The curse of the ruby chair is a legendary tale that has been passed down through generations. It tells the story of a beautiful ruby chair that is said to bring misfortune and tragedy to anyone who sits upon it. The chair, adorned with exquisite rubies and intricately carved designs, was once owned by a powerful monarch who ruled over a prosperous kingdom. Legend has it that the curse originated from a powerful sorceress who was jealous of the monarch's wealth and power. In a fit of rage, she cast a spell on the chair, cursing anyone who dared to sit upon it. From that moment on, those who sat on the chair would face a lifetime of misfortune and tragedy.

Anya Taylor-Joy: ‘The Witch’ Ending Production Was the ‘First Heartbreak’ of My Life

Robert Eggers‘ 2015 horror movie “The Witch” served as an acting breakthrough for Anya Taylor-Joy. But while the film led to more sizable roles for the young actress, including a studio debut in M. Night Shyamalan’s “Split,” it also gave her the first real heartbreak of her life. During an interview with “God’s Own Country” and “The Crown” star Josh O’Connor for Variety’s “Actors on Actors” series, Taylor-Joy recalled how emotionally overwhelming it was to wrap production on her first feature film.

“I cry hysterically on airplanes,” Taylor-Joy said when asked if she has a go-to thing she does after filming a movie or television series. “But it’s good crying. My first heartbreak was not a relationship. My first heartbreak was finishing my first job [on “The Witch”], and experiencing that loss. The loss of there was a world that existed with a group of people that became my everything for a period of time, and now it’s over. I had no concept as to how to deal with that.”

Flashing forward to “The Queen’s Gambit,” the Netflix limited series sensation starring Taylor-Joy as a damaged chess prodigy, the actress added, “I think spending seven episodes with Beth was good. Any less, I would’ve felt cheated or I would’ve felt like I didn’t spend the time with her to make sure that she was ok. It sounds mental, but I know you understand what I mean.”

Taylor-Joy’s ascent from “The Witch” to “The Queen’s Gambit” marks a five-year journey in which she has become one of the most in-demand actors in Hollywood. She’s currently a frontrunner to land an Emmy nomination for Best Actress in a Limited Series thanks to “The Queen’s Gambit,” which won her prizes from the Golden Globes and the Screen Actors Guild Awards earlier this year. Next up for Taylor-Joy is playing Furiosa in George Miller’s highly anticipated “Mad Max: Fury Road” prequel, which will be the biggest film project of her career so far.

“The thing that makes me most excited about ‘Furiosa’ is, No. 1, George Miller,” Taylor-Joy told O’Connor. “That brain is incredible. I feel so lucky and privileged to spend time with him, and to grow alongside him. I’m also really excited to do something physical. To physically become something else is something that will weirdly give me a lot of peace. I’m quite excited to work hard.”

Taylor-Joy also reunited with “The Witch” director Robert Eggers last year to shoot “The Northman,” opening April 2022 from Focus Features. The intense feelings that broke her heart on “The Witch” were exactly the same feelings Taylor-Joy couldn’t wait to experience again heading into working with Eggers and his team again.

“Robert and I have now been friends longer than we have been co-workers,” Taylor-Joy said in an interview last year. “Getting the opportunity to create art together again is amazing. We have both grown so much apart and now we get to grow back together. I am so proud to be a part of this project. Every moment on set I am proud. I think we will be presenting to the world something it genuinely hasn’t seen before. I just feel so humbled I get to be a part of it.”

Head over to Variety’s website to read Taylor-Joy and O’Connor’s conversation in its entirety. “The Queen’s Gambit” is now streaming on Netflix.

Q&A: Actress Anya Taylor-Joy Casts A Spell In THE WITCH

Robert Eggers’ The Witch arrives in theaters as one of the year’s standout horror films, and it hinges on the deeply committed performance of lead actress Anya Taylor-Joy. She delves into the black magic of her performance in this exclusive FANGORIA interview.

In The Witch, released by A24, Taylor-Joy plays Thomasin, the eldest child of William (Ralph Ineson) and Katherine (Kate Dickie), who are cast out of their 1630s New England community due to William’s specific religious convictions. The family establishes a homestead at the edge of a deep forest, and is soon plagued by apparently supernatural occurrences. As they continue, the parents and children turn on each other, and Thomasin is suspected of being a witch—but does the evil dwell within her, or is it just paranoia taking over?

