Golden Globes Nominee Nicole Kidman On ‘Babygirl’: “If You Want A New Experience, Go See It”
Even after 40 years in the business, Nicole Kidman doesn’t take awards for granted, and she readily admits that her new film Babygirl isn’t typical Oscar bait. Directed by Halina Reijn and released in the US on Christmas Day, it stars Kidman as Romy Mathis, the high-powered CEO of a computerized delivery service. Romy is married, with two daughters, to a successful theater director (Antonio Banderas), but she puts her career and idyllic family life at risk when she embarks on a daring S&M affair with the intern (Harris Dickinson). As dark as it gets, the film nevertheless proved a hit with Golden Globes voters, who, despite its mordant black humor, gave Kidman a nomination in the dramatic category.
Interestingly, it’s Kidman’s only nomination this year, which came as a surprise to those who were anticipating a nod for her ratings-topping Netflix show The Perfect Couple, and her co-star, Liev Schreiber. As this conversation shows, however, sometimes success is its own reward, and it’s really the smaller, stranger projects that benefit from the golden glow of awards…
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DEADLINE: What were your thoughts when you heard the news about the Golden Globes nomination?
NICOLE KIDMAN: I was relieved, because we haven’t released the film yet. You have no idea. [Laughs.] Well, I mean, you do have an idea, but it’s such a help, just in terms of creating attention, because we still haven’t released it, so it’s an extraordinary support. I’m so grateful. And I love Romy. I love the character. So for her to be [recognized], it’s like she’s been given a hug. A big warm hug.
DEADLINE: It must have been slightly nerve-wracking, because it’s quite an unusual film for awards season. Was that something that occurred to you?
KIDMAN: It did, but after the reception in Venice — the Europeans really got it there — I was just hoping that it would translate to other territories. Since then, we’ve had it screened in the UK, in America, and Australia, and it’s getting really great reactions, especially from young people. Which I love, because it’s cross-generational, and that’s something Halina really wanted. So just that it is being understood by all different types of people is what’s fascinating. And exciting.
DEADLINE: Why did you want to do it so badly?
KIDMAN: Because it’s such a complex, beautiful role. The role, and the storytelling. It’s entertaining, and it comes in a package. It’s about an existential crisis, but it’s told with humor — and hopefully with a frisson — and it vibes in such a particular way that it becomes accessible. So, as much as it’s unusual and bold, I hope there’s an accessibility to it. And it’s got an awesome title. I mean, come on! [Laughs.] But to be in every frame of the movie… I didn’t quite realize what a risk it was. I do now, and I’m glad I didn’t know when I set out to do it.
DEADLINE: When did you realize it was a risk? At what point?
KIDMAN: When we got accepted by Venice, I was like, “Oh, so now I have to get on a plane and go there, then sit in front of all these people, and watch it. And see where it lands.” [Laughs.] Then I went, “This could really hurt.”
DEADLINE: What appealed to you about Halina? Why did you want to work with her in particular?
KIDMAN: I just love that she’s so provocative. She’s got such a distinct voice. She’s classically trained, so she sort of reminds me of Baz Luhrmann in that way, where there’s this classical training — an extraordinary understanding of opera, and theater, and music — yet they both bring it into a very, very modern culture of filmmaking.
DEADLINE: How did you find the character? Was it all on the page? Or did she help you look for it?
KIDMAN: We created it together. We’d experiment as we were going along. It was definitely written, but because Halina’s a writer-director, it would constantly evolve, which was fantastic.
DEADLINE: What kind of conversations did that involve?
KIDMAN: Secret conversations! Deeply secret. I mean, really deep, intimate conversations about ourselves, and about just so many different things.
DEADLINE: Why do you think it’s struck a chord? Why do you think it’s resonating with people?
KIDMAN: I don’t know. I’m so subjective. So that’s more my question. I’m going, “Tell me.” [Laughs.] Definitely, people talk. They want to talk after they’ve seen it. I think there’s just so many different emotions that it triggers, which is great.
DEADLINE: Do strangers become confessional to you?
Yes, they do. And to Halina, and to Harris, and to Antonio. So it’s really fascinating.
DEADLINE: Do you find they overshare?
KIDMAN: No, because I think the beauty of being in this world now is listening, and understanding, and getting closer, and allowing people to be truthfully who they are, and not shaming people, and trying to keep an open, warm heart, and being compassionate towards all different feelings so that we can stay in an exploratory state.
DEADLINE: Do you think this nomination sends a signal? It’s a particularly good year for women, in terms of strong female characters in strange films. There’s Demi Moore in The Substance and there’s you in Babygirl. What does this moment say to you?
KIDMAN: Hopefully, it’s the way things should be. Hopefully, it’s not a moment. Remove that word! Hopefully it becomes the norm.
DEADLINE: And so does it embolden you? Obviously, you’ve taken risks before and you’ll take them again, but is it particularly emboldening to have recognition for a role like this?
KIDMAN: At this stage, yes. Yeah, absolutely. Beyond, actually. Beyond expectations. Incredibly grateful. But so is the sharing of it, because the generosity of this whole group of actors — and the crew and the director is what it’s about. This is how you make films. Generously.
DEADLINE: Were you disappointed that Perfect Couple didn’t make the cut?
KIDMAN: I actually wasn’t. I’m so focused on Babygirl right now. Lioness, and Perfect Couple have been massive, massive hits. So that’s what — I think — is so gratifying for both those shows. Susanna Bier, all those actors, they’re all so good. I just love that there’s the ability to create, to keep having new horizons for all these things. And not everything can make the cut, right?
DEADLINE: So are you working at the moment? Do you intend to take a break at all?
KIDMAN: I’m working with Jamie Lee Curtis on Scarpetta. I adore her. Have you interviewed her? Oh, she’s fabulous. So I’m keeping it real. Getting back to it, which is what it’s all about.
DEADLINE: Babygirl is out in the States on Christmas Day. What would you say to drive people towards seeing it? What do you think they’ll see in that film that they won’t see anywhere else?
KIDMAN: They haven’t seen a film like it. If you want a new experience, go. Take your partner, or sit alone in there. You will definitely have a reaction. [Laughs.] So if you want to be in a cinema with people, and go, “Oh, OK, I’m feeling something,” this is the film to see.
DEADLINE: There’s a lot of people saying that certain films are driving people back into cinemas now. Is that something you’ve been feeling or noticing?
KIDMAN: Well, I definitely go. I went and saw Wicked. I went and saw Gladiator II. I went and saw Anora. I pay my money and go sit in the cinema. I saw Dune 2 in London, actually, at the Curzon cinema in Mayfair. At a 10pm screening! Oh, that was so good.
DEADLINE: So after they’ve seen Babygirl, what else would you recommend they go and see?
KIDMAN: Well, I loved Wicked…
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