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Like many of her characters, Winslet considers herself a survivor: she survived two public divorces and the paparazzi, groups of men who followed her in cars or watched her home. (When she was a new mother, she would put on a hat and sunglasses, hand her baby over a wall to the next-door neighbor, climb over the wall herself, then carry the baby through the backyard gate and walk away. She got on a city bus, where, she swears, no one ever recognized her.)
It’s clear that part of the strength Winslet projects — her nothing-stops-me attitude on set — is a defense she built, out of necessity, years ago. “He was already experiencing enormous trials, persecution, all this harassment,” he said. “People can call me fat. You can call me whatever you want. But they certainly can’t say that I complained and misbehaved. Over my dead body.” To object, especially for young women, was to risk ruining her reputation. “I wouldn’t have known how to do it without the people in power turning around and saying, ‘Oh, Jesus Christ, do you know? ? his again, that whiner,’” Winslet said. “I would rather suffer in silence than let that happen to me, even today.”
For Winslet, as a mother, it is a particular horror that the public shaming once reserved for celebrities is now an ordeal any young woman with a phone could go through. For British television, she recently made an improvised film, “I Am Ruth,” with her daughter, Mia Threapleton, about a mother trying to understand her teenage breakdown; Behind the closed door of her bedroom, amidst the privacy of the world of her phone, Threapleton’s character is harassed on social media in response to the revealing images she has posted of herself. With “I Am Ruth,” Winslet became an Everymom, opening her up to interactions of a different kind. “I go to the grocery store, I go anywhere, like walking down the street, and people stop me,” she said. A parking attendant put her hand on Winslet’s arm and began to cry; Winslet intuitively knew it was “I am Ruth.”
In her roles, and in her own life, Winslet has moved steadily from the role of ingenue to the role of fierce protector. Roybal described Winslet as a supporter of the “Mare of Easttown” team, someone who she would personally call executives if she felt there was any injustice on her part. While filming “Mare,” Winslet sat in the trunk of a car where Angourie Rice, then 19, would be filming a kissing scene, so that Winslet, a confident figure and older sister, could personally pass along notes from the film. director entering through a radio.
When she filmed “Mare,” Winslet had decades of emotional experiences she could easily access. “At first,” he said, “I would dig into my emotional toolbox and pull out something that had actually happened to me. But that stopped working for me at a certain point. I do not know why. As you get older, you live longer; you have more real experiences that you add to the emotional toolbox without realizing you are doing it. And then sometimes as you get older, honestly, it’s easier to access the emotions because they’re just bubbling under the surface all the time, because there’s so many of them.” Winslet’s scripts are covered in notes describing the emotional milestones he would need to hit.
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