Welcome to Thomasin McKenzie Fan, the latest online resource dedicated to the talented NZ actress Thomasin McKenzie. Thomasin has been in TV shows like "End of Term", "Shortland Street", "Bright Summer Night" and "Lucy Lewis Can't Lose". She has also been in films such as "Leave No Trace", "Jojo Rabbit", "The King" and "True History of the Kelly Gang". This site is online to show our support to the actress Thomasin McKenzie, as well as giving her fans a chance to get the latest news and images.
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by admin on August 4th, 2021


Thomasin McKenzie talks about new Kiwi film exploring ‘heavy subject matters’

A new Kiwi film is exploring “heavy subject matters” which are significant to New Zealand, actress Thomasin McKenzie says.

The film, The Justice of Bunny King, which has just hit cinemas, follows the story of mum-of-two Bunny King who has a sketchy past, but fundamentally is a decent human being just desperate to get her babies back from foster care.
Issues of housing and child abuse are among the heavy topics explored in the film.
New Zealand actress McKenzie, who plays Tonyah, this morning told Breakfast she got the script in 2018 and was excited to work alongside the female-led crew.
She also said her connection to producer Emma Slade, who produced her parents film The Changover, encouraged her to get on board with this project.
“It’s just such a strong female team which is still quite rare, it’s still quite rare to be completely surrounded by females on set so I really wanted to be a part of supporting that,” the 21-year-old explained.

But she also felt a connection to the story itself.
“It touches on the housing crisis in New Zealand, on child abuse. It’s got really heavy subject matters but there’s such levity to it at the same time,” McKenzie said.
“Essie Davis, who played the lead Bunny, she brought such life, a joy for life and a passion and desire.
“She does everything in the name of love and that relationship between Bunny and my character Tonyah was so strong, they were really there for each other and I really loved reading that and I really wanted to be a part of creating or bringing that to life.”
McKenzie, who is back in New Zealand now after recently celebrating her 21st birthday in managed isolation, said it would just be a holiday at home, though, to catch up with friends and family.
The actress is here for one month before heading away to various film festivals promoting another film she stars in, Last Night in Soho, which is directed by Edgar Wright.





Source: Tvnz.co.nz

by admin on August 4th, 2021


Jojo Rabbit star says Justice of Bunny King is the story of many women

Thomasin McKenzie is somewhere in Auckland, sitting out a fortnight of quarantine for the third time in her young life. This is where she will turn 21, which is hardly every young Kiwi’s dream, but part of the deal for an internationally feted actor; McKenzie’s face is familiar as the young Jewish hideaway in Taika Waititi’s Oscar-winning Jojo Rabbit. Not that McKenzie is the complaining kind. “It depends on the day, where you are at mentally, how well you deal with it,” she says. “But most of the time I’m trying to take advantage of it: to get my affairs in order, you could say, and just figure out where I am in life.”

Also, she says brightly, her father has volunteered to isolate with her; he is in the room next door. Having your dad next door round the clock might not be every young person’s dream either but she says she just feels lucky. Both her parents are notable New Zealand actors; her mother is Miranda Harcourt and her father Stuart McKenzie, who writes and directs, and is her professional mentor. “It’s great for me to have him here. Probably not so great for him. That’s how dedicated he is!” They’re planning a fun 21st, no matter what.

We’re Zooming, of course. Her camera is turned off. She has recently been working on an animated series, she says; one of its chief attractions for her was that she didn’t have to worry about how she looked. “I really think that that is part of it. It’s a real luxury not to have to go through hours of make-up or costume. You can turn up looking completely like a mess. As I usually do in quarantine.” I’ll have to take her word on that.

Top of our agenda is The Justice of Bunny King, the first feature by New Zealand filmmaker Gaysorn Thavat, who came to directing by way of cinematography. Essie Davis stars as the eponymous Bunny, as a woman down on her luck but irrepressibly spirited; we first see her spongeing car windows on an Auckland intersection, working with a cheerful gang of Maori lads half her age.

It gradually emerges that Bunny has been in prison. Unable to find a real job or a house, she is sleeping on her sister’s couch and serving as chief skivvy to her family in return for their largesse. Her own beloved children are in care; she is allowed to see them only under supervision at her assigned social worker’s office “She’s one woman, but it’s actually the story of many women,” says Thavat. “It’s a really common story we have here in New Zealand.”

