Nicole Kidman’s ethos in Hollywood has always been spontaneity. It’s reflected in the roles she takes on, the projects she develops, the way she throws herself into a character with abandon. “I have this strange pull to things where there is no vacillating,” she says. “Overthinking things can become crippling, so I tend not to overthink it.”
Perhaps that’s why after more than 40 years in the business, even with an Oscar win and box-office smashes under her belt, the Australian icon—and 2025 Hollywood Issue cover star—is coming off of one of her most impressive years yet. She earned raves for her work in Lulu Wang’s lyrical six-part drama Expats and returned to Taylor Sheridan’s blockbuster thriller series Special Ops: Lioness on Paramount+. She led both a swoony summer rom-com (A Family Affair) and a twisty fall miniseries (The Perfect Couple) to the top of Netflix’s movies and TV charts. Two days after that latter show premiered, Kidman won the Venice Film Festival’s Volpi Cup for best actress for Babygirl, written and directed by Halina Reijn and set for release on Christmas Day. Her raw, devastating work in the steamy erotic drama marks one of her finest big-screen performances, and has thrust her back into the Oscar conversation.
On that particular Venice awards evening, however, Kidman’s trip was cut short; she flew home before she could accept the prize after learning that her beloved mother, Janelle Ann, had died suddenly. Reijn read a speech on her star’s behalf, in which Kidman said, “The collision of life and art is heartbreaking, and my heart is broken.” That sentiment remains with her strongly a few weeks later as she joins me over Zoom.
Vanity Fair: I was very moved by the words that Halina shared on your behalf in Venice, where you won best actress. Can you share a little about what your mother meant to your work and career?
Nicole Kidman: She was my compass in a way. It’s like losing that, but at the same time going, Okay, well, this is for her then. So much of what she wanted for my sister and I was to create women in this world who felt like they could express themselves and have opportunities, especially things she didn’t have from her generation. She loved my career, she really did. She would be there through all the ups and downs, all of it. Her essence has been pretty much the driving force through my whole life. I wish she could have seen this part of it. She was very excited to see Babygirl, and she was excited to see Perfect Couple too, but she didn’t get to see either of those.
Winning best actress at Venice for Babygirl and having the number one show on Netflix in the same week—one showcases your art house success and the other your commercial strength. In terms of the projects you take on, do you see it that way, finding that balance?
I am very spontaneous and I have immediate yeses. When [director Susanne Bier] called me, we didn’t have all the scripts for Perfect Couple, but I was like, “Yes.” When Halina reached out for Babygirl, I was already going, “Okay, just the title alone, I’m in.” If I feel freedom and safe with a person, then I can just give them everything. But I’ve got to feel arms around the project and me—that allows the expression. So much of what you’re offering is deeply personal. It needs to be held in that regard for it to really work.
Both Perfect Couple and Babygirl were directed by women. As you were speaking about safety, is that something that’s increasingly important to you?
No, I can feel that with a man, of course. I’ve worked with some of the greatest, and I feel intimacy with most directors that I work with. I move in very quickly. I’m very open, which is why I just have to be careful how I choose. Ninety-nine percent of the time, it’s really the best way to approach anything. But yeah, I’m trying to support all of these women at all different ages, at all different stages in their careers, put my weight behind them and go, “I’m here and I’m at your disposal and I’m ready.”
The last time you were in Venice with a film was Birth, 20 years ago, and it didn’t meet as positive a reception. What do you remember about that period, especially now that the film has been reclaimed as a kind of misunderstood masterpiece?
To Die For, I remember going to Cannes with that going, Oh no, we’re just going to get crucified—and it was lauded. That was the basis of Birth too. I loved the film. So at that point you just go, Well, I’ll stick with the love of the film. And everyone else can say and do what they want. If I don’t love it, then that’s me going, Okay, I did the best I could with this, and it didn’t come out how I thought it was going to. But it’s so good when you love a film because then you can take all of the hits or all the accolades and they all layer upon layer into what will be remembered by me.
Even Moulin Rouge, when we took that to Cannes, that was considered a pretty unusual film. I do remember Baz [Luhrmann] and I in the hotel room upset after the screening of it, and my sister going, “It’s a great film. What are you guys so upset about?” And we’re like, “Oh, it was mixed reviews.” She’s like, “The film’s great. I don’t know why you’re worried.” It was so good having someone who’s not in film. We get very, kind of, in a bubble…and then you step out and you’re like, Hold on a second.
