Juno Temple plays Jamie Vine in Martin Scorsese and Mick Jagger’s TV venture Vinyl. The English actor who was nominated at the BAFTA for ‘BAFTA Rising Star Award’, plays the fierce A&R whose ambition drives her career in Rock and Roll era of 1970’s New York.

Here she talks about the show, Jamie Vine, and how it is to work with legends.

 

Q: Jamie’s an incredible character – what drew you to her?

Juno: She’s kickass. It was a great moment when I got the part, because I was getting ready to go to a Christmas party and I was faffing about in my living room in LA, and my agents all called me at once, which always means like either good news or bad news.

I said: I’m getting ready, I’m not going to be late, I promise. They were like: you booked the part. I literally had to collapse to the floor and have a momentary weep.

I remember reading the pilot and just thinking like: this is like my ultimate fantasy. I wish I’d been a young woman in the 1970s – what a time, musically, fashion wise, and with this huge move forward for women – birth control was legalized, abortion was legalized, sex became a whole new thing for women. Women were really starting to speak out, stating we are just as fabulous as men are, if not better.

And Jamie is the epitome of that.

As the show goes on you find out more about her, you see she is someone that is so passionate about music, and so passionate about being a woman and so passionate about being heard in such a male industry, and she’s going to do whatever it takes to have her voice heard.

It really is an honour to play her because she is one of those badass chicks that I think whatever decade you put her in she would inspire women around her.
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“There’s a great E.E. Cummings quote that says, ‘The most wasted of all days is one without laughter,’” Juno Temple tells SPIN over the phone. “But I would like to add ‘and without music.’”
The 26-year-old British actress’ genuine love for melody is perhaps the best reason why she’s qualified to portray A&R assistant Jamie Vine on HBO’s recently debuted show Vinyl (Sundays at 9 p.m. EST), a period drama chronicling the oft-corrupt music industry in 1970s New York. Helmed by veteran Hollywood director Martin Scorsese and rock icon Mick Jagger, along with writer Rich Cohen and producer Terence Winter, the series follows record-label president Richie Finestra’s (Bobby Cannavale) quest to save his company from financial ruin. Jamie, meanwhile, mirrors her boss’ ruthless ambition and “golden ear” when she offers to manage a shabby proto-punk group called the Nasty Bits.

Temple, who has starred in films like Atonement (2005), The Dark Knight Rises (2012), and Horns (2013), doesn’t just star in Vinyl — she also collects it. She called us up to talk about her life in wax cylinders, getting an iPhone-ready gramophone from Scorsese, and the “euphoric” first time she heard Nirvana.
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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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And now for the films update! Be aware some screencaps/ photos are NSFW. More to be added

Films > (2013) Horns

Films > (2013) Afternoon Delight

Films > (2007) Atonement

Films > (2013) Lovelace

Films > (2014) Maleficent

Films > (2009) Mr. Nobody

Films > (2006) Notes on a Scandal

Films > (2014) Sin City: A Dame to Kill For

v

Films > (2012) Small Apartments

Films > (2012) The Dark Knight Rises

Films > (2008) The Other Boleyn Girl

Films > (2008) Wild Child

Films > (2009) Year One

Films > (2011) Little Birds

Films > (2012) Killer Joe

Films > (2010) Greenberg

Television > (2014) Drunk History

Films > (2012) Jack & Diane

Films > (2010) Dirty Girl

Just a few days before the U.S. release of Juno Temple and Daniel Radcliffe’s new film Horns (in theaters everywhere this Halloween), we sat down with the wild-haired British actress to chat anti-heroes, awesome jewelry, and whether or not she’d date a guy with horns.

Before I ask Temple (whose cat-eye eyeliner is completely impeccable) which jewelry brands she wore to the U.K. Horns premiere (because I am totally obsessed with it) and whether or not she’d let a guy with horns pick up the dinner bill, I want to know if she thinks Daniel Radcliffe’s character, lg, is a good person or a bad person. “Definitely a good person,” says Temple of her on-screen boyfriend (a guy who wakes up hungover and has horns protruding from his head—been there, sort of). I can’t say her answer is too surprising since the whole plot is basically about Radcliffe’s search for his dead girlfriend’s (played by Temple) killer. Yet, hunt may or may not come a little easier once lg sprouts (along with the horns) a special power to force anyone to unravel their deepest secrets and desires. So yes, I’d imagine his poor murdered girlfriend would think he’s great, even from the grave.

The entire story is all based on Joe Hill’s novel of the same name. Is playing a pre-crafted character, written specifically for a book, different than playing one that was born for the silver screen? “When you’re playing a character from a movie, you’re doing it with the director’s idea of the film,” Temple informs, “You’re always trying to do the book justice and be respectful of it, but also it’s another vision on top of the book. I think it’s important to treat it like any other character in the sense that you’re playing that person and you want to bring them to life in the right way and put everything you’ve got into it. The biggest compliment you can get is if the author of the book tells you did a good job. I was in a film called Atonement and Ian McEwan came up to me and told me I did a good job with the character Lola, and I was like ‘!’”
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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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