24 October 1967 |
|Other names||Jacqui McKenzie|
|Alma mater||National Institute of Dramatic Art|
No matter how many helicopters there are, when it comes down to it there is the camera and you.
Everybody is just at the start of this huge process of trying to unravel what's going on with the 4,400, where they've been and why they're back and what they're trying to do with us in the present. And we're trying to work out what messages they're sending us.
It's just so fragile. The growing sense of 'Oh, God, what am I doing? Am I any good? Will I ever work again?' All those questions of self doubt, they do creep in.
That's a curious paradox that I don't think a lot of people out there know; that you get really scared before you go on. You come out in a nervous rash, and it's not like you actually love getting up there and showing off.
Coming from theater, and having been to acting school, and done little, small Australian independent movies, a lot of the time, it's always about character.
I can't do theatre in the US,' she says, 'because I don't have a green card.
And the reason for that I think is that in Australia our films don't get the exposure, so the process is foremost. But anyway, I love being part of the team and hate being stuck in a corner somewhere.
I was spooked when I first got the role, as I was afraid I wouldn't have the companionship I need on a shoot, because I'm so into the process itself, not so much the end product.
It was hysterical going to work. I would just walk in and think, 'What in hell? Am I here? What's going on? I'm going to wake up in a minute. I'm in a dream.'