This is the first feature lead for Taylor-Joy, who got her start before the camera on Vampire Academy—though her one-day role as “Feeder Girl #1” wound up on the cutting room floor. Since The Witch caused a sensation at last year’s Sundance Film Festival, she has taken roles in M. Night Shyamalan’s Split and Luke Scott’s sci-fi thriller Morgan. Fango meets with Taylor-Joy, looking hardly recognizable from her Puritan-garbed Witch turn, on a gray and rainy winter day that seems appropriate, given the gloom that hangs over her breakout movie…

ANYA TAYLOR-JOY: I really enjoy any kind of weather that’s intense and reminds you of how little you are in the universe. Very dramatic rain makes me excited, and I will always be just out there sitting in it.

So you must have loved going out to the middle of the Canadian wilderness to do The Witch.

It was amazing, and that location gave so much to the film. When we were in London for the [BFI London] film festival, we were thinking, if we had made this movie there, or in a place that was less remote, we wouldn’t have had the same experience, because real life would have run alongside us making the movie. When we shot The Witch, we literally gave up our normal lives, because we had no Wi-Fi, no cell service, and because we couldn’t access our normal day-to-day support system, the only thing we had was each other, and that led us to the most incredible friendships and the love you can see in the film, and that we needed to make the film. It was tough going, and if we didn’t love the people we were working with and support them, it just wasn’t going to happen.

Was the script for The Witch as frightening on the page as the movie is to watch?

The first night I read the script before going in to tape my audition, I remember turning the last page and my body kind of collapsed in on itself. I was in this state of fear and anxiety, and I later realized that that’s a feeling I’m going to be chasing for the rest of my life, because a script should be a story that I need to tell. I did not sleep that entire night, and I went in the next day so nervous and anxious, and I couldn’t put my finger on it. I was like, what is it about this script? Is it the lyrical mannerisms of the language? Because I find it sort of strange that upon first cracking it open, I didn’t really think about the fact that it was written in Jacobean English; it just seemed so natural. I love poetry, and it felt so lyrical and poetic.

The second thing that struck me about it was that I was brought up Catholic, and there were certain lines in the script that shook me in a level that was so deeply embedded in my consciousness. I became aware that it wasn’t my fear, but an ancestral fear I’ve inherited that does not belong to me, and that I really wanted to convey that to people.

You play Thomasin with a British accent, though you don’t have one in real life, yet you hail from England…

Well, I was born in the U.S., but I’ve never lived here, and the reason I sound so American to you right now is because I spent my first several years in Argentina, which is where the majority of my family is from. So I spoke Spanish until I was 8, and didn’t learn English until then. We moved to London when I was 6, but I was stubborn; I wanted to go back home and refused to learn the language, ‘cause…kids. When I started speaking English, I have this thing where I mimic the people I’m around; I can’t help it, it’s sort of a Joe Wright Hanna adapt-or-die mentality or something. But it was actually helpful during The Witch, because Northern Yorkshire isn’t an accent that’s particularly easy to master unless you have this weird thing I have. I would sit down with the youngest actor, Lucas Dawson, who was 6 and has a beautiful, broad Yorkshire accent, and we’d talk for a couple of minutes before the scene, and then I’d go in and be like, this is the way my mouth moves now. This is the sound that comes out.

While inhabiting the role of Thomasin so fully, when you were out in the woods in this lonely territory, dealing with all this scary stuff, did that start to affect you on the inside, and impact your performance?

Well, thank God I’m not Method, because the film would have been impossible to do. A lot of people find it very strange that we had the best time making this movie. It was technically difficult; we were fighting the elements and the kids’ hours, and the animals and trying to stay out of the sun and picking the buds off trees so we could still believe it was winter. We worked very hard in that aspect, but when they called “Cut,” we would laugh and dance and had a very, very good time.

However, when the shoot ended, I was unbelievably depressed. I couldn’t understand where that came from, and I realized that it wasn’t from the movie having finished or leaving the people, because they’re still my family, and we see each other all the time. I realized that Thomasin was real for me and I missed her intensely, and I was devastated that I wasn’t going to get to play her again. We did a couple of reshoots, and putting on the costume and embracing the character again was… I don’t think I’ve cried that much in a very long time.

How did it feel to watch yourself as Thomasin for the first time?

