Mackenzie Davis, a Canadian actress with a lighthearted nature and a vibrant sense of humour, has known from a young age that she was destined to be in the acting industry. Fondly remembering a conversation with her lifelong friend and fellow actress, Sarah Goldberg, she confesses that they both had visualised their futures in acting and on Broadway stages. Davis, while amused at her youthful self-assurance, has truly carved out a remarkable future for herself in the world of acting.
Her acting prowess is noteworthy across various high-profile TV series like Station Eleven and Halt and Catch Fire. Instant recognition came from her starring role in San Junipero, a fan favourite Black Mirror episode. Also, her unique portrayal as the main character in Jason Reitman’s film, Tully, left an indelible impression on viewers. Her work didn’t stop there; she displayed her stamina acting alongside Hollywood veteran Arnold Schwarzenegger in Terminator: Dark Fate. Currently, she can be seen delivering an excellent performance opposite James McAvoy in the successful remake of the Danish horror, Speak No Evil, directed by James Watkins.
Among all these recollections, is her fond memory of shooting in Ireland for a contemporary retelling of Henry James’s The Turn of the Screw, titled The Turning. A country substituting for the United States in the project, she was left charmed by the beauty of Ireland, particularly her stay in an endearing fisherman’s house in Dalkey. Speaking with nostalgia about the warmth of the fireplace and the joy of swimming in Dalkey, she professes her love for this beautiful island nation. That’s Mackenzie Davis for you, a professional actress with a knack for making interviews lively.
Growing up in the vicinity of Vancouver, the lady had plenty of chances to indulge in invigorating cold-water swims. The Gulf Stream isn’t present in those parts.
“I initially experienced it when I ventured to Ireland,” she confides. “I shot in the far north of Scotland this year and enjoyed swimming there. However, my deep dive started in Ireland. It’s you lot with your resilience and fortitude who I owe this to!”
Soon enough, we’ll revisit her roots in Canada, but first, let’s appreciate her stellar performance in Speak No Evil. English adaptations of European films often draw cynical glances, but Watkins’s rendition stands as a commendable reinterpretation of the Danish source material.
In this perspective, a UK couple (portrayed by James McAvoy and Aisling Franciosi) encounter an American duo (Davis and Scoot McNairy) during a Mediterranean holiday. Despite their varying personalities, they agree to reconnect a few months later at the British couple’s residence in the West Country. The Americans gradually grow uncomfortable with their hosts’ intrusive casualness and, at times, outright domination.
The narrative concludes with violence but the preceding tension caused by social discomfort overshadows it extensively – the initial hour is filled with intense discomfort.
“What I enjoy the most about this film,” shares Davis, “is how it equates social faux pas with violence. When the violent part unfolds, you feel as though some murder is necessary to offset all the inappropriate social transgressions.”
The movie seems to divide people into two sections. Davis and McNairy epitomise those perpetually mortified by social oddities, while Franciosi and McAvoy belong to the audacious clan that exploit their casual nature to bully the less outgoing. “Loosen up! Don’t be so rigid!” is their mantra.
“I’d say I’m positioned somewhere in between,” admits Davis. “I do perceive social awkwardness. However, my outlook is that most issues that seem critical are often trivial. If you convince yourself to express those social blunders, it can help lessen the stress. I tackle my anxieties with this perspective: it’s actually not that serious.”
You can sense a unique British essence in Canada, setting it apart from America. The difference between us is fairly noticeable.
What is her opinion on adapting Christian Tafdrup’s original work in an English context? In the primary film, the roles were filled by a Dutch host and Danish guests. This version centres on a distinctive American reticence – a discomfort with nonconformity – a trait that those from the country often fail to detect in themselves.
“The interaction between a Danish and a Dutch couple, each with their distinct social contracts and perceptions of each other, is bound to differ,” notes Davis. “Since relocating to England four years ago, it’s clear to me that North Americans generally don’t distinguish between the two. It’s somewhat astounding given England’s intense class consciousness and varying degrees of class and education. But we’re mostly captivated by it all.”
Is this still the case? Does it persist when individuals from America or Canada visit England?
“It feels like being in a film of your own life, where everyone around you plays a character,” she adds. “So, you end up permitting things you’d normally be sensitive about at home, simply because, ‘Ah, that’s just the English for you.'”
Her perspective is fascinating. Differentiating between the US and Canada’s relationship—with England specifically—is a challenge for us, even though Canada mirrors the US in countless ways. Yet, they keep HP Sauce on cafe tables. Born and brought up in Vancouver by affluent parents in the hairstyling industry, Davis is an alumna of the prestigious McGill University in Montreal and received her acting education in New York. Therefore, she’s well-equipped to discuss the relationship.
“Canada is a visibly integral part of the Commonwealth,” suggests Davis. “Our currency features the queen – or, apparently, the king now. There’s a certain element of UK role-play that happens in Canada. Isn’t Victoria the capital of British Columbia? It’s definitively on Vancouver Island.”
She’s correct, I verified. Victoria is British Columbia’s capital.
“In it, there’s a replica of Anne Hathaway’s residence – Shakespeare’s spouse, the renowned Empress hotel, and its famous high tea. I realise I haven’t directly answered your question, but there is indeed a certain British essence in Canada. And it greatly differs from America. We share a stark contrast. I feel a stronger affinity to the English ambiance, based on the way I was raised, as opposed to the American.”
Indeed, it’s quite unlikely that Canadians share our initial shock during our inaugural visit to the United States. The experience, for us, essentially feels like stepping into a television show – a surreal encounter with social customs we’ve only observed through screens, now right in front of us, in the very flesh.
She echoes my sentiments, reminiscing about her first visit to LA and California. “I realised that ‘Looney Tunes’ background was drawn based on this terrain – it wasn’t a figment of an animator’s imagination. Believe it or not, the desert they depicted actually exists. Even ‘Baywatch’ wasn’t totally made up. It was a genuine culture shock. It felt unreal.”
By the 2010s, Davis had cemented her place in the industry. From 2014 through 2017, she graced our screens with her talent, playing a central role in ‘Halt and Catch Fire’, a series highlighting the dawn of the PC era. Despite its critical acclaim, the show didn’t garner a particularly large audience. While this show was still airing, she landed roles in ‘The Martian’ and ‘Blade Runner 2049’, and soon after, scored a significant role in a blockbuster ‘Terminator’ film. Embodying both beauty and individuality, Davis is no ordinary actress. She possesses a unique charm that separates her from a crowd, a trait that has secure her standing in Hollywood. Indeed, she never seemed at risk of spiralling into an ordinary career. Having parents who believe in your vision does help, undoubtedly.
“They were absolutely supportive. They embraced my choice,” she says. “The fact that they funded my drama school education. That’s generous and kind.”
Plays and films were always on her professional horizon. Yet, Davis honestly acknowledges the privileged background she has benefitted from. Here, you find no rags-to-riches spin.
“My parents carried the financial burden of my drama school fees, as well as my rent for a couple of years. They never sought payback. That represents a level of generational wealth that’s immeasurable. When such support backs you, you’re fortunate. Though, as soon as I was self-sufficient, I stopped relying on them – and it felt liberating. ”
Getting to practise her craft professionally brought Davis more fulfilment than even the ensuing fame and glamour.
“Yes, that held more value to me than anything that followed.”