The sun is gushing through a bunch of blazed red maple leaves, getting the light in Ellie Bamber’s pale strawberry hair, as she hurls her head back in chuckling. It’s an early weekday morning in Central Park, yet a sudden surge of bystanders is here, stretching out their necks through the branches to get a look at the inquisitively striking young lady—gripping a touch of fall foliage, her incredible mane set ablaze.
It’s all fairly fitting, given the 19-year-early English on-screen character’s transient ascent—from West End to the silver screen, with a plum part in Tom Ford’s Nocturnal Animals, opening today in New York City. “He’s such a visionary chief, simply the way he talks about his characters with such detail is mind boggling,” she says. It was in front of an audience at The Old Vic for High Society that she first heard those groundbreaking words—”Tom truly prefers you”— and in a Waterloo café that she pored over his provocative script. “I requested a carbonara and staying there, crying and springing up,” she lets me know. “The server came over and resembled, ‘Is everything alright?’ and I resembled, ‘I’m incredible, I’m extraordinary,’ crying into this bowl of pasta.”
To play India Hastings—the Texan youngster and girl of Jake Gyllenhaal’s Tony and Isla Fisher’s Laura—Bamber burned through nine weeks in the Mojave Desert summoning the soul of Holly Sargis, significantly enlivened by famous redhead Sissy Spacek in Badlands. “My vocal mentor left and downloaded the entire sound clasp of the film, so I’d remain on set listening to that,” she says. The outcome is a naturalistic depiction, improved by cosmetics craftsman Donald Mowat who kept the attention on Bamber’s ethereal excellence—porcelain skin, decorated with a touch of Stila Convertible Color in Peony on the cheeks and lip. “I took in a great deal; I’m a huge cosmetics addict,” she says, looking over a considerable rundown of top picks—Chanel mascara, Marc Jacobs highlighter, and rich shadow from a Tom Ford palette, sent by the man himself.
However the glaring issue at hand is those head-turning fire shading lengths—on which point she has an admission to make. “I’m not normally red!” she says, giggling. “I’m white, white blonde.” Yes, that stunning blood red was colored for Pride and Prejudice and Zombies, which requested splendid ginger, and extended into shining copper to match Fisher and Amy Adams’ mark shade. Be that as it may, Bamber thinks of it as a touch of corrective kismet. “I think I ought to have been conceived a redhead,” she says. “It runs with my identity—I’m red hot and it’s sort of peculiar, similar to me.” Some things are intended to be.