Do you feel like Hollywood is more open to risk now, or less so?
I suppose I don’t think of that. I just go, This is the road I’m on, and whatever happens happens. If it’s seen as a risk, I’ll take these risks. And if they’re bold risks, then I’ll take those risks, but I’m not going to hang too much on that because fear can set in. That’s very, very destructive to the expression and the desire.
As you’ve gotten deeper into development, what have you realized about what’s easier or harder to make, for people to actually take a chance on?
Everything’s hard now. Actually everything. I mean, maybe not Deadpool, but there’s nothing that’s, “Oh my gosh. Yep. This is it. Greenlight, let’s go.” Or maybe it’s just the things that I do. [Laughs] I just think that’s the nature of what we’re dealing with now. Things are shrinking in terms of shows being done and films being made. I definitely feel it. I’m sure most people in the industry feel it. I know the crews feel it. I know writers feel it.
You’re just along for the ride, and it is very much ups and downs and roller coasters, and you just go, Hold on tight. It’s what I try to teach my kids because I don’t know what their futures are: Hold on and go for it and take the opportunities when they arise and jump in and try something. The worst you can do is fail. That may be humiliating, but at least you don’t go, Gosh, I wish I’d tried that, and I regret that I didn’t.
Firework content
Does the difficulty of getting things made right now scare you?
Yes. Well, I don’t know if it scares me. I think it requires more aligning with the right people and pooling our resources and choosing to not spread yourself too thin so that you have the energy and the desire to keep moving forward. But it’s always been hard. I mean, I started at 14, so I’ve seen a lot now.
Right now, is there something where you’re like, “I want to do that. I haven’t done that yet.”
I’m working on Scarpetta. We’re not shooting yet, but it’s terrifying. It’s terrifying.
Why?
Because it’s so well-written. It’s crazy how I’m frightened reading it. I haven’t done that. I can’t think of a film I’ve done where it was so terrifying. Like what? The Others wasn’t terrifying.
I’m excited to see you and Jamie Lee Curtis working together.
Yes! That’s why I was like, “I’ll do it with you, but you have to play my sister. You have to go with me.” And she’s like, “Okay.” So, we’re producing it together and we’re in it together—and that is glorious. That’s what I mean, where you go, “Okay. Who’s got the same amount of passion and enthusiasm?” Look at her. I mean, she’s unbelievable. She is a force.
I wanted to ask you about your AFI tribute and specifically that astonishing list of directors you’ve collaborated with. Is there anyone you have your eye on who you haven’t worked with and want to?
I’ve always said I want to work with [Martin] Scorsese, if he does a film with women. I’d love to work with Kathryn Bigelow. I’d love to work with Spike Jonze. I’d love to work with PTA [Paul Thomas Anderson]. I’ve always wanted to work with Michael Haneke. And there’s a whole slew of new up-and-coming directors—there’s so many, and I’m always open to the discovery of new people. And I find it really exciting when you go, Here’s someone that’s so experienced and has been working and working, but they’ve now really hit their stride.” I worked with Karyn Kusama on Destroyer, and she’s gone on to Yellowjackets and so many big things now. She was at a point where she was frustrated and not getting the things made that she wanted and wasn’t having the opportunities.
Do you think about defying expectations from role to role?
No. Should I?
No. Perhaps you do it naturally—you’ve led the kind of career where people don’t know what to expect.
I have been crazy in life, so whatever happens, it comes out in many different ways. I feel things intensely. I read a lot. I’m raising a family. I’m a wife, I’m a sister. I’ve got all these friends. I’m moving through the journey of life.
It can be really hard, especially if you’re very present and emotional and in it. And then there’s an enormous amount of sheer joy. That was one of the greatest pieces of advice I was ever given once: Don’t think ahead to something bad happening. Stay in the moment when it’s good, because you need to nourish during that time. You will have the fortitude to ride out when it’s not. If you’re already not allowing in the nourishment of the joy and the good times, that’s the wrong way to live.
This interview has been edited and condensed for clarity. For fashion and beauty details, go to VF.com/credits.
