#jackie and laura going first drives me truly mad

[deeply-embarrassing]

This particular scene at the party in the pilot episode drives me insane

[robbieinterviews]

“Margot Robbie, Australia’s Newest Movie Goddess”, 2014

Margot Robbie was so outrageously seductive as *The Wolf of Wall Street’*s trophy wife, Naomi (a role that earned her an Empire Award in March), that she managed to exceed the script’s hyperbolic requirement that she personify “the hottest blonde ever.” When she makes her sizzling entrance at a Hamptons bacchanal, one prurient male declares, “I’d fuck that girl if she was my sister!” Another breaks down on the spot and masturbates. Richard Curtis compares the Australian siren—who played an unattainable dream girl in his 2013 romantic comedy, About Time—to that other screen goddess Grace Kelly. And this summer Robbie is taking on the role of the ultimate irresistible Ur-female, Jane (opposite Alexander Skarsgård), when David Yates’s Tarzan begins filming in London. Martin Scorsese’s casting director, Ellen Lewis, who first brought Robbie to the master’s attention, said, “As beautiful as she is, that’s how talented she is.”

The 24-year-old actress is slightly baffled by all the over-the-top admiration. “In my big group of girlfriends at home,” Robbie insists, “I am definitely not the best-looking. I did not grow up feeling like I was particularly attractive. You should have seen me at 14, with ­braces and glasses, gangly and doing ballet! If I looked good in Wolf of Wall Street I cannot take full credit; it was because of hair extensions and makeup.” Robbie even downplays her seemingly innate gift for acting, which, she says, did not always bring her topmost accolades when she was growing up in the Curumbin Valley, on the Gold Coast of Australia, about an hour from Brisbane. “My school was very academic. I was up there in English. I could have done law and a number of other things. But I was only second in my year for drama.”

Even so, she had a pretty clear idea of where she was headed. Since childhood she had amused herself and her family (she’s the third of four siblings) by memorizing the films they watched on the household VCR. “My family had nothing to do with the entertainment industry. We had farming on both sides. My mother’s family raised grains and crops. My father’s grew sugarcane and mangos. So I knew more about the basics of farming than of acting. But my background was real­ly helpful when I was shooting Z for Zachariah”—a post-apocalyptic drama to be released in 2015. “I already knew how to drive a tractor and milk cows.” The movie, for which Robbie became a brunette, co-stars Chiwetel Ejiofor, who says, “Whilst she is truly very, very funny and enormously vibrant, Margot takes the ‘doing of it’ very seriously.”

By the age of 10, Robbie was earning her own wages—polishing cutlery at a restaurant and then advancing to “chopping vegetables and waitressing.” During her last year of high school, she worked as a housecleaner. “I’ve worked three jobs at a time. I worked in a pharmacy, an office, at a warehouse, did catering. I was always trying to save up money.”

Robbie’s resourcefulness served her well when, at 17, she moved to Melbourne without professional prospects. “I was sleeping on a mattress in a shitty apartment,” she recalls. Her boyfriend at the time, a university student, worked as “a pizza boy.” Her favorite job during her early Melbourne days was as a sandwich-maker at Subway. “I was really good at it! I make a mean Subway. The trick is to spread everything evenly out and cut it so well that there is never a bad bite.” A few months into her Melbourne adventure, she announced to her Subway colleagues that she was quitting because she had landed a part on the TV series Neighbours—after cold-calling the show’s production company. Six months later, Subway hired Robbie for a commercial, and, she said, “I got paid like 20 times the amount I ever earned there.”

Neighbours—a beloved nighttime soap, running in Australia since 1985—had long been a breeding ground for the country’s breakout stars, Russell Crowe, Guy Pearce, and Kylie Minogue among them. Robbie’s guest stint as bitchy bisexual Donna Freedman quickly evolved into a regular role. “Neighbours was my initiation into the industry,” Robbie says. “It’s definitely the hardest job I’ve ever had; it was boot camp. I spent so long on it. I survived three years.”

During her Neighbours tenure, she received two nominations for a Logie, the Australian equivalent of an Emmy. But Robbie had set her sights higher and farther. “I was carefully setting things up,” she said. Robbie enrolled in acting classes, concentrating on dialect coaching in order to perfect her American accent for the next move she planned, to Hollywood. She traded in a “dodgy” agent for one with Hollywood connections and thriftily held on to her earnings. “I saved up enough to get me through three years unemployed,” she says. A Neighbours co-star, Jackie Woodbyrne, has said, “It wasn’t a matter of if she would become successful, but when.”

“People ask me all the time what it is about Australia that produces so many big stars,” Robbie says. “Honestly, I believe it is a combination of things. Our education standards are quite high, but our industry is very limited. Yet we’re very aware of the industry—everyone goes to the theater, sees TV shows. The logical step is to make a move to America—America is getting the best of the best of us. You don’t leave Australia unless you are passionate. Any Australian actor who comes to America is really committed. There are no dabblers—it’s all or nothing. If you’ve worked in Australia you can’t get away with bad behavior, like showing up late. We take our work ethic seriously. So maybe that’s why we have a good reputation.”

