IN CONVERSATION WITH ROSALIND ELEAZAR
interview by JANA LETONJA
Rosalind Eleazar is one of the stars of Apple TV+'s series 'Slow Horses', which will air a new season in 2025. She currently stars in the next Harlan Conan x Netflix series 'Missing You', which came out on 1st January. Besides TV and film, Rosalind recently starred in 'The House of Barnada Alba' at the National Theatre.
The latest season of 'Slow Horses' has been hailed as the best one yet. What has it been like playing Louisa Guy across multiple seasons?
It’s so different playing a character over multiple seasons, rather than a film or limited series, because you grow as a person and that naturally informs how you play a character. You become very attached to the character and their storyline. And I think you have a stronger sense of ownership of the character.
How has the character evolved, and what do you find most interesting about her?
She obviously deals with a lot of trauma, but she’s an incredibly private person and wants to deal with it alone. I wish she’d reach out for help, but that’s not Louisa. She internalises her feelings. I loved her relationship with Min. She has a fun and cheeky side to her that Min brought out. She was just about coming out of her shell and becoming “lighter” as a person, and then died tragically. But when things end, new beginnings are around the corner and I’ve loved her friendships with River. They have a unique chemistry which has been fun to explore with Jack.
The writing in 'Slow horses' has been widely praised, especially after the Emmy win. How much of Louisa’s character is shaped by the writing, and how much do you bring to her yourself?
I think the two are intertwined, the writing shapes Louisa and my interpretation of her shapes the writing. Will Smith is incredibly collaborative, so we’ve had many chats over the years about her and the direction we want to take her. His writing is gold, so it’s a fruitful launch pad. I think inevitably you bring yourself to any character, I’m not sure how you can’t.
There’s a unique tone to 'Slow Horses' with its mix of dark humour and espionage. What’s your favourite aspect of working on this show, and how do you balance the drama with the comedic moments?
Yes, it straddles so many genres. I think that’s part of the charm and the appeal of the show. I actually think, often in life, when a terrible event happens, there is comedy in it. Nothing is black and white. I also think the writing is so clever that it’s comedy, because you don’t play it as comedy. The moment you try to be comedic, it loses its power.
Season after season, ‘Slow Horses’ has garnered critical acclaim and increasing momentum. What can the audiences expect from the upcoming season?
It’s going to be epic once again and Louisa takes a surprise turn.
Currently, you’re taking the lead in 'Missing You', a highly anticipated Harlan Coben adaptation for Netflix. Can you tell us about your role as Detective Kat Donovan and the emotional complexity of her story?
It’s a wild ride, I’ll tell you that. It’s relentless. She deals with so much in the story, you’re begging her to take a break, but she doesn’t. She’s an incredibly resilient person. When the story starts, her father has been murdered over a decade before. And she has never quite believed the story she was told surrounding his murder. Around the same time, her fiancée left her unexpectedly and vanished. Then he pops up on a dating site 11 years later. It prompts her into delving into her father’s murder and she uncovers secrets that she never thought possible. I can’t say much more than that.
Harlan Coben adaptations have a reputation for being fast-paced, suspenseful, and stylish. How does 'Missing You' live up to that legacy, and what can viewers expect from this series in terms of both the story and its visual appeal?
I think it totally lives up to that legacy. It’s very bingeable. Harlan knows better than anyone how to keep viewers on the edge of their seat. And Victoria Asare Archer has adapted the book brilliantly. There are so many twists and turns. And when I read the final chapter, I was frozen. I couldn’t believe it.
You also recently starred in 'The House of Bernarda Alba' at the National Theatre alongside Harriet Walter. What was it like working on such an iconic play, and how did you approach your role in this intense, dramatic piece?
I love taking on classics and plays that have been done before because you have to find what works about a classic in present day, so it resonates with a modern audience. I enjoyed finding something new with my character. Rebecca Frecknall is a fantastic director and she has a real ability to allow actors to find their characters' journey organically. The set was a fully functioning house and the actors never left the stage. So whilst a scene was taking place downstairs in the living room, for example, I was up in my bedroom. Always visible. It was a doll’s house. We were in character for two hours. It required a lot of focus and connectivity, and I absolutely loved doing that.
You’ve worked on such a diverse range of projects, from thriller series to period films to stage performances. How do you choose your roles, and what draws you to a script or character?
I love mixing it up, so in some ways the last job I have informs what I want to do next. I had done a few period projects and so I wanted to do something present day, and now I probably want to go in another direction. But at the base of it, I want to be challenged. So if the role is something I haven’t done before, I’m interested.
Having had such a successful career already, do you ever feel pressure to top your past performances, especially with projects like 'Missing You' and 'Slow Horses' gaining so much attention?
Pressure is an interesting word, isn’t it? I don’t think I feel pressure at the time of filming a new project. But sometimes when I’m sitting alone, thinking about things, I guess you can say I feel pressure. In the sense that you hope the work you put in over a long period of time of filming is appreciated. But I guess that part is out of my control.
Looking ahead, are there any specific roles or genres you’re particularly excited to explore in your future career?
Would love to do something set in the future, or a biopic, or a relationship drama. But really for me, good writing is the key.
photography WILL ALDERSLEY
