leader, he was so excited and so passionate about what he was doing.”

On young Hollywood: “I think things happen for a reason, you’re not going to get every role. Like you say, there are some truly extraordinary young women actresses right now like Jennifer Lawrence, Mia Wasikowska, Elizabeth Olsen… You watch them and you forget sometimes that you’re even watching them. They are so young but know the craft in such an old way, and I love that so much. So if the job doesn’t go your way you’re just as excited to see the film anyway. Also, I’m still at a stage where sometimes I look eighteen, some days people tell me I look fourteen which is a bit of a shock… and then sometimes I look twenty five.”

On shooting Maleficent: “Yeah, I mean shooting Maleficent was like that because so much of it was CGI, so I spent most of my time in a giant white room wearing a wetsuit with ping pong balls all over it. I had all these ink dots all over my face and I was filming with a ten foot tall version of Angelina Jolie’s face. I did think, ‘This is a bit mad.’”

As Juno Temple and I sit outside at Los Angeles’ Burbank studios to discuss her role in Disney’s Maleficent, a crow swoops down like a dark shadow over us and lands, menacingly, on our table, its black iridescent wings outstretched. In the Californian sunshine, this aerial assault is so timely, it’s as if the studio has engineered it for us. “It’s Maleficent!” Temple cries, her eyes widening in cartoon-style, “Like Angelina Jolie is present.”

The 24-year-old British actress stars as the young fairy Thistletwit, alongside a winged and horned Jolie, in the revisionist tale about the Mistress of All Evil from Disney’s original 1959 Sleeping Beauty. Whether you think the film, directed by special effects guru Robert Stromberg, is a triumph or something slightly short of that, the casting is spot on. Jolie is a dead ringer for the dark queen, even without visual enhancements; and the mental leap from Temple, tiny and ethereal in a dinky lilac vintage dress before me, to a bonkers, teenage pixie is small. She’s like a sprite in beaten-up biker boots; and she says she feels an affinity to fairies too. “I had this imaginary world where fairies were my friends. If you told six year-old Juno that she’d one day play a Disney fairy, she’d totally freak out,” she enthuses at an alarming speed, her Somerset-bred accent now submerged in thick, twangy Los Angelino (she has been a city resident since 2008). Her vocal pitch and perpetual sense of wonder could still be mistaken for a six-year old’s. “I still have one foot in that magical world. I never want to lose that.”

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She takes all her clothes off (artfully so, and certainly not for the first time) in Afternoon Delight, the first of a veritable barrage of Temple this spring/summer. Directed by Jill Soloway, best known as the TV producer behind Six Feet Under and United States of Tara, the female-centric cautionary tale for both sexes won the Dramatic Directing Award at Sundance last year. It revolves around Temple’s character, McKenna, who ponders trading her life as a stripper (and the rest) for one as a semi-respectable pseudo-nanny for Rachel (Kathryn Hahn) and her wealthy family.

“From the beginning the excitement was reading this incredibly brave story about women, coming from the mind of such a smart, sexy, powerful, intelligent woman as Jill. Having a conductor like her was such a blessing.” One of her most intimate scenes, in which McKenna gives Rachel a lapdance, was filmed “pretty early on and I was beyond nervous”, says Temple. “But Kathryn is literally one of my favourite women in the entire universe. If I’d fallen flat on my face she’d have been there to cuddle me.”

Far from falling flat on her face, Temple has not put a foot wrong since she committed (for now anyway) to a life in Los Angeles, far from the madding crowd of upper-class girls on her early résumé. She lived in LA until she was four and then grew up in a 16th-century house in Somerset, attending weekly boarding school in Taunton and later, Bedales in Hampshire for her A levels in textiles and drama. She has appeared in both St Trinian‘s remakes and the boarding school drama Cracks, and recently filmed a new version of Thomas Hardy’s Far from the Madding Crowd, opposite Carey Mulligan. These days, though, she is more likely to be found in an LA indie production than a period drama. “I love independent films and, based out of LA, you get sent so many great scripts. There might be no money but like this one, they can turn out to be such a delight.”

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Juno Temple has arrived, and it’s becoming impossible not to notice.

The 24-year-old British actress has appeared in 19 movies in the last four years, and while she says no one really ever recognizes — or, at least approaches — her in public, it can only be a matter of time before that anonymity is but a fond memory. The volume of her work alone should soon lead to the “celebrity spotting” tipping point.

With films like Killer Joe, Lovelace, Afternoon Delight, and Toronto International Film Festival selection Horns, she’s continuously played the alluring, slightly wild young woman who might make your conservative family trade nervous glances and gulp extra wine should you bring her home for dinner. If you’re casting for the girl next door who introduces a teenage kid to pot and The Velvet Underground, look no further.

And as the oldest child of filmmaker and music video director Julien Temple, it’s no surprise Temple has so often found herself in the role of the rebel, a theme that prevailed in her charmed, free-spirited, odd, and sort of dreamy childhood.

“The only time me and dad really had a fight was when I started getting into some bad ’80s electro that I’d put on repeat for a while,” Temple said, sheepishly admitting that she “went through a Gary Numan phase” in her younger, more vulnerable years.