As soon as Robbie’s Neighbours contract ended, she was on a plane to Los Angeles. She had timed her January 2011 arrival strategically, so it coincided with winter auditions for television pilots. By springtime, she had landed a role as the stewardess Laura Cameron on Pan Am, the ABC period drama starring Christina Ricci. A kind of Mad Men of the skies, the series fared better internationally than domestically and was canceled in 2012.

Robbie’s Pan Am character was a runaway bride, who, she says, “fell in love with a black guy.” In both Z for Zachariah and Focus (a romantic-comedy caper set to open in February 2015), Robbie plays opposite an older, Oscar-nominated black actor—Ejiofor and Will Smith, respectively. “Will and I spoke about this,” she says. “It’s 2014—and we’re one of the few inter-racial couples you’ll see in a mainstream film! We’re breaking that mold!” Last November a tabloid published shots of the pair clowning around in a photo booth while filming Focus in New Orleans. Smith was bare-chested and Robbie was lifting her top above her bra. She tweeted at the time, “Been working nonstop, just catching my breath. There’s absolutely no truth to the ridiculous rumor in Star mag . . . ” Robbie says today, “Everyone wants to link me up, make it seem like I have a thrilling love life. They tried to say Leo and I were a couple, too. Ideal­ly, I’d want people to know nothing about my personal life. The truth is my love life is very dull. I’m in love with my job.” She does allow that she and her old Melbourne flame, the erstwhile pizza boy Jake Williams, are no longer together. He went on to co-found the Internet start-up Spotjobs, an Australian employment Web site. “We both went separate ways to pursue careers,” Robbie notes, “and went above and beyond what we wanted to achieve.”

Beore Pan Am was canceled, Robbie sent an audition tape to Ellen Lewis, Martin Scorsese’s casting director, without any real expectation of a response. The Wolf script had gone out to scores of hopefuls, she initially felt little sympathy for the gold-digger character, and she was ambivalent about the requisite nude scenes. Robbie had perhaps one edge over the competition: she had nailed Naomi’s salt-of-the-earth, outer-borough accent. For inspiration, she had drawn upon “my best friend from New York—a chef who grew up in Queens.” Robbie also channeled a woman from “the props department of Pan Am,” which had been shot at the Brooklyn Navy Yard. “These women have huge personalities,” Robbie says. “Nothing like what we have in Australia.”

Back in 2009, during the Neighbours era, an Australian journalist asked the then 18-year-old novice what actors she would most like to meet. High on her list was Leonardo DiCaprio. Remarkably, within four years Robbie was in New York auditioning in person for DiCaprio and Scorsese, doing her very best to keep up with the actor’s “daunting” off-script improvisations and make sense of the indecipherable exchanges between the two men. Riffing on a scene in which an exasperated Naomi argues with DiCaprio’s priapic con man, Jordan Belfort, Robbie suddenly reached out and slapped the star. “We were stunned,” Scorsese recalled, “because she was as surprised as we were. But when she made that move, she claimed Naomi.” As for DiCaprio, he apparently told Robbie, “That was brilliant. Hit me in the face again!”

Under the two pros’ influence, Robbie re-discovered her knack for improvisation, unexplored since high school. Some of *Wolf’*s more memorable bits were, in fact, Robbie’s off-the-cuff contributions. She improvised, for example, the lines (both of which reverse the couple’s power dynamic) “We’re not going to be friends” and “ ‘Who?’ What are you, a fucking owl?” For the notorious nursery scene, it was Robbie’s idea to push her patent-leather stiletto into a groveling DiCaprio’s face. And it was she who boldly suggested that the dominatrix Venice should insert a lit candle between DiCaprio’s buttocks, to follow more closely the debauched autobiographical source material.

Robbie says, “Nobody else compares to Marty. I still pinch myself that I worked with this director who has been a pillar for dec­ades and decades. I can’t believe it! It was one of the best times in my life! I’d sit down and have lunch on the set and think to myself, I’m getting paid to do this! It was insane! Pure insanity!”

Robbie—the latest mantle-bearer in a long line of extraordinary Scorsese temptresses that includes *Taxi Driver’*s Cybill Shepherd, *Raging Bull’*s Cathy Moriarty, and *Casino’*s Sharon Stone—can easily envision a future beyond Wolf. “I’m not an overnight sensation,” she says. Other upcoming films include A Bigger Splash, inspired by Jacques Deray’s La Piscine, with Tilda Swinton and Ralph Fiennes, and an adaptation of the World War II–era novel Suite Française, with Michelle Williams and Kristin Scott Thomas. Robbie, meanwhile, would rather not return to television, for the simple reason that she doesn’t like “playing one role for a long time—I’d rather do many characters for short periods intensely.”

For now the actress has no problem turning down lucrative offers. “I will never sell my soul for a paycheck,” Robbie says. “I don’t need the money because I’m not extravagant. I share my house in London with five roommates. I take the Tube—it’s free entertainment! I intend to stay the exact same person I always was; my family and friends keep me grounded.”

Robbie’s perspective may be unusually long for an actress her age. But then the outdoorsy Australian has some experience seeing vistas from great heights. “For my 18th and 19th birthdays I went skydiving,” she says. “I wanted that to become an annual tradition. But instead I’ve been working on my birthdays.” This year proved to be no exception—she was on the set of Tarzan. And that, she’s decided, is exactly the way she likes it. “The set is still my favorite place to be. I just don’t ever want the novelty to wear off.”