To prepare for the part, Bamber underwent a Kate Moss bootcamp of sorts. She dug up every video she could find and studied Moss’s voice and mannerisms. On a runway set up in a church gymnasium, she practiced Moss’s walk, paying close attention to her stride and attitude. She also worked with movement coach Polly Bennett and vocal coach Louise Jones, the latter of whom drilled her on Moss’s signature Croydon accent, making sure Bamber factored in the requisite rasp—and slight air of mischief.
“The big thing that we spent hours on was the laugh, like the cackle,” Bamber says. In fact, it grew into a bit of an obsession—so much so that her younger brother, with whom she lives in London, had to intervene. “Towards the end of filming, my everyday laugh got a bit funny, and my brother was like, you have to stop,” she says.
Bamber also spent some time with Moss—the two had met before, at parties, including one just after she got the part—and wore a few prized pieces from the model’s own archive for the film, pulled by Moss’s friend James Brown. These included a John Galliano Union Jack blazer and a vintage blue sequin dress that Moss wore to her 30th birthday party.
To prepare physically, Bamber stuck to a rigorous workout routine, wore color-changing contact lenses, and dyed her hair. She also had to get comfortable performing nude.
“It was something that I thought about a lot,” says Bamber, “because obviously, Kate has experienced being nude for photographs so much in her life.” At home, Bamber would hold the position that Moss assumes for the painting—though there was also the subtler matter of teasing apart Moss’s comfort as a fashion muse from her vulnerability in Freud’s studio, as she surrendered to his uncompromisng eye.
All the while, Bamber and Derek Jacobi, who plays Freud, worked to cultivate a closeness that comes through on screen. “We met several times before we started shooting, essentially to get to know each other, but what transpired was an unexpected and delightful friendship,” Jacobi writes in an email.
In another instance of life imitating art, Bamber admits that after smoking so much in the film, she picked up the habit in real life—and learned a little something from Moss in the process.
On the first day of shooting, Moss was on set with her. “I had this dressing room in this house, and I was quite concerned about going out and having a cigarette. And I remember her being like, What are you doing? Just have a cigarette in here,” Bamber says.
“It was just this perfect moment—just the naughtiness of it. I needed to take a leaf out of her book and break a few more rules, I think.”
Moss & Freud is now available on VOD.