“When you put that one song, ‘Friends Electric,’ on repeat…” she continued, sidetracking momentarily to mimic the cold, ringing pulses of the influential 1979 hit. “[Dad] was like, ‘You’ve got to change it up a little. You’ve got to throw some Kinks on every once in a while, just one Stones song, and then you can play it again! I’d be cool with that!’”

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Harry Potter no more, young British star Daniel Radcliffe is having a hell of a Toronto International Film Festival, starring determinedly in three very diverse features: he’s a hopeless romantic in “The F Word” opposite Zoe Kazan, a college-aged Allen Ginsberg in “Kill Your Darlings,” and a mourning lover confronting his very literal demons in Alexandre Aja’s “Horns.” We got to sit down with Radcliffe and his comely costar Juno Temple to talk about “Horns,” which is still looking for distribution.

In “Horns,” a devilish fairy tale set in the Edenic wilds of the Pacific Northwest, Radcliffe stars as Ig Perrish, accused of the brutal murder of his lifelong love, Merrin (a red-headed Juno Temple). Despite his protestations of innocence, his small town has mostly shunned him, aside from the we-love-you-anyway support of his parents (James Remar and Kathleen Quinlan), brother Terry (Joe Anderson), and best friend and lawyer Lee (Max Minghella). One day Ig wakes up with horns growing out of his head and finds that he’s now equipped with similarly devilish powers that go along with his new look.

Based on the bestselling novel of the same name by Joe Hill (a.k.a Stephen King’s son), “Horns” is a unique horror flick about the devil inside us all, and the film, adapted by one of the genre’s true prankster geniuses (Alexandre Aja of “Piranha 3D” infamy), carries forth the same nutzo spirit of the book, which is equal parts love story, murder mystery, and supernatural, metaphysical nightmare.

We sat down with Radcliffe and Temple at TIFF to discuss their on-screen love story, where they find metaphorical refuge, and the importance of embracing one’s own personal demons.

Earlier this year at Sundance, Chilean director Sebastian Silva (“The Maid“) made a splash with two very different movies. The first, “The Crystal Fairy,” was a trippy road comedy that starred Michael Cera and Gabby Hoffman and saw a limited theatrical release this summer from IFC Films. The other Silva joint was an equally trippy but far darker film that also co-starred Michael Cera called “Magic Magic,” which will be released on DVD this week from Sony. It stars Juno Temple as a young girl who descends into madness while visiting her sister abroad (it involves many sleepless nights, hypnotism, a memorable use of a Knife song and finally some kind of witchcraft). We got to talk to Temple about what it was like working with Silva, what her reference points were for the character, and asked about what she’s got coming next—Robert Rodriguez’s “Sin City: A Dame to Kill For,” Alexandre Aja’s “Horns,” and Disney’s “Sleeping Beauty” retelling “Maleficent” (where she plays a tiny fairy).

In the Chile-set film, Temple plays Alicia, who comes to visit her sister, who soon leaves her (supposedly to finish some exams at school) with her boyfriend and their bizarre American friend (Cera). From there, the tiny, unsettling moments start to pile up, and they culminate in what is an all-out psychological break, embroidered with culturally specific mysticism. It’s quite a wild ride, captured elegantly by cinematographer Christopher Doyle in a distilled dreaminess that suggests the entire film was shot underwater. Losing your marbles isn’t the easiest thing to play for a young actress, but Temple pulls it off beautifully.

“It doesn’t matter if the movie is big or small, but if you have a visionary director behind it that’s what’s going to make it special.”

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Once Juno Temple hits the big screen, it’s hard to take your eyes off her. To experience what we mean, spend the rest of your day watching Killer Joe, Little Birds, Dirty Girl or Kaboom. In each one, she exhibits the same exact qualities that seem to keep independent film directors clamoring for her to be in their movie: vulnerability, magnetism, and fearlessness, yet in the most delicate way possible. It’s as if she’s got her own brand of confidence that’s simply impossible not to get sucked into.

And she’s adding to that list this weekend with her latest indie flick, Ramaa Mosley’s The Brass Teapot, in which she and co-star Michael Angarano play a financially inept married couple who steal a magic teapot that fills with money whenever they inflict pain on anyone, including themselves. High off their good fortune, the couple inevitably begin abusing their power, turning the dark comedy into a cautionary tale the dangers of losing sight of the difference between what you want and what you need.

We got a chance to speak to the L.A.-based English actress about her latest project, what makes her so bold on screen, and what it’s like to be a 23-year-old girl trying to earn respect in Hollywood.

What initially drew you to The Brass Teapot?
I am such a strong believer in the idea of magic in the wild. I find that really invigorating. Also, I was intrigued by how different these two incredibly ordinary people react to this object that comes into their life after witnessing bad luck. My character is very vulnerable and gets manipulated by it, while Michael [Angarano]’s character is very afraid of it and ends up being the one who stands up to it. That was a really great dynamic.

The movie puts into question the idea greed as part of human nature.
Yeah, I think so too. And I think that was something that I was excited about—to put a movie out there where the audience questions which one they’d be.

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EE BAFTA 2013 – Red Carpet Interviews

Posted on
February 12th, 2013

This post will be a round up with Juno’s red carpet interviews during the EE BAFTA arrivals.

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