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In the last few years, Macdonald has appeared in shows such as Black Mirror (Hated In The Nation), alongside John Hannah in the TV series The Victim, and as Sarah, a loner cop, in Giri/Haji, the British-Japanese thriller. The women she plays tend to be strong, but not loud simmering with ambition – as in Boardwalk Empire, in which her character, Margaret, crawls out from the shadow of her mob boss husband (played by Steve Buscemi) to eventually run her own show or Mary, Maggie Smith’s shrewd maid in Robert Altman’s 2001 film Gosford Park. That was released in 1996, when Macdonald turned 20, and, as it turned out, Diane – brazen, impulsive, outrageous – was atypical of the work that would follow. Macdonald once described acting as “not brain surgery” – not a view shared by most actors at her level – a delight in the absurdity of it all that has been visible onscreen since her first, explosive role as Diane in Trainspotting. It is there in her performances, this guileless good humour. “My son sits over there, plugged in, on his iPad, and I’m on the phone, and I just see the way he looks at me I still remember thinking my mum was a fool, such a fool, about technology.” On the Trainspotting shoot, everyone was drinking. “I’m just rubbish at reading the emails.” At home, she’ll look up from whatever she’s doing and catch her sons, Theodore, eight, and, in particular, Freddie, 12, regarding her with incredulity. “I’m horrible,” she says, cheerful in a chunky knit sweater, which is, she says, one notch up from her customary lockdown hoodie. She has been known to rock up to auditions having failed entirely to study the script. A day before the interview, Macdonald turned up an hour early to the Guardian photoshoot on the shores of Loch Lomond. Macdonald in the just-how-bent-is-she role in season six of Line Of Duty. “It’s hilarious that they sent me a list of things I’m not to talk about, when I can’t remember any of it.”
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And that is pretty much all, ahead of transmission, the BBC will permit either of us to reveal, which makes Macdonald crack up every time she thinks of it. (Previous incumbents in the just-how-bent-is-she role include Keeley Hawes and Thandie Newton.) Line Of Duty’s twists are legendary, and the embargos fierce, and, following the rollercoaster of season five – in which we grappled, briefly, with the possibility that Supt Hastings ( Adrian Dunbar) himself was bent – we meet Macdonald in season six as DCI Jo Davidson, getting stuck into a case. Her role in Line Of Duty has, over the course of the show’s six seasons, become a coveted one in British telly – that of the guest star brought on as a no-good cop to be investigated by AC-12, the show’s now iconic anti-corruption unit. All of which makes our encounter today doubly surprising that Macdonald, appearing via Zoom from her home in Glasgow, is here to talk about Line Of Duty, possibly the least reflective TV show ever made. As a grieving mother in The Child In Time, a gangster’s wife in Boardwalk Empire and the titular role in The Girl In The Cafe, the 45-year-old has, over the last 25 years, become known for the kind of thoughtful performances signified by the image of a woman staring out of a window.
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Kelly Macdonald’s roles are typically quiet, fraught with internal conflict and entailing journeys that are more reflective than active.