Editorial: Ayelet Zurer on Art, Acting, and the Spaces In Between
- Vingt Sept
- 45 minutes ago
- 6 min read
Ayelet Zurer is a distinguished actress whose remarkable career has captivated audiences across the globe. From her breakout role in Steven Spielberg’s Munich to starring alongside Tom Hanks in Angels & Demons and Russell Crowe in Man of Steel, Ayelet’s versatility has cemented her as one of the most compelling talents in both film and television.
Recently, she has garnered widespread acclaim for her brilliant performance in the Apple TV+ series Losing Alice, followed by standout roles in You, Moonhaven, House of David, and the highly anticipated Daredevil: Born Again. As someone who’s not only acted but also written and illustrated her own books, Ayelet’s creative scope continues to expand. We’re thrilled to dive into her world of storytelling, artistry, and the intersection of these experiences in her career.
You captured global attention in Munich, but since then, your career has spanned such a diverse range of roles across both television and film. How do you approach selecting your projects, and what is it about certain roles that truly draw you in?
It starts with the writing (unless there’s a filmmaker behind the project that I admire). I’ve learned the hard way that what’s not on the page is not on the stage, and so I try, more and more, to get involved with things that show what is on the page. I’m also more aware of the role itself and what it represents. What is the spiritual journey, even? What we leave in the world. The power of storytelling runs deep into the human consciousness, and I believe we have an obligation to consider what we put out there.
Your portrayal of Alice in Losing Alice was universally praised, with critics describing it as a "nuanced tour de force." How did you approach playing such a complex character, and what was your personal connection to her journey?
I was actually very lucky—because I almost didn’t do it. I only got to read two scenes when Sigal Avin asked to see me. I could tell it was well-written, but I didn’t get the full scope of Alice’s journey. So I said no to reading on Zoom, which I’m not a fan of.
A few months went by. Then my mother came to visit me in the US—she fell and broke her elbow, bending down to put out her one cigarette a day (she still smokes into her 80s). So I flew with her back home and stayed through her surgery. At that point, Sigal Avin texted me: “Will you come read?”
I felt that it was meant to be—they hadn’t cast the role, even though a few months had passed—so I did. Sort of knowing, feeling, that it was mine… And once it was mine, and I felt I could trust the process, I committed to playing a woman who is not perfect.
She’s not a perfect wife, maybe not a perfect mother, but rather a conformed artist who wants to break the chains of bourgeois life and fly—but can’t. As a woman and actress, I can understand the need to be free to explore your art while having a family and playing the roles one creates for themselves. The expectation that a woman needs to be perfect. I was intrigued by it and the great writing allowed me to live it.
You've transitioned seamlessly from major Hollywood blockbusters to intimate, critically acclaimed series. What do you find most rewarding about these shifts in scale, and how do you adapt your approach from one to the other?
I think the industry has changed and there are fewer small movies, but more great shows. So, my love for films hasn’t changed. On a TV show, there is more time to explore a character, especially if you are lucky and there’s more than one season. I don't know if I would call Daredevil: Born Again or House of David intimate shows, even though they are character-driven. But alas, even on those shows, time is never enough. You always find yourself needing more filming days, needing more time. The scale of the show is minuscule compared to the creatives behind it. To me, it’s all the same as long as the creatives are great. Then you come in, hoping to be able to trust and open your heart.
Beyond acting, you’ve also published books and illustrated stories. How does your experience as a writer and illustrator influence your acting process, if at all?
It’s all connected—writing, illustrating, any form of expression. They express something with a point of view. Writing is hard, so I have more and more respect for writers the more I write, and at the same time, my eyes are getting better at seeing what works and what doesn’t.
Your role in You on Netflix was quite a departure from your previous work. What was it about that character and that show that intrigued you, and how did you navigate playing character Dr. Chandra in such a psychologically intense world?
I looked at it as a comedy. I thought it was hilarious and I also know who the character is based on… I think. So, I had something specific to bring with it.
As an actress who’s known for deep emotional complexity, is there a particular character or role you feel you haven’t yet explored but are eager to tackle?
I often get that question and never have a good answer for it, because I never know what else—until the “else” shows up. As long as I am being creative, I am happy.
You’ve had the opportunity to work on both deeply personal and commercially successful projects. How do you maintain a sense of balance in your career, ensuring that you stay connected to both the artistry and the business side of the industry?
I remind myself about what really matters. Life, family, travel, and friends. Now that I understand more about the business side of the industry, I am less and less interested in it.
All I can do in life is to create a haven for myself and my loved ones, to try to do good. I tend to leave the business side to the business people, and stay in my lane.
With Daredevil: Born Again coming up, how does it feel to join such an iconic Marvel universe, and what’s it been like working alongside Vincent D'Onofrio again?
I’m so happy to be back on this project and I am intrigued by the direction (producer) Dario Scardapane took my character Vanessa, though it was shocking at first. And I absolutely adore working with Vincent.
On a more personal note, what does a perfect day off look like for you? How do you like to unwind when you're not on set or working?
I normally stay in bed the day after a period of work. There are a lot of energy downloads that need to get out of my brain and body. Then after that I'll probably take a nature walk.
You've accomplished so much in your career, but is there a role or project that you've always dreamed of doing, one that hasn't come your way yet?
Yes, there are projects that I have developed myself and with others. I’m also hoping to continue to travel and work at the same time, in incredible new places. My favourite thing is immersing myself in new places and cultures - it is fantastic.
When you look back on your career so far, are there any specific moments or decisions that you feel were pivotal in shaping the path you’ve taken?
Yes - the moment I decided to go to L.A. with my family after Munich was released! That gave me and my family a new life and opportunities I could only dream of. I’m very grateful for all the projects I was given, even the lesser known ones.
Daredevil Born Again is available on Disney+
Photographer Udo Spreitzenbarth
Fashion Director Joseph DeAcetis
Fashion Stylists Greta Carmella Oriti & Alex Oates
Makeup Artist Magdalena Major at See Management
Hair by Linh Nguyen at See Management
Producer Arabella Itani
Words & Editor Jheanelle Feanny
Location Loft 29 Studio, New York, NY