McKenzie plays her niece Tonyah, whose story is also distressingly common: as Bunny discovers, her stepfather is abusing her. Tonyah says very little, about that or anything else; her shame and fear is in her walk, her glance and in her silence. McKenzie was comfortable with that. “Sometimes verbally I struggle to express myself in my personal life, so it felt quite natural to me to be leaning more on body language,” she says. “And Tonyah is a character who is bottling her emotions up, partly because she just feels very ashamed.” When Bunny is thrown out of the house, accused of making trouble, Tonyah comes too. Bunny may be erratic and combustible but she is a safe place.

Davis and McKenzie were already a team; McKenzie had played Davis’s daughter-in-law in Justin Kurzel’s The True History of the Kelly Gang. “I love Essie, she is such a big presence I think, she has so much strength and grit and life inside of her that it is a real treat to be a scene partner with her,” says McKenzie. “She just draws you in.”

On Bunny King, remembers director Thavat, McKenzie arrived on set only a day before she had to start shooting; there was no time to discuss her approach. “But Thomasin is an amazingly talented actress,” she says. “You can really just put a camera on her and roll. The best thing you can do as a director is let her spin her magic and not get in the way.” When the film was shown at the Tribeca Film Festival in New York in June, the two actresses received a special mention by the judges of the festival’s Nora Ephron Award for women filmmakers.

McKenzie came to the world’s notice only three years ago, when she came to the Cannes Film Festival as the young star of Debra Granik’s Leave No Trace. It was the story of a father and daughter who live in the woods of Oregon. Ben Foster played her father, a former soldier with PTSD that makes living in a house unbearable, while she was compelling as a child of the woods, as diligent as a beaver and as watchful as a faun.

When she spoke, it was with the drawl of the Pacific North-West. It was a shock afterwards to hear her speak in her real voice, the vocal equivalent of hokey-pokey ice-cream. After doing so many accents for different films, she believes her own accent must have shifted. “A lot of people have been telling me recently that I’ve got a very subtle, soft Kiwi accent, which I feel insulted by!” Don’t worry, I say. They’re lying.

McKenzie had never been overseas before, let alone to such a grand event. From her home in Wellington, she travelled with her parents across America to Heathrow Airport in London, where she got into trouble. “In my carry-on, I had a bullet I’d completely forgotten about,” she says, as if this were something anyone might do. A bullet? You were carrying a bullet? “I’d picked it up on my boyfriend’s farm as a memento and put it in the pocket of my bag and then forgotten about it. it was one of the stupidest things I think I’ve ever done in my life but there you go.”

By the end of this year, McKenzie will have three major films launched into the world – Jane Campion’s The Power of the Dog, Edgar Wright’s Last Night in Soho and the recently released Old, by M. Night Shyamalan. That’s a whiff of the awards season, right there. Her forthcoming birthday could be seen as a time for taking stock, deciding what she wants to be as an adult.

“Hmm,” she says dubiously. “I think I’m figuring that out as I go. A couple of the films I’ve done recently have really reminded me how important it is to stay in the moment and stay present, so what I’m trying to do these days is just take things as they come.” As long as she goes on acting, she adds. “My ultimate goal in life is to be in a Miyazaki film. My Neighbour Totaro (1988) is the film I always go to if I’m not feeling so good or missing home.” To voice the English version of a Japanese animation: is there an actor in the world with such a modest ultimate goal? It’s as Kiwi as the bullet story.

She knows she has missed out on some of the waymarks of youth, such as the school formal and going to university, though she hopes to go sometime; she is interested in so many things, from Greek myths to biology. What about campus life? “I have missed out on some of those things but I’ve never wished I wasn’t doing what I’m doing. When I go home to Wellington I get to spend time with friends and do those things that are, as you say, specific to this time of life. But I also think that through acting, you get to experience such a huge range of things. I’ve lived through so many different lives. I feel pretty satisfied with that.”

Turning the tables on homelessness

Homelessness is a growing problem in Australia as well as New Zealand. In 2016, the ABS estimated there are 25,000 homeless people in Victoria, with the majority dossing in overcrowded houses. A state standing committee report into homelessness in March found that while the biggest group were young, there was a growing cohort of older women with no money and nowhere to go. Behind the figures must be hundreds of human dramas but there are very few films on the subject. “Which is odd, don’t you think?” asks Gaysorn Thavat, director of The Justice of Bunny King.

