IN CONVERSATION WITH T’NIA MILLER

interview by SAMO ŠAJN

T’Nia Miller possesses the kind of screen presence that is difficult to define and impossible to ignore. The British actress has built a career around complex, commanding performances, moving effortlessly between prestige drama, science fiction, horror and theatre. From her acclaimed portrayal of Hannah Grose in The Haunting of Bly Manor and award-winning performance in Years and Years to The Fall of the House of Usher, The Diplomat, Sex Education and Gangs of London, T’Nia consistently brings remarkable depth and humanity to her characters. Now, she enters the Marvel universe as Jocasta in the highly anticipated Disney+ series VisionQuest. At a moment when her career continues to expand across some of television’s most ambitious worlds, she represents a compelling combination of strength, elegance and creative fearlessness.

coat NOUR HAMMOUR

You’ve played such a wide range of characters, from drama to horror, comedy and science fiction. What usually draws you to a role?
Ultimately, it always comes down to the same questions. Do these women excite me in some way? What do their words feel like in my mouth? And, perhaps most importantly, what can I bring to the table?

Your performances often have a very strong emotional depth. How do you find the right balance between what a character feels and what they show?
I literally have zero poker face! So finding that balance can be tricky. Saying that, we are all so multidimensional, so leaning into their truth is always my anchor.

You’re now joining the Marvel universe as Jocasta in VisionQuest. What excited you most about taking on this role?
Firstly, it’s Marvel! Whilst I’m not a complete nerd or die-hard MCU know-it-all, it’s probably fair to say I’m a huge fan!

Marvel had been checking my availability for years, to the point where it became a running joke between my agent and me, but boy, am I glad they did! As they say, nothing before its time. I couldn’t have asked for a better role in Jocasta. Although she’s an 8 ft robot, there is a connection, a kinship, a reverence I have for her. Her views, her humanity or the lack thereof, was a huge selling point for me.

top and skirt THE ARKOW
shoes JUDE
earrings HEAVEN MAYHEM
bangle TALENT’S OWN

Without giving too much away, how would you describe Jocasta and what interested you about her?
In terms of being interested, honestly, they had me at, ‘Do you wanna play a robot?’ Like, duh, yeah, I want to be a robot! It’s the stuff of childhood dreams. Far from being a cliché, she’s a complex badass. I know fans have long awaited the bride of the infamous Ultron, and while her story is true to the comics, they’ve added some sprinkles on top.

You’ve worked on both intimate independent projects and major productions. Does your approach to acting change depending on the size of the production?
Only in a technical sense. I’m currently shooting a super-micro-budget Swedish horror film that a friend asked me to be part of, in the suburbs of Stockholm. The DOP is also the only camera operator, which is very different from working on a larger production where you might have three cameras and therefore need a different awareness of how you move through space.

Your performance as Hannah Grose in The Haunting of Bly Manor became especially memorable for audiences. What did that role teach you about yourself as an actor?
That particular project is the gift that keeps on giving. I think it was the first time I showed up to a project without having imposter syndrome, which allowed me to have a far more fun and expansive experience on set.

coat and hat ACIDSIIIA
shoes JUDE

You’ve also worked extensively in theatre, including at the National Theatre. What does performing on stage give you that working on screen doesn’t?
It’s been a while since I trod the boards. I’ve recently been speaking to my team about doing a stint in theatre. Theatre is so wonderfully grounding and intimate. There’s a greater opportunity to build and explore the world you’re playing in together.

I think the best way to describe it is this: if the body is the vehicle for storytelling, then on screen we all have our connecting parts—the gaffer might be the eyes, the set designer the nose, the actor the gut. Whereas in theatre, the actor is the blood flowing through the veins of every moving part.

After so many different roles, do you feel that your understanding of yourself as an actor has changed over the years?
I think as I grow, the idea of self in general becomes more obscure. What I know is that I know very little about anything, and that naturally factors into one’s work. Every set has a different story, temperature, tone. There are so many stories, so many new beginnings and thus so many possibilities. The moment I feel as if I have understood something is the moment another truth is revealed. I long gave up trying to understand. My only truth is we are all in search of happiness and that perhaps we simply choose different vehicles to get there. I also know I am a walking contradiction. In some ways, aren’t we all?

You have a very distinctive presence both on screen and off. How important are style, confidence and the way you present yourself to your work?
Some people paint with brushes and paper and glazes; one of my mediums happens to be clothes. Fabric, colours, prints, texture are all a vocabulary, an extension of self, be it me or the character I’m playing. They can state ‘Stay the F@*k back’ or welcome you with open arms and heart before you’ve opened your mouth to speak. One of my bugbears in the industry is that costumes often aren’t given the time or credit on set that’s deserved.

Looking at everything you’ve done so far, what kind of role or story would you still love to explore?On screen, I think a true story, perhaps a tale of survival, something in recent history that is in service to, that lends its voice to the unheard or unsung.

jacket and skirt NOUR HAMMOUR
shoes JUDE

TEAM CREDITS:
talent T'NIA MILLER
photography DAVID REISS
styling ELISA PEARSON
makeup CELENA HANCOCK
hair KIERON LAVINE at The Visionaries Agency
styling assistant STEPHANIE DALEY
editor TIMI LETONJA
editorial director JANA LETONJA
interview SAMO ŠAJN