In a recent conversation, actress Rachel Griffiths highlighted a significant trend in the entertainment industry, noting that whether it’s in cinema or television, “older women are experiencing a resurgence.” This statement underscores a growing recognition of the talent and contributions of seasoned female performers, who are taking on more prominent roles.
Griffiths emphasized, “Everyone knows that this is true: Demi Moore stands out as a model of this evolution. There are so many incredible actresses from that generation. Just look at Helen Mirren in ‘MobLand’ right now; it’s astounding. I adored watching Pamela Anderson in ‘The Last Showgirl,’ and seeing Jamie Lee Curtis dancing on that table was one of the most exhilarating moments I experienced last year. I was truly in awe of her talent!”
Directed by the talented Gia Coppola, “The Last Showgirl” focuses on the lives of veteran dancers in Las Vegas, showcasing their stories and the challenges they face in a glamorous yet demanding environment. This film not only highlights their artistry but also their resilience in an industry that often overlooks their vast experience.
Interestingly, Griffiths expressed that she does not envy her colleagues who are landing these prominent roles. She clarified her perspective by stating, “If a performance is good, it means the actor is delivering. I never find myself thinking, ‘I wish I had that role.’ She’s already embodying it. It’s quite rare to think, ‘I could have done it better.’ More often, you find yourself captivated by the choices that others make.”
Recently seen in the rom-com “Anyone But You” alongside Sydney Sweeney and Glen Powell, Griffiths has garnered recognition for her performances in acclaimed shows such as “Six Feet Under” and “Brothers & Sisters.” Her versatility as an actress continues to impress audiences and critics alike, solidifying her place in the entertainment landscape.
Joking about her experience as part of a “pretty, frivolous” jury at the Monte-Carlo Television Festival compared to the more serious documentary jury, Griffiths quipped, “We’re here because we’re unemployed. Let’s be honest.” This humorous remark highlighted her point that women are actively watching television, which reflects their desire for diverse and relatable representation on screen.
“I tend to watch television while doing household chores—like doing laundry or folding socks, and often when I’m cooking. Honestly, I didn’t go to the cinema for years because I was too exhausted. Women will always demand authentic representation of themselves on screen,” she added, emphasizing the importance of relatable narratives in media.
Reflecting on national history, Griffiths stated, “We Australians fought in World War I with a poster that said: ‘Free travel to Europe.’ Instead, I found myself on a jury in Monaco – I definitely had it much better than my grandfather.” This remark underscores the progress and opportunities available to her generation compared to those who came before.
During a discussion with journalists, Griffiths—whose latest project “Madam” received accolades at the festival just last year—expressed her aspiration to see more diverse programming in the industry. She noted that there seemed to be a lack of variety regarding ethnic representation in the selections presented.
“I would argue that the selections were not reflective of the broader palette of the content I consume. There was a noticeable absence of diversity in terms of ethnic communities and representation. While this could be attributed to timing, I wouldn’t necessarily view it as a litmus test for the current state of the industry,” she stated thoughtfully.
Griffiths has been actively collaborating with Blackfella Films, founded by Rachel Perkins and known for storytelling that focuses on Indigenous Australian narratives. She not only executive-produced but also starred in “Total Control,” working alongside the talented Deborah Mailman. This collaboration illustrates her commitment to amplifying underrepresented voices in the industry.
“It’s a cause that is very close to my heart. Stories resonate more deeply when their content reflects the communities we inhabit. I sincerely hope that the recent rollback of diversity and inclusion does not have a negative impact on our industry, as it enriches characters and makes television more captivating. My hope is that this isn’t just a fleeting moment in history when we saw projects like ‘Beef’ and these incredible ensembles emerging from non-Caucasian backgrounds,” she remarked passionately.
In her professional endeavors, Griffiths is determined to resist “feeding the beast” of trending content. “If the algorithm craves more ‘angry’ shows, I won’t start producing that type of content,” she asserted. However, she has observed a rising demand for returnable procedural dramas that offer engaging storytelling.
“The success of a show like ‘Good Cop/Bad Cop’ clearly indicates that audiences are seeking procedural dramas that can be revisited and provide enjoyment in a fresh manner. Whenever I pitch ideas and engage in discussions globally, I often hear: ‘Do you have an idea for a returnable procedural?’” she explained, emphasizing the shift in viewer preferences.
“Creating these limited series is incredibly challenging. They are difficult to market unless you have a big name attached, like Toni Collette or Colin Farrell,” she concluded, highlighting the complexities of the current entertainment landscape.