Her film has often been compared to Ken Loach’s I, Daniel Blake. “He wasn’t homeless but he was on his way to it – it shows the process of how it happens.” But Loach had already made the definitive film on the subject: Cathy Come Home, a BBC Wednesday Play, in 1966. Cathy and her husband are forced from one home after another and finally lose their children. The play was watched by a quarter of the British population, led to a public outcry and the formation of the homeless charity Crisis, and has since been voted the most influential television program of all time.

Source: Theage.com.au

by admin on July 28th, 2021


The star of M. Knight Shyamalan’s new thriller, Old, defies the adage that youth is wasted on the young.

Thomasin McKenzie is only 21 years old, but lately she’s been thinking a lot about the passing of time. “I think I’m someone who really struggles to be in the moment,” says the actress, who stars in Old, the new M. Night Shyamalan thriller. Recently, at her father’s urging, McKenzie took up meditation. (Sam Harris’s Waking Up is her favorite guided app.) Working on Old, the story of a family whose tropical island vacation turns terrifying when everyone suddenly begins to age rapidly (their life spans each reduced to a single day), helped put things in perspective too. “It made me think a lot about being present and taking each thing as it comes.”

For McKenzie, time is a recurring theme right now. In Edgar Wright’s Last Night in Soho, a psychological thriller in which she stars opposite Anya Taylor-Joy, due out in October, she plays a young woman who is mysteriously transported back to Swinging London in the 1960s. In Life After Life, the BBC’s upcoming four-part adaptation of Kate Atkinson’s novel of the same name, McKenzie’s character dies and is reborn several times over the course of six decades. “Maybe I’m just supposed to be thinking about time these days,” she muses. “Maybe the universe is trying to tell me something.”

McKenzie auditioned with Shyamalan for her role in Old over Zoom. It was the early days of the pandemic, and she was hunkered down in her native Wellington, New Zealand. “It was quite awkward,” she recalls. “But obviously it went good enough for him.” McKenzie then had two hours to read the script in its entirety as Shyamalan’s projects are famously shrouded in secrecy. “It’s thought-provoking and unlike anything I’d ever read or seen before,” she says. And while a Zoom audition may have been new territory for McKenzie, acting is in her blood: Her mom is actor and drama coach Miranda Harcourt, her father is the writer and director Stuart McKenzie, and her maternal grandmother is actor Kate Harcourt. The third of four children, McKenzie grew up on far-flung movie sets around the world, from Philadelphia to Rarotonga in the Cook Islands. “I think if my family weren’t in the film industry, my life would have been completely different,” she says. “It’s really formed who I am as a person.”

McKenzie herself started acting when she was nine, learning through osmosis rather than through any formal training. Initially, though, she wanted nothing to do with the family business. “I knew that it wasn’t as glamorous a job as you might expect from the outside,” she says. “I wanted to be anything else.” It wasn’t until she was 13, when she played a younger version of sexual-abuse survivor and activist Louise Nicholas in the 2014 film Consent, that she saw the power of storytelling to effect change and decided to pursue acting as a career. “It was a really tough role, and that opened my eyes to the fact that through acting, you get a chance to have a voice.”

It was after starring in Debra Granik’s 2018 film Leave No Trace that McKenzie’s career began to take off. (Granik has a reputation as a star-maker; her 2010 drama, Winter’s Bone, featured a then-little-known actress by the name of Jennifer Lawrence.) A string of critically acclaimed projects followed—David Michôd’s The King; Liz Garbus’s Lost Girls; and Taika Waititi’s Oscar-winning Jojo Rabbit among them. McKenzie’s measured performances consistently stand out, subtle—quiet even—yet soulful and impactful.

McKenzie is building her career by studiously choosing projects that have emotional heft and telegraph larger messages. She’s a compulsive over-preparer. “I’m always scrambling to watch the things that they’re talking about, just so that I come off smart or whatever,” she tells me.

Before filming Last Night in Soho, the director, Wright, sent her a list of some 50 films—horror, classic, and cult, mainly—as suggested viewing to add context and reference points to McKenzie’s preparation; she made it through most of them. “Education is still happening, I feel,” she says. “I’m still learning a lot with every single thing I do.”

