Between cups of coffee and the occasional cigarette, the actor Jemima Kirke spoke to Coralie Kraft about channelling authentic emotions onscreen, the state of the sex scene, and the pleasure of an ambiguous ending.
Jemima Kirke came to her acting career with some reluctance. She had grown up in proximity to fame: her father was the drummer for the rock bands Bad Company and Free, and her mother’s celeb-magnet boutique supplied outfits for Carrie in “Sex and the City.” But unlike her sisters, Domino and Lola, who became a singer and an actress, respectively, Kirke had little interest in the spotlight—she wanted to paint.
I think I got confused. The more I learned about what people were responding to in my performance, the less I understood about how to do it. In “Girls,” I had to do it for every episode and every scene in season after season—and of course I'm going to change as a person, so the person they're wanting me to “naturally” be might not be appropriate for the character.
If, as you’re saying, you want to create real emotion, how do you create healthy distance for yourself in those moments? How do you put it away when the scene is over? Mundanity is a really key word in this story, because it is very slow. When I first read the book, one of the things I loved about it was the fact that the content of the scenes was so unremarkable. If we just give what’s on the page, there would be nothing to watch. Everything would have to come from the performance. Even when they’re having sex—in a way, that’s also a mundane thing.It was exciting. It felt like I was being given a big job as an actor.
In “Conversations,” Melissa is actually the only one of the four central characters whom we never see have sex. I also liked that they emphasized Melissa’s writing career. That made for an obvious parallel between Melissa and Frances. When I was reading it, that was something I struggled with. I didn’t believe the marriage. And the reason I didn’t believe it wasn’t due to any bad writing. I realized, Oh, it’s because I’m seeing it from Frances’s perspective.
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