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“I have a backpack and a small carry-on for two weeks,” Rooney Mara tells me one afternoon, after collapsing into a stiff chair at a café on the eastern flank of Manhattan’s Chinatown.
Traveling when you have nothing—no options—is the best,” she says.A few years ago, explains Mara, who’s now 32, the contours of her creative ambition changed, and since then she has tried to make the films, and live the life, she personally cares about most.“I have more trust now in the universe and things happening when they’re supposed to,” she says.A few years ago, while shooting in Brazil, she insisted on exploring the local favelas alone.It wasn’t her first time in a struggling foreign quarter: After spending a college summer in a volunteer program in Nairobi’s Kibera slum, one of the largest in the world, Mara founded a charity to administer care and services to children there.“People like her more.” When they were growing up, Kate and their cousins would put on dance shows around the house, but Rooney (then called Tricia) was so timorous that she could never do anything except press stop and play on their cassette player.“Kate knew definitively that she wanted to be on Broadway and do music and acting by age ten,” Rooney explains. “I either want no conversation or ‘Let’s talk about your failing marriage,’ ” she says.
“Maybe because I was a contrarian, I wanted to go to school and not be a child actor.” Her essential taste in films has never changed—“dark, cerebral, deeply romantic, goth, weird”—but at eighteen and nineteen she tried out for everything. You have to wear a certain outfit and behave a certain way and play the game a little bit, and I’m just not good at that. The roles came slowly at first; it wasn’t until David Fincher cast her as the lead in All of this is a fittingly broad range for a woman who prefers to move through the world less like a movie star than like a student on a gap year, hopping planes and living out of carry-ons.
In a few hours she will leave again, to travel on to Europe.
During the precious time in between, there is a restless version of a New York life to live.
The film was shot quickly, in five weeks, but its heightened emotional drama required close preparation with Mendelsohn—and a distinctive mix of vulnerability and strength. That is a kind of holy grail.”It’s unsurprising, then, that Mara’s Una—a questing girl who has grown into a haunted adult—shapes the film’s emotional core.
“That relationship was so important because it was really intense and it was mostly just the two of us,” she tells me. We sort of felt for each other more than anything,” Mendelsohn says. “She possesses a fierce intelligence that is absolutely readable and clear on-screen, and, at the same time, she also has a beguiling sense of beauty and mystery that I thought was going to be very important,” Andrews explains. ” He goes on, “Rooney’s completely unafraid to go into the raw nerves, the damaged places in characters.”In the café, Mara takes a sip of her drink and offers her famously inscrutable smile.
“She’s like, ‘Oh, my God, my friend Benedict is doing it, and he’s desperate to have you! In the film adaptation, Mara plays Una, a woman in her 20s trying to reenter the life of an older man (Ben Mendelsohn) who sexually abused her when she was thirteen.