Source: harpersbazaar.com

by admin on July 28th, 2021










































by admin on July 21st, 2021






by admin on May 20th, 2021


Across a handful of screen roles, Thomasin McKenzie has announced herself as a major new performer to watch – she was captivating in Leave No Trace, formidable in Jojo Rabbit, and now she’s leading a very different kind of Edgar Wright movie in Last Night In Soho. The film marks Wright’s first major move into psychological horror, swapping the Cornetto gags and souped-up action of Scott Pilgrim and Baby Driver for a mind-bending, time-bending, neon-lit trawl through the central London neighbourhood. In the middle of it all is McKenzie’s Eloise, a wannabe fashionista who forges a mysterious connection back to the 1960s and Anya Taylor-Joy’s singer Sandy. Here’s a moody new shot of McKenzie in the film, as seen in Empire’s upcoming issue.

“It’s genuinely something I’ve never seen before,” says McKenzie of Wright’s latest, hinting at plenty of twists in the plot – which remains tightly under wraps for now. “Very unique. I love things where you’re reading a script, and you know where it’s going, and then it just goes in a completely different direction.” And it seems there are surprises in store from Eloise herself too. “She’s almost got kind of a sixth sense,” she teases. “She can feel things that are on another level that most people can’t see or feel.”

Last Night In Soho is written by Wright and 1917’s Krysty Wilson-Cairns, and after a number of lockdown-induced delays we’ll finally see what the seedy streets of Soho have in store on 29 October.

Source: Empireonline.com

by admin on March 3rd, 2021


Kiwi actress Thomasin McKenzie and Miranda Harcourt’s daring new roles


Photography by Victoria Birkinshaw

Thomasin McKenzie is used to walking red carpets in glamorous gowns and starring beside Hollywood greats like Scarlett Johansson, but it’s the simple pleasures in life, like lemony chickpea soup, that keep the young Kiwi actress happy.

Chatting from her family home in Wellington, beside her acting coach mother Miranda Harcourt, 58, Thomasin credits home-made comfort food for getting her through some big days on set.

“For a while, it’s all I wanted, lemony chickpea soup,” grins the blue-eyed beauty, 20, who wowed audiences with her performance as Jewish teen Elsa Korr on Taika Waititi’s satire film Jojo Rabbit.

Soup, the mother-daughter duo agree, really is good for the soul. “As an actress, you tell stories, whether they’re harrowing or comedic, and you’re constantly giving out all this emotion, so at the end of the day, I’m a bit like a zombie,” Thomasin admits. “Coming home to a favourite dinner and support system around me who understand is all I really want.”

Over the past couple of years, former Gloss actress Miranda and her film-maker husband Stuart McKenzie have accompanied their daughter to London, continuing their own projects and exploring art galleries while Thomasin worked.

“We’d home-school our youngest daughter Davida, who is 14 now, and then it’d be like, ‘What can we do for Thomasin when she gets home?’ Stuart is so good at making lemony chickpea soup. We’ve used the recipe so much, the photograph in the book has completely faded!” Miranda laughs.

“After a day on set, Thomasin just needs calm time, the food that makes her feel healthy and happy, and to go to bed.”

Thomasin, smiling, throws a spanner in the works by admitting that she’s getting a little sick of the family favourite.

“What?!” Miranda gasps, her eyes widening behind her black-rimmed glasses. “No!” It’s an overcast day as the Weekly chats with the talented pair from the house they’ve been in for 18 years, where Miranda’s actress mother, Dame Kate Harcourt, 94, lives downstairs.

Lights from streets as far as Porirua, a half hour’s drive from their home, twinkle below the lounge window, which overlooks the ocean.

Thanks to Stuart’s love of art, works fill every wall. A statement piece made from an old painted black filing cabinet, by award-winning Kiwi multi-media artist Merylyn Tweedie, greets guests at the front door.

“We got it when Thomasin and Peter [now 22 and a law student] were babies,” says Miranda. “One day I went outside to look for our car, which had my library books in it, and Stuart told me he’d swapped the car for this sculpture. Well, those books never went back!”

While art talk is fun for Miranda and her daughter, who both attended Wellington’s private Samuel Marsden Collegiate School, there’s something closer to Thomasin’s heart she wants to chat about.


