Here’s an interview of Taylor Schilling with Madame Figaro
Piper Chapman, the heroine of the series Orange Is the New Black (1), the actress Taylor Schilling – who embodies it – has displayed self-confidence, vigilant relaxation, the superego at half-mast and, as a shield, a charism Oversized which would put the Hydra of Lerne to the carpet in two movements three movements. The young actress needed at least all these qualities to persuade Netflix to engage her in this bold series, inspired by the true story of Piper Kerman, sentenced in 1998 to thirteen months in prison for laundering money drug.
Taylor Schilling does not seem to be pruned to incarnate a taulard. When one discovers it at the beginning of the series, she puts up, as in life, a big blonde New York, rather diaphanous, well raised like one is when one belongs to the good bourgeoisie WASP. In short, we can not imagine for a second that it can survive the regime of the prison jungle. “And yet … Strength has nothing to do with appearance,”says Taylor Schilling. The heroine manages to adapt to the rules of this dangerous and unforgiving microcosm. Where does it find the strength to survive? It was the complexity and duality of the character that seduced me, and that is why I absolutely wanted this role. And when I want something, I put all the means into it. “
Taylor Schilling read and re-read the script, learned about life in prison, imagined himself in the most extreme situations, persecuted, harassed, and subjected to the goodwill of gang leaders. “To finally decide to play the economy, to be as natural and sober as possible,” she explains in a burst of laughter, because Piper’s strength lies in the discretion, restraint, suppleness, The dodge. His youthful error betrays a desire for marginality, a taste for risk and provocation. He is not a choirboy. She is a small delinquent who has plumb. A hysteric or a Marie-Chantal does not survive in these closed environments. So I played my part with coldness. Bingo.
By dint of observing it, analyzing it and trying to understand it, Taylor slips into the skin of his character. “I began to admire her, to envy her adaptability and, paradoxically, the new freedom that she makes behind bars. After these turbulent years, Piper had stood there, becoming a prisoner of a life too stable, too perfect for those who have known the voluptuousness of the interdict. It is in prison that she reveals herself and disinhibits herself, for she is no longer obliged to be held accountable to the corseted society to which she belongs. She’s a rebel. And I like it. “
Nothing predisposed Taylor Schilling – with a father attorney and a painter mother – to become an actress. Very young, however, this idea is necessary. “I quickly realized that becoming an actress was the only way I could do something about my carcass. “She is noticed in 2012 in The Lucky One alongside Zac Efron. But it is on television that it will find its way: “Today is the space where new talents can hatch, confirm or even reborn,” the actress considers. Look at the second breath that Robin Wright knows through the House of Cards series. The series, by definition, last longer, allowing the characters to evolve, to claim their identity and to exterior the impulses that society condemns.
Orange is the New Black answers this expectation of truth, moving away from the Hollywood criteria of physical perfection or exemplary morality. “There are homosexuals, transsexuals, blacks, yellows, gentiles, wicked, crazy, fat, lean,” says Taylor Schilling. This series shows that there are endless ways of being a woman, and this message is revolutionary. With Orange Is the New Black, feminism takes on new colors.
Original text: Madame Figaro | Photos via PiperSchilling