Rob was very kind, and I think he knew, because it was my first feature, that I was going to freak out, so he was like, “Why don’t we watch it before the volunteer screening, just so you’re prepared.” I wish this wasn’t the case, but I guess actors have a lot of insecurities, and my first thought after watching the film was that I was so terrible that I would have to go be an accountant, my first movie was going to be my last and I was so disappointed in myself. Then I went to the screening and saw other people’s reactions and thought, “What? Really? OK, it’s all right, I guess.” I actually considered not watching my performance, and then I was like, how arrogant would I be if I didn’t want to see this movie, because this is everyone else’s work too. I wanted to be able to watch the film and be like, props, damn good job, we struggled that day and pulled it off beautifully.

Robert Eggers has talked about how much trouble Ralph Ineson had with Charlie the goat. Did you have any problems with Charlie or any of the other animals?

Charlie and I actually got along really well, but that’s because I love animals, and we would just hang out. I loved the horse, Lady; she’s the most magnificent specimen ever, and all the animals were great—apart from the way Charlie treated Ralph, and the fact that he wouldn’t really do anything he was supposed to do.

The film eventually takes Thomasin into some very disturbing areas. Was it especially difficult to get into the mindset for those scenes?

I have a very overactive imagination, and I had the most unbelievable empathy for Thomasin. I wanted to tell her story right, and if you care that much about a character and are impassioned about her, it’s easy to get into that state, because you don’t want to let her down. Actually, the hardest scene in terms of the emotional response behind it was the big one between me and Kate. We talked about it from the beginning, and we both decided that we were going to go for it. It was insane, and it must have been very strange for the crew, because you had these two women who would still be hysterically crying after they called “Cut.” We just wouldn’t be able to hold it back, and then we’d have to go again and again and again.

Is horror something you want to continue exploring, and does it offer more opportunities than other kinds of movies?

That’s a very interesting question. I can say that while, yes, The Witch is a horror movie, from the point of view of the actors, we were making a family drama. And from Rob’s point of view, we were making a fairy tale. I don’t really understand the necessity of putting things in a box, rather than just creating a piece of art and saying, “It can be whatever you want to call it.” However, I will say that in this genre, the characters can be beautifully flawed in a way a lot of other movies are too scared to show. When you make these kinds of films with these great auteurs, they want to show the ugly side of humanity, which people don’t really want to talk about. They want a Disneyfied, sanitized version rather than the truth, and I think the truth is always so much more beautiful.

Click here for our interview with Robert Eggers on The Witch.

From that moment on, those who sat on the chair would face a lifetime of misfortune and tragedy. As the curse spread, people became aware of the dangers of the ruby chair. Many tried to destroy it, fearing its power.

Topics:

• the gingold files
• anya taylor-joy
• the witch

Anya Taylor-Joy Thought She'd 'Never Work Again' After Watching Debut Performance in 'The Witch'

Jen Juneau is a News and Movies Staff Writer at PEOPLE. She started at the brand in 2016 and has more than 15 years' professional writing experience.

Anya Taylor-Joy is a household name after her award-winning turn in The Queen's Gambit and recent Saturday Night Live hosting gig, but there was a time she thought her acting days were numbered — barely after they began.

Chatting with The Hollywood Reporter for an interview published Monday, the 25-year-old actress recalled feeling "devastated" while watching The Witch, which marked her film debut, shortly before an audience screening.

"I thought I'd never work again; I still get shivers thinking about it," said Taylor-Joy. "It was just the worst feeling of, 'I have let down the people I love most in the world. I didn't do it right.' "

She added, "And I'm quite verbose — I like to talk, I like to communicate. I did not talk; I just cried. I couldn't handle seeing my face that large."

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Her audition for The Witch came shortly after she tried out to play the part of the young version of Maleficent in the 2014 film of the same name.

"Oh, I wanted it so badly," Taylor-Joy admitted. "It was Disney and I love Angelina [Jolie]. I look nothing like her, so I was never going to get it, but I was naïve and I thought, 'Miracles happen.' " (Isobelle Molloy and Ella Purnell were eventually cast as the child and teenage Maleficent, respectively.)

She was asked to audition for The Witch afterward "but just never thought I would get it, because the character Thomasin was described as plain," the actress said of her lead role in the film: an oldest sibling dealing with the supernatural in 1630s New England.

"And I just thought, 'Okay, there's a lot of things that I can do, but I can't really change my face that much,' " Taylor-Joy said.