Photography by Victoria Birkinshaw

Since the end of last year, the Leave No Trace star has been an ambassador for So They Can, a New Zealand initiative that provides education to children living in poverty in Kenya and Tanzania. Along with her mother, who went to school with Cass Treadwell, the founder of So They Can, Thomasin is about to embark on its 1HumanRace challenge.

“Throughout March, you have to move 85km in whatever way you choose, and the goal is to raise money for the 85 per cent of girls living in Pokot, Kenya, who are subject to female genital cutting, or forced into child marriage between 9 and 13 years of age,” shares Thomasin, who played Pixie Hannah on Shortland Street in 2016.

“It’s a great thing to do because you’re putting in the work and moving to make a difference, rather than sitting at a computer and making a donation and then forgetting about it.”

The organisation has so far graduated 474 teachers from its Tanzanian Teachers’ College to support the next generation.

For Thomasin, helping those who are less fortunate feels natural. “I don’t want to be the type of person who attaches her name to something but doesn’t actually make the physical effort,” she explains. “With acting, it’s easy to get inside of your own head, so it’s really important to live your life for other people as well, not just selfishly for yourself.”

Thomasin was 13 when she discovered her passion for acting, after appearing as a young Louise Nicholas on the film Consent, and learning she could tell worthy stories on screen.

“What’s important as an actress is to make sure you keep your humanity sharp,” adds Miranda, who is an acting coach for big Hollywood stars.

Acting, Thomasin says, is also an emotional rollercoaster.

“It’s not the glamorous kind of job some people assume it to be. Even though it’s wonderful, it’s a lot deeper than just showing up in front of a camera with some make-up on,” she explains. “There’s a lot of yourself that goes into acting. Like Mum said, a big part is feeding yourself in other ways.

It’s not so healthy just to be focused on acting, when for me, having experiences and passions to draw from keep me grounded and motivated.”

This evening, Thomasin has a session with a dialect coach she met in London while working on Last Night in Soho, which screens in New Zealand this November. “The Kiwi accent is quite harsh, so it’s a bit difficult to break out of that, Thomasin laughs. “There can be such subtle differences, like if there’s one noise that sounds off, it ruins the whole thing! It takes a lot of work to do a good job to get other accents down.”


Photography by Victoria Birkinshaw

Surprisingly, despite her critically acclaimed success, Thomasin has never had any formal acting coaching. “Mum has always been an amazing resource for me. She understands a scene just like that, and how tiny tweaks in the dialogue can change the entire scene,” she enthuses. “Dad’s also the first one I talk to if I’m reading a script because he’s a writer and has amazing instincts around whether a script is good or not.”

Thomasin has wondered whether she’d be acting if it wasn’t for her talented family.
“Mum, Dad and I have quite a unique relationship because obviously they’re my parents, but there’s a business relationship, too. When we travel around the world together for work, we’re often talking about business and ideas, and what we think of a script,” she tells. “I’m really lucky, but it has also meant I’ve always wanted to define myself and figure out why I’m doing this, for my own reasons. I do wonder what else I’d be. Maybe a vet!”

Before she heads overseas again soon, this time without her parents, to work on an unannounced series in London, Thomasin’s making the most of being at home and with friends.

“I’m reading scripts and we’re going through the visa application process, which is always really stressful!” she shares. “It won’t be the first time I’ve travelled alone, though. Late last year I went to the Dominican Republic to film Old.”

Source: nzherald.co.nz

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Official Thomasin McKenzie Links

Current Projects
Last Night in Soho

Role: Eloise
Release Date: April 2021
When A young girl, passionate about fashion design, is mysteriously able to enter the 1960s where she encounters her idol, a dazzling wannabe singer. But 1960s London is not what it seems, and time seems to fall apart with shady consequences.
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The Justice of Bunny King

Role: Tonyah
Release Date: 2020?
A triumph over adversity tale about women fighting their way back from the bottom of society.
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The Power of the Dog

Role: Unknown
Release Date: 2021 (Netflix)
A pair of brothers who own a large ranch in Montana are pitted against each other when one of them gets married.
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Untitled M. Night Shyamalan Universal Project

Role: Unknown
Release Date: Unknown
More info coming soon.