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This interview discusses the events of theStation Elevenfinale.
But inits finale,Station Elevenreturns to Mirandas final moments in her hotel room.
She also reveals that losing her family during Hurricane Hugo fueled her work onStation Eleven.
In the finale, the show introduces the story of Mirandas family, who died in Hurricane Hugo.
Did you know her history when you first started playing the part?I think I knew everything.
There was stuff that me,showrunner Patrick Somerville, anddirector Hiro Muraideveloped along the way as well.
I was reading a lot of poetry.
I was hyperaware, when we started January 2020, that COVID was a thing.
Miranda was intuitively creating for her own survival.
Everything was available in the script, but I was trying to hone what her timeline was.
I think thats someone we fear.
I think its something we feared in the pandemic.
People have been resistant to being quiet, to being alone, with the nuclear family and the self.
Miranda was dealing with that pre-pandemic, so shes an anomaly.
How did you think about playing that scene?You dont think!
Because shes come full circle, in that way, because its not about her.
Its not always about her.
It was a crazy place to be in.
I sat for two weeks in Toronto by myself in quarantine.
I had a lot of time to reckon with it.
But no, its not about that, especially in this moment when I know that I am succumbing.
What was it like to play those encounters?Strange and profound.
Youre looking into the shield, and its this warped kind of expansion, like, rethink yourself.
Dr. Eleven is the conscientious observer, an imaginary friend, and so many other things.
Which is where she gets to.
I know what it feels like, and I think a lot of artists know what it feels like.
There was a great joy that Arthur brought to Miranda.
There was no coddling of the chaos she was existing in and expressing, and he appreciated that.
She gives a toast quoting one of his movies and then turns over a glass of wine.
Howd it feel to let all that out?My heart was beating really fast.
And it was me!
Thats a survivalist action, the most interior kind of survivalist action.
Its different from let me protect the flesh.
Its let me protect the self, let me protect the spirit.
A lot of women like that wine scene, and they want to do that.
In addition to your film and TV work, you make yourown performance artand visual art.
Do you relate on that level to Mirandas own sense of needing that side of herself?I do.
There, you want options, you want to see where the holes are.
Visual art is different.
Performance art is different.
I identify with Miranda.
I have to do more than that.
Theres a specificity to how and to whom this is being presented.
Those are significant things that I carry forth and learned from peers of mine.
What do you think you learned onStation Eleven?it’s possible for you to be strange.
Everybody doesnt necessarily getStation Eleven, but I dont know if you necessarily have to.
Everything doesnt have to be understood.
Youre not allowed every quality of a human being.
I think thats something important to fuse and understand, between both sides.
I think we always presume commercial means accessible and that experimental is not accessible.
I think everybody is invited to either, but the question is Do you want to come in?
What was the last scene that you filmed as Miranda?
Shes such a charged, isolated character I was wondering how you said good-bye to her.It was the beach.
Its a spiritual joy that she comes to.
It was a great release.
It felt remarkable because it wasnt a burden but something you carry with purpose.
Once you are able to loosen, its nice.
