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Taking on a Hollywood Blockbuster and a Broadway Play, Sienna Miller Gets Ready to Go from It Girl to Hit Girl. by Jonathan Van Meter

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Taking on a Hollywood Blockbuster and a Broadway Play, Sienna Miller Gets Ready to Go from It Girl to Hit Girl. by Jonathan Van Meter purple reign “That’s Sienna Miller?” asked Steven Spielberg after seeing her new film. “Wow, she really pops.” Alexander Wang plum polyamide dress. Regitze Overgaard for Georg Jensen sterling- silver bracelet. Details, seriously see In This Issue. Fashion Editor: sienna Tonne Goodman. Taking on a Hollywood blockbuster and a Broadway play, Sienna Miller gets ready to go from It girl to hit girl. By Jonathan Van Meter. Photographed by Craig McDean. f we were to begin this story in homage to London. I was running away.” Now 27, she’s alluding to the the title of the book Sienna Miller is cur- defining moment of her young life, the Jude Law episode— rently reading, our day together in New “Nannygate,” as she refers to it with genial resignation. She York City might be called Extremely Long laughs and swats the subject away (for now) with a Lucille and Incredibly Fun. But that would be Ball– like crossed roll of the eyes. For many reasons, then, misleading, because spending time with “seeing that film felt like a few steps back.” her feels less like a fanciful passage from a It does not take long, however, for Miller to snap out of her Jonathan Safran Foer novel and more like weird mood, partly because she does not enjoy being ponder- a madcap I Love Lucy episode. ous. But she is also genuinely excited because she is about to Miller in person is tiny, blonde, blue- take two giant steps forward. On August 7, G.I. Joe: The Rise eyed, and, in black jeans with zippers at of Cobra opens: With a nearly $200 million budget, it is by far the ankle and a blue- and- white striped the biggest, most commercial film Miller has done. The same oxford shirt, just about as fetching as a girl can be. She woke month, she begins rehearsals in New York for her Broadway up on the sheepish side of the bed today. Or at least that is how debut in After Miss Julie, Patrick Marber’s new drama based she describes her mood as we sit down for lunch at the Bowery on August Strindberg’s play, which will open at the American Hotel and order pizza and white wine. She watched both ver- Airlines Theatre on October 22. sions of Grey Gardens the night before, and the heartbreaking Starring in a huge summer action movie plus its antithesis, grandiosity of the mother’s and daughter’s twin showbiz delu- a clever English adaptation of a canonical nineteenth-century sions has lingered. “Maybe that’s what sent me into a tailspin,” Scandinavian stage play, is a surprising one- two punch from she says, laughing. “I’m in an Edie Beale head.” But there is an actress in need of an image change— and it is fraught with another reason she is not in full possession of her usual plucky risk. But Miller is nothing if not brave. After all, she has long confidence. Two nights ago, she sat through a screening ofThe been battling the perception that she is, variously, a superficial Mysteries of Pittsburgh, a film she made in 2006 that opened party girl, a quirky fashion plate, an almost famous indie and closed so fast this spring that if you weren’t invited to the regular with no box- office clout, Jude Law’s ex- girlfriend, or premiere you probably didn’t see it. all of the above. “We have to be honest about it,” says Miller It is as if she has just seen a ghost—her old self coming of her reputation. “It’s pretty bad. On the whole, you know, back to haunt her. Not only did she get asked on the red I’ve made some bad choices and done some stupid things.” carpet about a gaffe she had thought she’d lived down (call- In other words: It is high time for a bold move. Or two. ing Pittsburgh “Shitsburgh” when she was making the film) Playing the Baroness, a cartoony villain in an action film, but she also had to watch her own sex scenes in a theater might seem at first like an ill-conceived strategy for a make- filled with New York fashion people. “I don’t think I feel over. Guns and black leather? Rilly? But on closer inspec- comfortable getting naked now,” she says. “I can see where tion, it starts to look very clever indeed. G.I. Joe: The Rise I made the decision to make that film three years ago, but of Cobra is based not on the