We are proud to present screencaps from Juno’s first ever movie, the super-rare Pandaemonium! This movie was directed by her father, Julien Temple, and she plays Emma, daugther of the English poet Robert Southey; and even shares a scene with a real bear!

   

Films  >  Pandaemonium  >  Screencaps

Juno Temple’s recalling her reaction to watching the opening episode of Vinyl, the latest TV offering from Martin Scorsese, following the huge success of his Prohibition-set Boardwalk Empire.
“I came out shaking, like I was high as a kite,” the 26-year-old says excitedly. “It felt like a Scorsese film to me. You don’t want to look away for a minute. You don’t want to pee, you don’t cough, you don’t sneeze, and what a great way to bring in the show with that kind of energy.”

The 10-part drama is set in Seventies New York, and offers a ride through the sex and drug-addled music business at the dawn of the punk, disco and hip-hop eras (Mick Jagger is a co executive producer).

Temple, who appeared in last year’s Far From The Madding Crowd, plays Jamie Vine, an assistant at the record company run by Richie Finestra (Bobby Cannavale), who she describes as “pretty feisty and fearless”.

“I’m so inspired by her fearlessness, and I hope people think I’m brave with the films I do, and now TV. It’s important to be fearless. You might fall on your face but sometimes, my God, you run a marathon,” exclaims the London-born actress.

“What inspires me with Jamie is her joy of being a woman and how she owns that. And even though it’s a time when it was so male-orientated, especially in that industry, she’s not scared of that. She’s going to make herself heard, you know?”

Temple believes that while they share “a lot of similarities”, there’s a glaring difference between her and her music-obsessed alter ego.

“I spend a lot of my life in my pyjamas, and she would never be caught dead in her pyjamas,” she admits, laughing.

She’s pretty fond of her character’s Seventies clothes, though.

“As a woman, it makes you feel stoked to leave the house. They hug the body in the right way. It’s about accentuating being a woman and owning being a woman, and they were really doing that [in the Seventies] because sexuality was open to them in such a new way.”

The petite actress, who’s based in Los Angeles these days, auditioned for the role in New York.

“I got a phone call a week or so later to say Marty [Scorsese] wanted to read me, which was definitely a moment,” she grins.
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British actress Juno Temple stars via flashback sequences as Merrin Williams, the murdered girlfriend of Daniel Radcliffe’s tormented Ig Perrish in Alexandre Aja’s supernatural thriller, Horns.
Based on Joe Hill’s novel, Ig wakes after a night of heavy drinking to learn Merrin has been brutally assaulted and murdered. He’s being blamed as her killer. And for some reason, goatlike horns are popping from his forehead.
Temple is a busy actress who has taken on varied roles since her first small part in 2000 period drama Pandaemonium, directed by her father, Julien Temple. She’s done studio dramas including The Other Boleyn Girl and The Three Musketeers as well as edgy indies including Afternoon Delight, where she played a manipulative stripper.
Horns premiered at TIFF 2013, which is when Temple talked to the Star. Horns screens in Cineplex theatres for one night, Oct. 27, then goes to video on demand Oct. 28.
This is her first time working with Radcliffe, although she auditioned for a Harry Potter film: “I don’t remember what the character was (various online sources claim it was Luna Lovegood in Harry Potter and the Order of the Phoenix). It was way back when. I’m glad I waited until now. I really didn’t know him from Harry Potter, I wasn’t a diehard Harry Potter fan. I saw him in (the play) Equus, and I thought that was such a brave performance.”
She and Radcliffe are both 25: “Exactly the same age,” she says, adding she is two days older. “Two days wiser.”
On her character in Horns: “She has a supernatural goodness. I’m playing Ig’s memory of my character. I’m not playing Merrin proper. I’m playing this perfect memory of her, or heartbreaking memory and I love the way they shot me because I do look like a kind of memory.”
On doing onscreen nudity, including a love scene with Radcliffe in Horns: “It’s an interesting thing. There is a moment where that’s scary and then it becomes kind of liberating. It’s just what this character is doing. It’s not my body anymore. It’s other characters’ bodies. I’m very European about that. I grew up with the female body is a beautiful thing and what I love so much about acting is if you have insecurities in your real life about your body, you have to forget them. This is not about you anymore … no one’s going to judge me because I am being somebody else.”

On CGI (she played a computer-generated fairy in Maleficent) versus real-life work: “I absolutely love your real sweat being caught on camera and your hair being caught in your face and if you cry your snot all over yourself, just keep going with it. But it was interesting to learn (to work with CGI).”
On Radcliffe: “It’s so great that (Alexandre Aja) cast Daniel because Daniel is such a hungry actor who is so ready to play amazing roles. The performance he gives is extraordinary.”
Marilyn Monroe is her muse: “My room at home was covered in posters of Marilyn Monroe. She has been a huge inspiration for me. The thing that I find so absolutely bewitching about her was her beauty and animalism and sexuality … and this crazy innocent vulnerability and sometimes deep-rooted sadness on camera. And I’ve always loved her for that. And she was so funny.”

