It was he who put his daughter in her first film, 2000’s Pandaemonium, a drama about English poets Coleridge and Wordsworth, in which Julien also directed Linus Roache and Samantha Morton. The product of a communist family who was expelled while only in grammar school, Julien has long had the makings of a rebel-raising father, even before he was helming videos for the likes of David Bowie and The Rolling Stones.
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Rebellion’s kind of a different thing for me in that I grew up with my parents just kind of saying, ‘Be who you want to be-go do that.’”īorn in London and raised in Somerset, Temple is the daughter of movie producer Amanda Pirie and the film director Julien Temple, whose career kicked off with short films about the Sex Pistols, and has since included documentaries, music videos, and features. Rebelling against my parents, I would have to become a parking warden or something. But I grew up in a family that’s kind of hard to rebel against, honestly. With certain things, I’m rebellious, for sure. “No, I think my heart’s just really drawn to those characters at the moment, and when you’re drawn to something you can really give it your all. “I’m just really good at faking it,” she says with a light cackle. The overarching badass-ery of her still-budding career begs one question above all: Is she comparably defiant in real life? As she’s progressed, she’s also actively continued to carve out a wild and unruly image, marked by an ample amount of sexuality and a scant amount of compromise. The following year, in Atonement, she fearlessly nailed the love-to-hate character of Lola, a spoiled and madly enamored rape victim who unwittingly takes part in the film’s inciting incident.įrom there, Temple has pressed forward in an odd mix of period and contemporary fare (from Year One and The Other Boleyn Girl to Greenberg and The Three Musketeers), the common factor being that her characters aren’t easy to look away from. In 2006’s Notes on a Scandal, her first high-profile film, she played the insolent, boy-crazy daughter of Cate Blanchett’s cougar, and ably seized the opportunity to tell off Judi Dench. Rather than breathing life into likable, bright young things, she’s played back-talking brats, deceitful frenemies, promiscuous outcasts, and bisexual rebels, imbuing each with a singular fervor she unabashedly owns.
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įrom just about the beginning, Temple hasn’t been much interested in currying favor from viewers, at least not in the manner of a traditional ingénue.
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A versatile beauty who can look cheeky, modelesque, or dangerous depending on the expression, the young actress has fast transcended her post as a habitual scene-stealer to become a formidable filmic bad girl-the one you call when you want your 20-ish female character to all but punch a hole through the screen. The whole scenario is one big hulking metaphor for Temple’s meteoric rise, as she’s steadily careened from project to project over the last six years, rarely failing to make a connection with her audience. But within moments, Temple is back on the other end again, her coo of an accent as beguiling as her onscreen presence. “I’m sorry, I might lose you,” she says through a bit of static, shortly before the call is indeed dropped. For an interview regarding her loaded roster of new roles, in films as disparate as Killer Joe, Jack and Diane, The Dark Knight Rises, and Little Birds (released this Friday), the 23-year-old blonde Briton is calling from a car, which is shuffling her from one L.A. Julien temple, Juno Temple, Killer Joe, Little Birds, The Dark Knight Rises