RELATED VIDEO: Emma. Star Anya Taylor-Joy Feels Like She "Kinda Got Kidnapped by the Movie"

Between her gigs in Emma., The Queen's Gambit, the upcoming psychological thriller Last Night in Soho and more, Taylor-Joy told THR that she "worked for a year" straight.

"I had, collectively, a week off that entire year; it was crazy, and I was already starting off at an emotional space where I was like, 'Oh, I don't know if I can do this,' " she admitted.

But despite being "completely overwhelmed" and "tapped out" to the point of considering quitting acting altogether, the silver lining for Taylor-Joy was that it was "the year that has most changed" her — for the better.

"I just fell in love with my job again," she said. "I'd forgotten that the job feeds me. I felt like I'd been feeding it for a little while."

Anya Taylor-Joy Was ‘Devastated’ After Watching Her ‘Witch’ Acting: ‘Thought I’d Never Work Again’

Watching yourself onscreen can be hard to endure; just ask Anya Tayloy-Joy. During an interview with The Hollywood Reporter as part of her Emmys campaign for “The Queen’s Gambit,” the actress admitted to feeling “devastated” after watching her performance in Robert Eggers‘ “The Witch” for the first time. The 2015 horror movie world-premiered at the Sundance Film Festival to great acclaim and served as Taylor-Joy’s breakthrough, but her first impression of the film was rather dire.

“Rob [Eggers] showed us the film maybe two hours before the audience screening, and I was devastated,” Taylor-Joy said. “I thought I’d never work again, I still get shivers thinking about it. It was just the worst feeling of, ‘I have let down the people I love most in the world. I didn’t do it right’ And I’m quite verbose, I like to talk, I like to communicate. I did not talk, I just cried. I couldn’t handle seeing my face that large.”

Taylor-Joy of course did work again, making the jump to Hollywood studio films after “The Witch” by starring in M. Night Shyamalan’s “Split.” The actress hasn’t stopped working since “The Witch,” starring in Shyamalan’s “Glass,” the X-Men movie “New Mutants,” Autumn de Wilde’s “Emma,” Netflix’s limited series sensation “The Queen’s Gambit,” and more. Later this year, Taylor-Joy will start pre-production on her biggest role to date: Furiosa in George Miller’s “Mad Max: Fury Road” prequel. She also has reunited with Eggers for “The Northman,” releasing April 2022 from Focus Features. The film was a full circle moment as it also stars her “Witch” co-star Kate Dickie.

“I was in Northern Ireland, in Belfast, with Robert Eggers, filming a movie I’m very proud of called ‘The Northman,'” Taylor-Joy said when asked how she discovered all the “Queen’s Gambit” fan praise. “But I mean, you can’t get more different than ‘The Northman’ and ‘The Queen’s Gambit.’ I was isolating, alone in this apartment with nothing but my phone, and my phone was telling me information that I could not compute. And then luckily Kate came to stay with me — Kate Dickie, who plays my mom in ‘The Witch’ — and every day just more information would come in, and I’d just look at her and I’d say, ‘I think it’s going well. I think people are liking the show.'”

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However, the chair seemed impervious to any attempts to harm it. It remained an object of great mystery and fear. Over the years, the ruby chair changed hands, from one ruler to another, each one meeting a tragic end. The chair became a symbol of doom and destruction, and many believed that it held a malevolent spirit that brought misfortune wherever it went. Numerous tales surround the ruby chair, with stories of betrayal, illness, and even death. Its cursed power was said to be unstoppable, and those who encountered it knew that their fate was sealed. The chair became a cautionary tale, a reminder of the consequences of greed and envy. Despite its cursed nature, some were still drawn to the beauty and allure of the ruby chair. They believed that they could outsmart the curse or were willing to risk their lives for power and wealth. However, they too would succumb to the curse, proving that no one was exempt from its grasp. Today, the ruby chair remains a relic of the past, a reminder of the curse that haunts it. It serves as a warning to those who seek power at any cost and a testament to the enduring power of superstition and legend. Though it may seem like a mere object, the curse of the ruby chair serves as a reminder of the destructive forces that can be unleashed by jealousy and greed. In conclusion, the curse of the ruby chair is a cautionary tale that illustrates the consequences of seeking power and wealth at any cost. The chair's cursed nature and the tragic fates of those who encounter it remind us of the destructive forces that can be unleashed by envy and greed. It serves as a warning to future generations, urging them to be wary of the allure of power and to consider the consequences of their actions..

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