Martha Millan on starring in ‘The Cleaning Lady,’ ‘The Gentlemen’

Don’t look now but the charming and humble Filipina-Aussie actress, Martha Millan, is portraying a badass villainess in Guy Ritchie’s newest TV series, “The Gentlemen.”

Millan, who was born in the Philippines but raised in Sydney, Australia since she was four years old, portrays Mercy Moreno, a Filipino dealer in high-end sports cars that is used as a front to ship Colombian cocaine.

Based on Ritchie’s 2019 film of the same name, the series also stars Theo James (Edward “Eddie” Horniman), Daniel Ings (Frederick “Freddy” Horniman) and Kaya Scodelario (Susan “Susie” Glass).

It is about Edward Horniman who unexpectedly inherits 15,000 acres and the title of Duke of Halstead. Unknown to Edward, the land has also become a weed-growing empire, run by Bobby Glass, a criminal syndicate and the father of Susie Glass.

Millan talked to us in an exclusive interview via Zoom about her new hit show with Ritchie and her portrayal of Mercy Moreno.

Millan, who is also featured in “The Cleaning Lady” as Fiona De La Rosa, the notably undocumented sister-in-law of Thony De La Rosa (Elodie Yung) in the Miranda Kwok-created hit series, also talked to us about Season 3 of the show and working with co-Filipino actors JB Tadena and Princess Punzalan among others.

We were also able to talk to Theo James and Daniel Ings in an exclusive Zoom interview and they also told us how it was working with Millan in the Guy Ritchie series which was filmed in London.

James, Ings, and Scodelario also joined us at a virtual press conference to talk more about the show. Below are excerpts from all those interviews.

Martha Millan

Congratulations on your two high-profile projects, “The Cleaning Lady” and “The Gentlemen.” First, let’s talk about “The Cleaning Lady.” It tackles a lot of issues that Filipinos and other immigrants face in the US. Now on its third season, what do you think is the secret of the show’s success, and how do you see the arc of your character Fiona in this season?

Well, first of all, thank you so much for having me. This is such an honor. Regarding the success of the show, honestly, it comes down to the core of it, which is based on family values. And, you know, everybody in this show, it’s all about family in terms of doing what’s best. What are the best opportunities you can give to your family, and how far will you go? That’s where the twist that allows us to go through such a journey is when it comes to what lengths a mother goes to for their child to save and protect them. It’s been an incredible journey. And regarding Fiona, I honestly never know where her journey is going to end up, but it’s been just such an incredible one where she is dealing with a lot of Tony’s actions and the consequences. So how she deals with it is always just an interesting point of view.

Representation in Hollywood is so important. Tell us about your initial reaction when you found out that you will be portraying a Filipina here and working with Filipino actors like JB Tadena, Princess Punzalan, and others, and even saying Tagalog words.

It’s honestly to this day, we’re season three, moving forward and I’m still in awe of the fact that things are moving forward. And specifically for Filipino characters, never in my life would I have thought that I’d be able to audition for a series regular lead that does portray Filipino characters. I am completely grateful to Miranda Kwok, Fox, and Warner Brothers for spearheading this diversity in representation that’s moving forward. It’s such an honor to work with fellow Filipinos who are also going through this amazing movement. But like I said, the whole plight of this is to normalize it and for it not to be about representation, just the fact that we are being represented on TV shows. This is the way the world is.

During break times, do you eat adobo, or somebody brings lumpia during break time?

You know what, that’s so funny because Ronnie LaSalle, the father (of Sebastien LaSalle who plays Luca) he is Filipino and he cooks amazing Filipino food. He dropped off a bistek one day because he knew how stressful our schedule was. It was just so comforting that he did that. My sister, who’s also visiting right now, and I devoured it and we forgot about our diets and everything. It’s always comforting to have that Filipino food around.

Does Miranda Kwok ask for your advice regarding the dialogue, the set, or anything very Filipino?

Miranda definitely asks if there is anything that’s needed to allow more authenticity during the scenes. And for me, my father and mother were also visiting during the beginning of this season and there were moments when we needed the Filipino language to be part of the script, because that’s authenticity, especially if Fiona’s in the Philippines. We do speak English to each other, I know that you have to portray that. But in terms of the set, Roshelle Berliner is incredible in designing the set. She even did Fiona’s house without even meeting her. It reminded me of my mother. I was like, oh, my God, how did she know that? I mean, we have such talented crew who work on the show that I’m incredibly grateful to.

How is it working with Miranda as the creator, and director, and with actress Elodie Young?

They’re both very, very spirited women in the sense that they’re creative. Just the fact that they’re so invested in telling an authentic story. Yes, there are all these explosions and everything, which is part of the entertainment, but at the same time, the heart of the show where it does involve the Filipino culture or just the family in itself. They’re very involved in how we portray those relationships.

Going to “The Gentlemen,” you are a badass lady here.

I love that you say that.

A Filipino dealer in high-end sports cars that is used as a front to ship Colombian cocaine. I almost did not recognize you in this series. Can you tell us more about your transformation here and the backstory of Mercy?