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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.”
If taken on first impressions alone, it might be easy to dismiss Temple as a gushy, Bonnie Langford type, a child star trapped in the body of a woman (she started acting when she was eight). But this would be a mistake. In her career, which has already spanned 32 feature films and an EE Rising Star Bafta awarded last year, Temple has shown a taste for darkly complex, unstable female characters which she has embraced with emotional maturity.
After early turns as spiky, petulant school girls in films like Notes on a Scandal in 2002 – a part she won at her first professional audition – and Joe Wright’s adaptation of Ian McEwan’s Atonement in 2007, she has explored the borders of the female psyche in mainly independent films.
She has played a 12-year-old Texan trailer trash girl whose virginity is offered as collateral to a hitman in Killer Joe; a stripper-cum-sex worker in Afternoon Delight; a lesbian lycanthrope in Jack and Diane; a schizophrenic insomniac in Magic Magic; and the murdered girlfriend of a man with Satanic powers, played by Daniel Radcliffe, in Horns out later this year. That’s more edgy, challenging roles than most actresses take on in a lifetime.
“I usually like to play a woman who’s got s— going on,” she tells me. “I’m not sure I ooze leading lady, I’m not the high school catch. I’ve been lucky with characters, but some are real headf—-.” She talks as if she’s on fast forward. “That’s why it’s so important to have a director you trust, who can bring your feet back to earth when you’re weeping in a hole after being beaten up.” She remembers Joe Wright reassuring her, when, at 16, she was left traumatised by the sexual abuse scene in Atonement: “Your character is f—ed up, but Juno’s okay.” She says now: “I’ve had to do a couple of rape scenes and they’re f—ing rough. There’s a brutal one in Horns, then I have to play dead. I’m not good at it because I have an overactive vein in my neck. It’s screaming: ‘I’m not ready to die yet!’”

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Getting work certainly doesn’t seem to be a problem for Juno Temple. At 24, the pixie-like daughter of filmmaker Julien Temple and producer Amanda Pirie, has already been involved in around 30 movies, ranging from independent projects including Kaboom, Killer Joe and Afternoon Delight to blockbusters such as The Dark Knight Rises and Disney’s forthcoming epic Maleficent.

Inauspiciously, her father excised her first performance from his 1998 film, Vigo: A Passion for Life, although she made the final cut of his next movie, Pandaemonium. ‘As a child, getting to do films like that was just a great excuse to be around my dad,’ says Juno. ‘He was away for a lot of my childhood and I missed him, so that was always an exciting prospect.’

When she was 14, she told her parents she wanted to be an actress. ‘They were both pretty nervous about it. They went, “Really? Shit.”’ They were worried how she’d cope with rejection. ‘I still call my mum or dad in tears about not getting jobs,’ she admits. ‘I’m so invested in this that it really hurts when I don’t get a job I really want. And then it is extreme jubilation when I do.’

Her father, who’s known for his music documentaries including The Filth and the Fury about the Sex Pistols; The Future is Unwritten on Clash front man Joe Strummer; and Oil City Confidential, the story of Essex’s Dr Feelgood, told her to never compromise herself. ‘He said to me, “Don’t do anything unless you’re passionate about it. Just don’t. Whether it’s five months or five minutes of your time, just don’t do anything that you aren’t going to be passionate about every second that you’re doing it.” And so I really, really stick with that.’

This commitment is evident on screen. In her latest release, Magic Magic, she throws herself fully into the role of a fragile young American who experiences some kind of mental breakdown during a trip to Chile. ‘It was definitely a role that I don’t think you could be half-arsed about,’ says Juno. ‘You had to not be afraid and just go for it.’

She used to find it difficult to separate herself from her characters and suggests that doing Magic Magic that way could have been damaging. ‘God knows where I would be. I could have lost my mind and I could be anywhere right now.’ The turning point came when she worked with the director Joe Wright on Atonement. ‘He told me that you don’t have to fuck yourself up to bring tears on camera. You can get too involved with a character and that was a major piece of advice that I took away with me. I think as I have gotten older, I have got much better at letting go of a character when I finish the movie.’

Ultimately, it’s essential to remain grounded, she says. ‘It’s so important that you go back to reality and be with your best friends and with your family. I love film and I love acting but it’s about the work for me. And this is work for me. It’s a job. I don’t want it to be my entire life.’

Magic Magic is released Fri 18 Apr.

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