Nicole Kidman Gets Candid About Mortality: Wakes Up ‘Crying’

Nicole Kidman is baring her soul concerning the realities of growing old, grief, and embracing life’s emotional depths.

Within the candid dialog, Kidman revealed that as she’s entered her 50s, she has change into extra attuned to her feelings, selecting to totally really feel them reasonably than shutting them off.

Now in her mid-50s, Nicole Kidman acknowledged that her emotions are “much more” uncooked and near the floor.

The 57-year-old “Babygirl” actress shared her heartfelt reflections in a brand new interview with GQ.

“Mortality. Connection. Life coming and hitting you,” she mentioned, describing the feelings she feels extra deeply than ever. “And [the] lack of dad and mom and elevating youngsters and marriage and the entire issues that go into making you a completely sentient human. I’m in all of these locations. So life is, whew. It’s undoubtedly a journey.”

Kidman’s private life is intertwined with the themes she discusses. She shares daughters Sunday Rose, 16, and Religion Margaret, 13, together with her husband, nation star Keith Urban. She can also be mother to Bella, 31, and Connor, 29, whom she shares together with her ex-husband, Tom Cruise.

Reflecting on the influence of growing old and the inevitability of loss, Kidman shared how deeply these realizations have affected her. “And it hits you as you grow old how … it’s a get up at 3 a.m. crying and gasping form of factor,” she mentioned. “Should you’re in it and never numbing your self to it. And I’m in it. Totally in it.”

After turning 40, Nicole Kidman started to really feel the constraints of Hollywood’s age bias. She seen a decline within the roles she was enthusiastic about and feared she had reached the dreaded “age cutoff” that so many ladies within the trade face.

As a substitute of stepping away from appearing—a call she admits she significantly thought-about—Kidman took management of her profession by founding her personal manufacturing firm, Blossom Movies. Her objective was to create alternatives for herself and different feminine artists, together with writers, producers, and administrators, who may benefit from the paths she solid.

Certainly one of Blossom Movies’ earliest triumphs was “Huge Little Lies,” HBO’s critically acclaimed adaptation of Liane Moriarty’s novel. The sequence, centered on a gaggle of prosperous Monterey moms entangled in a homicide case, was a large success and set the stage for Kidman’s experience in adapting seaside reads into gripping TV dramas.

Since then, she has solidified her repute because the queen of the “white coastal elite whodunnit” style, with hits like “The Undoing,” “9 Good Strangers” (2021), and “The Good Couple,” which topped Netflix’s international charts for weeks after its launch.

Reese Witherspoon is singing the praises of her longtime buddy and co-star Nicole Kidman, calling her a powerhouse each on and off-screen.

“Nicole is extremely well-read and actually understands match administrators to materials,” Reese Witherspoon, Kidman’s “Huge Little Lies” co-star and producer, mentioned. “She watches an unimaginable quantity of rising filmmakers’ work and may be very discerning about who she needs to work with. She’s additionally all the time keen to tackle new challenges, significantly roles that discover a novel expression of feminine id.”

In a latest Variety interview, Nicole Kidman addressed her need to work with acclaimed director Martin Scorsese, stating, “I’ve all the time mentioned I need to work with [Martin] Scorsese, if he does a movie with girls.” The remark subtly identified the male-centric nature of a lot of Scorsese’s work, sparking discussions concerning the lack of female-led narratives in his filmography.

Whereas Scorsese has helmed movies that includes sturdy feminine roles, reminiscent of “Alice Does not Reside Right here Anymore” (1974) and “Killers of the Flower Moon” (2023), the vast majority of his tasks give attention to male-driven tales.

Throughout a 2019 press conference in Italy, Martin Scorsese addressed longstanding criticism concerning the shortage of female-led narratives in his movies. The enduring director expressed his frustration over the repeated critiques, acknowledging the continuing discourse about gender illustration in his physique of labor.

“That is not even a legitimate level,” he mentioned. “That goes again to 1970. That is a query that I’ve had for thus a few years. Am I speculated to? If the story would not name for it, then it is a waste of all people’s time. If the story requires a feminine character lead, why not?”