For me, thanks to Niamh Morrison who transformed me with the makeup. I didn’t have any idea in terms of how I was going to look. All I knew was what character I was going to bring to this person, but the fact that they chose blonde, I was so happy. I was like, yes! I want to be blonde in this. And then adding the nails. The transformation itself was quite physical so it was so easy for me to get into character. There was so much detail put into it. And I appreciate that eye and view from the makeup to costume to the vision.

But in terms of Mercy; initially, I auditioned for a very small role. And it was completely different from how it ended up. I’m extremely grateful to the writers who wanted to explore this character differently. Because initially, I believe, she was Vietnamese. And then once I had auditioned, it transformed into a Filipino character. I am so grateful to them for embracing that and embracing my craziness as a Filipino. Because I had auditioned initially with a Cockney accent, an Australian, and then Filipino. I guess that brought more power to it, or maybe because my mother came through me. My mother is a very strong woman, and so is my father, but that’s why he’s very strong.

Are you saying she was inspired by your mom?

Well, no, no, not the machete or anything like that. Just her strength. My mother’s strength is very soulful in that sense. And also, with Fiona in “The Cleaning Lady,” because I don’t have children, so I always think of how my mother would react. And in “The Gentlemen,” she’s a fierce lady. So, I’ve seen my mother in those situations. It was wonderful reliving those moments, but in a way that can be portrayed as something that’s empowering. So yeah, very proud of her.

Tell us about your audition process. What was your initial reaction when you found out this was a Guy Ritchie film?

Oh, straight away. Because, for me, I don’t discriminate in terms of how big or small the role is. I just want to work. And the fact that it was Guy Ritchie, I said, “I don’t care, I want to tape it.” We had just wrapped season two of “The Cleaning Lady.” So, as soon as I saw his name attached, it was just to audition and hopefully be seen something that I wanted to do. And then even to get a call back – and everything was done via Zoom. I was still in Albuquerque at the time. I love how things have changed and COVID has upended the whole audition process where I may not have been able to audition for this. Years ago, you would have had to fly there, et cetera. I’m so grateful for that. And I’m so grateful for the casting and the show just to be open to those processes. I was like, yes, of course, I’m going to audition for Guy Ritchie.

Did you have to read some of the lines of Mercy or read in front of Guy Ritchie?

No, it was tapes that were sent. Then after the elimination process, eventually, I got to Zoom with the actual director. This block of episodes was directed by Nima Nourizadeh, he’s amazing.

So, he had auditioned me via Zoom and with Dan Hubbard’s casting. I was still in Albuquerque at that time, and it was an incredible process because I knew the time difference as well. I was the last one apparently. And I was like, oh God, I hope at that point they’re not bored or they’re just tired.

But it was such a blessing to meet Nima and for Dan Hubbard to even allow me to audition. So, it was great.

Were you able to meet Guy Ritchie himself?

It was very quick and brief at the premiere. And it was more like, he’s Guy Ritchie, so everybody was clamoring there. I don’t even know if he realized it was Mercy because I wasn’t wearing my wig.

Where did you film that scene with the sports car? And how was it working with Theo James, Daniel Ings, and Kaya Scodelario?

They’re incredible. Such professionals and quite intimidating as well, for me, because it’s the first time I’d ever worked in the UK or Europe. It was shot in London, and we were filming in a warehouse on the east side of London. And for me, Theo James, obviously I’m aware of his work on “White Lotus” and Daniel Ings was absolutely incredible. I didn’t want to hurt him with the machete and he’s like, “no, go ahead.” Kaya Scodelario was just so inviting. And Chanel Cresswell, who played Daniel’s girlfriend in the show. They were all so warm and inviting and made me feel at ease. But honestly, it’s the film crew in London as well. They’re so much fun to work with. We shot a lot of night scenes, and it’s quite cold at the end of February and March. It was wonderful to have such good positive vibes on set.

How long were you there?

End of January to mid-February. So, it was about three and a half weeks of filming. And I’m Australian, so I should know that they drive on the left-hand side of the road, but I’ve been living in America for 25 years, so I had to tell them like, “Look, I don’t drive on the left-hand side.” Thank God they got a double for me who drives on the left-hand side of the road. It was amazing, the mastery of all the stunt doubles driving these cars was incredible. But again, it was just such an honor to work on a Guy Ritchie set and be in the same scenes as Theo, Daniel, Kaya and Chanel. It was just wonderful.

Do you find it empowering to hold a machete now?

Well, I tell you this, coming from Fiona’s point of view this was definitely her dream. It’s such an empowering role and I wanted to bring a sense of humanity to her in the way that she will not be betrayed as a woman, as a person, and it will go at all costs. I’d never carried a machete before. I was like, “We’re not going to train? There’s no training?” So, for me, luckily, since I did gymnastics when I was younger and did baton, I was like, “Okay, cool, let’s just treat it like that.” But it was an incredible experience. And like I said, just working off of all the other actors is what makes your performances stronger. So, yeah, it’s exhilarating.

Did you have to practice?

The machete? You’re more interested in the machete, aren’t you?

I love that scene.

