(2016) VINYL > Promotional Photos

Public Appearances > 2013 > “Afternoon Delight” Sundance Premiere, 21-01-2013

Public Appearances > 2013 > EE British Academy Film Awards – Press Room, The Royal Opera House, London, England, 10-02-2013

Out & About > 2011 > Leaving a beauty salon in Beverly Hills, 20-11-2011

Out & About > 2014 > At the Grove in Hollywood, 12-05-2014

Studio Photoshoots > Session 065 for BLACK BOOK October 2011

Studio Photoshoots > Session 076

Studio Photoshoots > Session 099

Miscellaneous > Native Roses – ‘Shadows’

Magazine Scan > 2013 > INSTYLE ‘Lucky Starlet’ April

Magazine Scan > 2006 > TIMES MAGAZINE ‘London Film Festival’ 14th October

Films > (2015) Len and Company > Covers

Films > (2013) Magic Magic > Stills

Films > (2010) Dirty Girl > Posters

Films > (2010) Dirty Girl > Stills

Films > (2011) Little Birds > On Set

Films > (2013) Afternoon Delight > Posters

Films > (2008) Wild Child > Stills

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

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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

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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Juno Temple has appeared in more than 30 movies since starting her career in earnest with “Notes on a Scandal” in 2006.

This summer, the busy 24-year-old has two coming out: the refocused Sleeping Beauty story “Maleficent” (May 30) and comic book noir “Sin City: A Dame to Kill For” (Aug. 22).

Both were major technical shoots, a newish thing for the English actress who, despite the occasional “Dark Knight Rises,” tends to favor down-and-dirty indie projects such as “Killer Joe,” “Lovelace” and “Afternoon Delight.”

“We did motion capture,” Temple says of her “Maleficent” job as Thistlewit, a ditzy teenage pixie who annoys her older cohorts, played by fellow Brits Lesley Manville and Imelda Staunton. “It was such a trippy experience for me because I’ve never done a lot of green screen before and this is a whole other realm of making a movie. You’re just in one big room with loads and loads of cameras, and you have to wear these strange wetsuits that are covered in what are like shiny golf balls. Then we had to wear head cameras and be on wires and stuff.”

She loved flitting about with Staunton and Manville, but didn’t get much face time with the film’s star, Angelina Jolie — depending, that is, on one’s definition of face time.

“I met with Angelina briefly, and she was so great and so cool and so lovely,” Temple reports. “But I didn’t get to do any filming with her, no. I filmed with a giant, Styrofoam version of her.”

Robert Rodriguez and Frank Miller’s sequel to their superstylized, hardboiled crime drama “Sin City” also required the actors to work under green screen circumstances for demanding 3-D cameras. Temple, who plays one of the film’s many molls, is confident that the viewing effect will be totally worth it.

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