A View From the Sofa – and Beyond

Staunton’s home life offers a striking contrast to the sun-drenched Italian Riviera setting of Hotel Portofino. Her preferred viewing spot overlooks a Victorian cemetery, a location she describes as “beautiful” and “quiet,” often filled with the sounds of owls. While she frequently consumes content on her computer due to constant travel, she also boasts a basement cinema, a space designed for recreating the magic of the big screen with her three sons through classic film nights.

“We used to show them films I’d seen at their age,” Staunton recalls, “like Dead Poets Society, French films – I was obsessed with Éric Rohmer – or classics like Brief Encounter or The Philadelphia Story, to see if they resonated.” This dedication to sharing cinematic experiences highlights a commitment to intergenerational connection and a deep appreciation for the power of storytelling.

Current Obsessions: From Murders to Spanish Lessons

Currently, Staunton is engrossed in Only Murders in the Building, drawing parallels to Woody Allen’s Manhattan Murder Mystery, noting a shared fascination with “the human desire to be involved in tragedy and drama.” Her linguistic pursuits are equally intriguing. Initially intending to learn Italian to fully immerse herself in the world of Hotel Portofino, she was persuaded by co-star Carolina Gonnelli to focus on Latin American Spanish. “It will only be useful in Italy,” Gonnelli advised, “Spend your time learning my other language.” This anecdote underscores the importance of cultural exchange and the unexpected paths that learning can take.

Interestingly, despite Hotel Portofino being set in Italy, the series is filmed in Croatia. Staunton playfully admits, “I think we get away with it. Croatia is incredibly beautiful, and the food is amazing. This is going to be contentious, but I’ve had much better food in Croatia than I ever have in Italy.”

Embracing the Modern World – and Challenging Conventions

Staunton’s character, Bella, challenges societal norms in 1920s Italy with her divorce and, notably, her choice to wear trousers. This prompts reflection on the progress made in gender equality. Staunton herself expresses gratitude for the freedoms of the present day and maintains an optimistic outlook on the future, identifying as a “Star Trek optimist rather than a Black Mirror pessimist” when it comes to technology and artificial intelligence.

Her involvement in an AI think tank, stemming from her role as an AI professor in the series The First, demonstrates a proactive engagement with emerging technologies. She reflects on the generational shift in technological fluency, recalling how her children were initially denied mobile phones, resulting in a period of “social pariah-dom.”

Beyond “Strong Women”: The Nuances of Character

Staunton challenges the simplistic categorization of characters as “strong women,” stating, “It’s the way I’ve always thought.” Her upbringing was deliberately non-gendered, fostering a rejection of stereotypical roles. She recounts a past conversation with a television executive who inquired if she was only interested in playing strong women, to which she responded, “I’d be really interested in playing a doormat, actually,” emphasizing her desire to portray the full spectrum of human experience and reflect the complexities of reality.

Sherlock’s Mother and Hollywood Encounters

Looking ahead, Staunton will portray Sherlock Holmes’ mother, Cordelia, in Guy Ritchie’s Young Sherlock. While not initially a devotee of the Sherlock Holmes canon, she acknowledges its cultural significance and finds the premise of an origin story compelling. “You want to know what experiences form a person,” she explains.

Despite having worked alongside Hollywood icons like Brad Pitt and George Clooney, Staunton maintains a grounded perspective, attributing this to her mother’s career as a rock journalist. “You learn from an early age that these are just normal people,” she says.

What does it take to truly embody a character, to move beyond archetypes and reveal the human core? And how can we ensure that the stories we tell reflect the full diversity and complexity of the human experience?

Frequently Asked Questions About Imelda Staunton