See, this is where it’s coming from, Janet. For me, with the machete, I had to look like I knew what I was doing with it. And thank God the time that I actually had to engage violently with it, it was off camera. But the logistics for that were wonderful. I had people spraying blood on me while I was… But it’s called TV magic. And the magic of imagination. But like I said, the crew were so kind in every way of making sure that I was okay. Well, I’m sure that the other person was OKtoo.

What’s up for you next?

Well, for me right now, I’m just basking in the glow of both “The Cleaning Lady” airing finally after a long hiatus due to the strike and the fact that “The Gentlemen” is number one right now on Netflix in the US, along with 70 other countries. So, I’m going to milk this right now. But I’m still here in Albuquerque filming. We’re currently on episode 10 of filming “The Cleaning Lady,” and we’ve got two more episodes. I wrap in April and then, I don’t know, just de-distress.

Theo James and Daniel Ings

Hello, congratulations guys, what a wonderful show. So, talk about being in Guy Ritchie’s world, his language, and his vision for this series.

Daniel Ings (DI): Yeah, like you say language and vision are a good place to start because they’re the two things that set him apart. Particularly when he’s operating in this vein, which is looking at, I suppose, previously a kind of British underclass of criminals.  And the thing that is quite refreshing about this one is to add into that mix the aristocracy, the upper classes. And it’s intimidating but exhilarating to be working with someone who’s so distinct and specific in that way. And to some extent, you have to give yourself over to his vision for it, because he has that all in his head. And we’re all just puppets in his beautiful world.

Theo James (TJ): That’s why we were interested in the show. He has a very specific style. And first and foremost, comedy. It is a comedy. It’s supposed to be fun and humorous. And Guy’s sense of wry sarcasm, his bombastic flares are the things that make, hopefully, the show interesting.

Working with Martha Millan in the Lamborghini scene, can you talk about the fun and the joy of working with her?

TJ: She was great and played that part incredibly well. We wanted to make sure that the stakes were high with her. Initially, the episode was written more comedy forward. But in the process of making the episode, we pulled it back because we needed to make her feel terrifying, and she was great.

DI: Also, a super sweet human being.

TJ: Very lovely.

DI: Could not be the opposite of the character that she’s playing. But then also, that’s a really good example of when sometimes an actor brings a kind of character to the set and you’re like, okay, we have to rethink this thing. She was so committed and terrifying in those moments towards the end of the episode that, like Theo says, we had to make sure that our reactions to it were in keeping with that level of threat.

And the most challenging part for you?

TJ: I think just what Guy’s tone is very specific and you have to tread a line between. It can’t be too comedic because it becomes fast and silly, but it can’t be heavy drama because then it becomes Melodramatic in a way. You have to tread this very specific line of Guy coolness, and that was something that was tricky over the shooting this season.

Kaya Scodelario

What was the most interesting thing for you being in this Guy Ritchie series?

For me, what was interesting, was the idea of seeing female characters in this universe to be a little bit more front and center than maybe we’re used to within the Guy Ritchie scope. And not only that, but that she’s also a grown-up when we meet her. She’s a woman. She’s already at the top of the game. She’s intelligent, she knows what she wants, she knows what she’s doing. She’s a master manipulator, but she’s also interesting, has her vulnerabilities, and has her Achilles heels. And I just love the idea of playing someone who we meet already established. She doesn’t need to prove herself to anybody in the room. And then you can start to peel that back as we go on. But it’s quite rare to meet a female character who’s already there.

We don’t usually see such empowered women in mob films, but Guy’s created a great character here. What were your inspirations and the most interesting and challenging things about playing the part?

For me, I didn’t want to make her a powerful woman in this situation, I just wanted to make her a powerful person. That’s it really, male or female. The essence of her, what’s interesting about her, what carries her is the fact that she’s good at what she does and she’s unapologetic for that. Maybe we’re not used to seeing women be unapologetically cool and strong and smart. But yeah, I didn’t try and look at it as I wanted to play a strong female character, I just wanted to play a strong character. And that’s what I hope will happen in the future, that instead of people noticing that it’s a strong female character, they will just appreciate them as another strong character because that’s how it should be.

That was a challenge in making sure that we gave her enough life and that she didn’t rely solely on the idea that she’s the only woman there. That isn’t even actually a skill that she uses too much you don’t need to, and she has multiple other ways of manipulating people and getting what she wants. So yeah, that was a challenge, but also the thing that I enjoyed the most about embodying her.

She is quite fascinating to watch. From the very first moment we meet her, we know that she knows exactly what’s going on. And seeing that get chipped up over the course of the series here and it is interesting, but then is the absolute straight as an arrow. She’s a chameleon, she navigates the worlds of high society and this criminal underworld. As a mix, I have to imagine that’s quite appealing.

Yeah, the idea that she’s a chameleon, when she’s on the country estate meeting Dukes she’s dressed in tweeds and almost in costume. And then we see her in London, in the boxing gym and she’s a little bit sexier, a bit more Kate Moss. She’s a bit more trench coats and high heels. She’s a chameleon, she knows how to use all these tools to fit in and gain people’s trust and then manipulate them. It’s what she’s naturally quite good at.

—MGP, GMA Integrated News