Like many of her characters, Winslet considers herself a survivor. She survived her two very public divorces, and hordes of paparazzi chasing her in her car or ambushing her home. (When she was a new mother, she put on a hat and sunglasses and handed her baby over the fence to her neighbor, climbed over the fence herself, and then took the baby through her backyard gate and onto the city bus.) , she swears no one recognized her.)
It's clear that some of the strengths of Winslet's project (her no-stop attitude on set) are defenses she built out of necessity years ago. “I was already experiencing a tremendous amount of judgment, persecution, all this bullying,” she said. “People can call me fat. They can call me whatever they want. But they can't say for certain that I complained and behaved badly. “Over my corpse.” For young women in particular, dissent risked ruining their reputations. “People in power will turn around and say, ‘Oh, Jesus Christ, you know? her Again, that complainer,’” Winslet said. “I would rather suffer in silence than let something like that happen to me. The same is true even today.”
As a mother, it's especially terrifying for Winslet that public body shaming, once reserved for celebrities, is now a test for any young woman with a cell phone. On British TV she recently produced an improvised film 'I Am Ruth' with her daughter Mia Threapleton. Behind the closed doors of her bedroom, in the privacy of the cell phone world, Threapleton's character endures harassment on social media in response to making public the images she posted. “I Am Ruth” allowed Winslet to become her Everymom and allowed her a different kind of interaction. “I’m going to the grocery store. I will go anywhere, including walking down the street. “Then people will stop me,” she said. The parking attendant placed her hand on Winslet's arm and began to cry. Winslet intuitively knew it was about “I Am Ruth.”
In her roles and in her own life, Winslet has definitely moved from the role of naive to that of a fierce protector. Roybal described Winslet as an advocate for the “Mare of Easttown” crew, who she would personally call out if she felt there was inequity with executives. While filming “Mare,” Winslet sat in the trunk of a car where then-19-year-old Angourie Rice was filming a kissing scene. So her safe big sister Winslet was able to personally deliver the director's note. She said the director came over the radio.
By the time she filmed “Mare,” Winslet had decades of easily accessible emotional experiences. “At first, I would go through my emotional toolbox and pull out what had actually happened to me,” she said. But it stopped working for me at some point. I don't know why. The older you get, the more life you have. You have more real experiences that you add to your emotional toolbox without realizing you are doing them. And sometimes, the older you get, the easier it becomes to access your emotions. Because emotions are always bubbling under the surface. Because there are so many emotions.” Winslet's scripts are heavily covered with notes describing the emotional marks she must achieve.