Miranda Richardson is one of Britain’s hottest actresses, having played a range of roles from Queenie in Blackadder to an IRA volunteer in The Crying Game. Her latest movie, based on a Fay Weldon novel, was partly filmed in Northern Ireland. She spoke to Lorna Allen

In 1985 Miranda Richardson set cinema screens alight with her mesmerising debut film performance as the last woman to be hanged in England in Mike Newell’s Dance with a Stranger.

Hollywood sat up and took notice of the talented and aloof English rose and the offers came rolling in. In true Brit thespian style, however, Richardson shunned the bright lights and opted to remain on British soil and spend the next few years working on low-key films and comedic television roles - most famously Queenie in Blackadder.

During this period she famously turned down the lead in Fatal Attraction which she dismissed as being ‘regressive in its attitudes’ – a decision which she has never regretted. When I try to broach the subject Miranda sighs heavily and in an almost whiny voice (resembling her Royal Highness Queenie) says: “Do we really have to talk about this? I am so bored!”

Since the 1980s she has become renowned as an actress of formidable intelligence with a chameleon-like ability to completely transform herself. She has chalked up two Oscar nominations and picked up a BAFTA and a Golden Globe for her portrayal of a number of psychologically complex female roles – for the latter she even beat out competition from Meryl Streep and Shirley MacClaine.

Despite all this she is refreshingly modest and down to earth and doesn’t hesitate in telling you what she really thinks!

She is currently starring in Puffball – the first film in ten years by cult director Nicolas Roeg (he of Don’t Look Now fame). Puffball, a co-production partially funded by Northern Ireland Screen, is a supernatural film shot in counties Armagh and Monaghan and adapted from Fay Weldon’s novel of the same name.

It is a peculiar and eerie film about an English architect who retreats to rural Ireland to rebuild an old cottage, falls pregnant and becomes the focus of resentment by the local women.

One reviewer has described it as ‘a cross between Straw Dogs and Rosemary’s Baby’ and I am keen to get Miranda’s take on that.

‘‘That’s a little extreme!’’ she exclaims emitting a burst of shrill, crisp laughter. “I think it’s much more romantic than either of those films, I have to say. I also think it’s a film which repays multiple viewings ? It’s a complex story. A story about female power. I think it looks quite simple but it has a lot of complicated ideas which come through at different times’’.

“The thing with Nic’s work is people see it once and they form an opinion about it and they see it a second time, even if it is 20 years later and something has happened – their life experience has deepened and so maybe their experience of the movie has deepened. There is something quite comical about it as well which is perhaps unexpected in his work’’.

Having worked with a range of major directors from Steven Spielberg to Louis Malle, Richardson was delighted to get an opportunity to finally work with Roeg, who was one of Britain’s most celebrated directors in the 1970s.

“Nic is a neighbour of mine and I have admired his work for a long time. We talked about the possibility of working together on a number of occasions. This is the film that came up first and came good. It seemed like something I could be part of and I really wanted to work with Nic.’’

Weldon’s book was based in rural England but the practicalities of filmmaking prompted a change of location and the border area of Co Armagh was settled on.

“I think Ireland lends itself well to the subject matter ... the slightly ‘fairy’ aspect of things, and the matriarchal society in which the narrative develops,’’ says Richardson.

This marked Richardson’s return to Northern Ireland where she had previously filmed scenes for The Crying Game. She had perfected an Ulster accent as IRA regular Jude but this time round, she was required to perfect a southern brogue.

“I’m not afraid to say I worked with a dialect coach. I always feel I need help. There are particular rhythms in every dialect and accent and it is also very important that you use some sort of holistic approach to set it in the landscape that you are talking about.’’

The landscape and the typically bad Irish weather also helped her prepare for her role as ‘earth mother’ and voodoo practitioner Mabs.

“We spent a lot of time literally bogged down fighting through mud for the first couple of weeks of filming. There was lashing rain and it was a bit of a quagmire really and that kind of does something to your bearings and to your spirit. It’s really quite interesting. My character is ‘of the earth’ and ‘of the farm’ and it was quite an interesting place to start from.’’

Characteristic of Roeg’s work is his graphic and animalistic portrayal of sex and reviewers have already made a fuss about some of the graphic love scenes.

Miranda is clearly amused about the furore. “He always likes to have a bit of controversy doesn’t he?’’ she says laughing loudly “I think Nic would say – its life! What’s all the fuss about?’’

However she admits that what has been dubbed the ‘cervix cam’ showing internal shots during ‘the act’ may be pushing the limits of what audiences want to see.

“Yes – that’ll be a bit much for some people I guess. But Nic doesn’t shy away from what is happening. As far as Nic is concerned it is not about shocking people.’’

Miranda’s choice of roles has perhaps been unexpected over the years, playing everything from a betrayed wife in Damage, ruthless newshound Rita Skeeter in Harry Potter to Santa’s wife in Fred Claus. How does she choose?

“It’s a combination of things. It’s the writing and if there is a director attached and what I think of that person and their work. Are there any other performers attached and what that means. I’m not averse to doing something partly for money but I still have to be able to perform in it and I have to know what my contribution is. I am not very good at doing nothing.’’

Puffball is on general release in Britain and the Republic; screenings for Northern Ireland were still being finalised at the time of going to press.