G.I. Joe action figure of the then you grow up and evolve and your tastes change. I was sixties but on the wildly popular eighties Marvel Comics in this period where I was making movies back-to-back book series and television cartoon. The film is directed by because I didn’t want to be at home. Anything to not be in Stephen Sommers, the man who unapologetically— indeed, 86 enthusiastically— brings you larger- than-life popcorn fare like The Mummy and Van Helsing. What is less widely known about Sommers is that he is also the man who has persuaded English actresses like Rachel Weisz and Kate Beckinsale to work with him, women whose names do not spring to mind when one is casting action pictures. “I like very strong female characters, and somehow they all end up being British girls,” he says. “So now it’s Sienna Miller’s turn.” The film has an odd ensemble cast: Jonathan Pryce, Den- nis Quaid, Marlon Wayans, and Channing Tatum. But it is Tatum and Miller who have the most scenes together. “She is nut bags,” says Tatum, underwear model turned actor, paying Miller a big compliment. “I love her like I can’t even explain. She’s one of those people who you can’t help but be in a good mood when she’s around. She just kind of intoxicates the room.” Having almost never been in any film bigger than very small, Miller found G.I. Joe, with its crew of 1,000 and near constant explosions, to be a huge challenge. “Initially I was terrified,” she admits. “It was so out of my comfort zone. Everything gadget- wise that I had to use actually worked. I had these little guns, and if I fired them, lights came up and they made a sound. It was Disneyland for grown- ups.” When I ask if there was anything calculated in making such a choice, she plays it cool at first. “I’m notaverse to being in big commercial films.” But then she concedes, “I would be lying if I said it wasn’t part of my consciousness to know this would probably, hopefully, be a successful film, and that that would be a smart thing to do. But I wouldn’t have done it if I didn’t think it was a good project, and it was different. I was kind of exhausted by my own choices, in a way; I was very happy to be in a film that was about having fun and not emotionally grueling for me or my family or friends, where I didn’t put myself through some intense experience.” During casting, someone brought up Miller’s name, and Sommers rented a bunch of DVDs. He quickly realized what so many people do when they finally take Sienna seriously: She’s a talented and versatile actor. “For me, that role, it had to be a great actress,” he says. “Because it could be wildly over- the- top— the outfit is— so I needed someone who could ground it and make us believe that it’s real.” He adds, “Steven Spielberg saw it a week ago, and one of the first things he said was, ‘Who is that actress who plays the Baroness? She’s great.’ And I said, ‘It’s Sienna Miller,’ and he said, ‘That’s Sienna Miller? Wow, she really pops.’ ” fter lunch we head upstairs to Miller’s hotel suite so she can have a smoke. She opens the door and the room is a riot of tried- on clothes, balloons, flowers, candy wrappers, and today’s New York BrigHT FuTure Times spread all over the table. “I was really naive, “It’s insane, my room,” she says, thinking that if you are true to yourself laughing. “I was just suddenly inundated with sweet gifts yes- that’s enough,” she terday, but it looks like I’m having a Mad Hatter’s tea party or says. “But actually it’s my own private non- birthday.” Her hotel room is like her life: important to become complicated, messy, public, fun. more conscious.” Nina a Ricci fuchsia silk- It’s well known that Miller has, since Jude Law, been satin one-shoulder entangled in a series of somewhat baffling, ill- fated, and tunic, leggings, and extremely well- documented relationships, all of which Swarovski-crystal bead seem to have burned very brightly and then crashed to necklace. Pierre Hardy gold water-snake open-toe boots with 88 leather trim. Details, see In This Issue. A BACKWArD glAnCe “I’m a real relationship the ground. From Calvin Klein model turned indie- rock person in my essence, I’m trying to understand what it is person—contrary to heartthrob Jamie Burke to oddball 40- ish Welsh actor Rhys that makes me that way and what it is that makes people public perception,” Ifans, there is no discernible pattern, no type. Most notori- feel that way about me.” Miller says.
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