Adelaide Clemens Biography
Adelaide Clemens is an Australian actress born on 30th November 1989 in Brisbane, Australia. She is popularly known for her role as Harper in ‘Love My Way’ which earned her a nomination for a Logie Award in 2008.
Adelaide Clemens father is English and as a child she lived in Japan, France and Hong Kong. She attended the Hong Kong International School. When she was 12 years old, her family returned to live in Australia. She attended high school at the Queenwood School for Girls, in the Sydney.
Adelaide Clemens Career
In 2006 Adelaide Clemens guest starred in an episode of Blue Water High as Juliet, and in 2007, she starred in the children’s series Pirate Islands: The Lost Treasure of Fiji, as Alison.
In 2007 she also starred in ‘Love My Way’ as Harper which earned her a nomination for the Graham Kennedy Award for Most Outstanding New Talent at the 2008 Logie Awards.
Adelaide Clemens was cast in the MTV Networks Australia dramatic film, Dream Life (2008) and in 2009 she had small roles in the television series All Saints and the film X-Men Origins: Wolverine. She also became the face of Jan Logan’s jewellery the same year.
In 2010 she starred in the film, ‘Wasted on the Young’ as Xandrie. The film tells the story of a high school love triangle among Xandrie, Zack (Alex Russell), and Darren (Oliver Ackland), that leads to a party ending in gun violence.
As of January 2010, Adelaide Clemens was in negotiations to join the cast of Fury Road, a sequel to the Mad Max film series by George Miller. In 2011 she starred in the film Certainty (2011), directed by Peter Askin, based on the play Searching for Certainty by Mike O’Malley. She also starred in Vampire (2011), as Ladybird, a suicidal single mother. The film was the English-language feature debut of the noted Japanese director Shunji Iwai.
In 2012 Adelaide Clemens starred in Camilla Dickinson, which is an adaptation of Madeleine L’Engle’s eponymous 1951 novel. She portrayed teenager Heather Mason in the horror film Silent Hill: Revelation 3D (2012), which is based on the survival horror video game Silent Hill 3 and is a sequel to the film Silent Hill. That year, Adelaide Clemens also played a lead role as the young suffragette Valentine Wannop in Parade’s End (2012), a television mini-series adaptation of the Ford Madox Ford tetralogy co-produced by HBO and BBC Two. Adelaide Clemens also appeared in the horror film, No One Lives (2012), starring Luke Evans.
Adelaide Clemens Movies and TV Shows
- 2009: X-Men Origins: Wolverine as Carnival Girl
- 2010: At the Tattooist as Kelly
- 2010: Wasted on the Young as Xandrie
- 2011: Vampire as Ladybird
- 2011: Certainty as Deb Catalano
- 2012: Camilla Dickinson Camilla Dickinson
- 2012: Generation Um… as Mia
- 2012: No One Lives as Emma
- 2012: Silent Hill: Revelation as Heather / Alessa
- 2013: The Great Gatsby as Catherine
- 2015; The World Made Straight as Lori
- 2015: The Automatic Hate as Alexis Green
- 2017: Rabbit as Maude Ashton
- 2006: Blue Water High as Juliet
- 2007: Pirate Islands: The Lost Treasure of Fiji as Alison
- 2007: Love My Way as Harper
- 2008: Out of the Blue as Fiona
- 2008: Dream Life as Rose
- 2009: All Saints as Stephanie
- 2010: The Pacific as Registrar Girl
- 2010: Lie to Me as Megan Cross
- 2012: Parade’s End as Valentine Wannop
- 2013–2016: Rectify as Tawney Talbot
- 2014: Parer’s War as Elizabeth Marie Cotter
Adelaide Clemens Twitter
Another film about the astoundingly brave artist, Ai Weiwei.
— Adelaide E Clemens (@AdelaideClem) August 19, 2017
Adelaide Clemens Net worth
- She has an estimated net worth of $4 million
Adelaide Clemens Interview
Adelaide Clemens was interviewed about her role as Alexis in ‘The Automatic Hate’. In the film she is constantly asked to look through people to understand what’s going on in front of her as a young woman. Having recently uncovered a cousin in the city named Davis (Joseph Cross) she was previously unaware of, Clemens’ ability to often say more with a glance than words ever could — as her character gets at the root of a deep divide within her family while discovering a deep connection, possibly an even romantic one, with Davis — allows for a drama that constantly pushes the envelope to be handled subtly and sympathetically.
Interviewer: How did you get interested in “The Automatic Hate”?
Adelaide Clemens: I really loved the role of Alexis. She was particularly weird to me and I loved the challenge of trying to make this character sympathetic. The way I initially came to comprehend the story, this is just one of the first monumental things that had happened in her life and I think Alexis got stuck. She picked up on the fact that something wasn’t quite right in her family history and she was self compelled to figure out what that was but she doesn’t know what she’s getting herself into and she has this curiosity about her. There were so many obstacles, like the taboo factor and her erratic behavior, but I just wanted to get inside her brain.
Interviewer: Was it intimidating at all to be dealing a taboo subject matter?
Adelaide Clemens: No. I’ve actually encountered the kissing cousins thing in a lot of literature. You read some Greek tragedies, you are going to run into it. Even the play that I’m working on right now, “Hold On to Me, Darling,” begins with that question. What was interesting to me was Justin Lerner comes from a psychology and biogenetics background, and he had a really interesting spin on it. Apparently, if you have someone who has the same DNA as you — for example, an estranged cousin who you haven’t been exposed to before the age of eight, you are inevitably going to be attracted to them and sexual attraction is in that equation too. It is a taboo in our culture, but in many other cultures, it’s not.
Interviewer: Justin has said that you picked out most, if not all of your character’s clothing right down to the shoes. Is that how you build a character?
Adelaide Clemens: I never thought I was like a method actor, and I wouldn’t call myself that, but costume is so important, especially shoes. I remember when I first met Justin, he was like, “I want her in denim hot shorts, a wife beater, a trucker hat and some cowboy boots.” And I was like, “Have you been to upstate New York? Have you been to any of those locations where they actually do work on a pig farm?” Because they are not going out there with expensive cowboy boots on. They are going in their Walmart-bought trainers. Obviously, [Alexis] has a unique sense of style and there is something about the skirts, and things like that, that made her more innocent and playful. I loved her doing that costume.
Interviewer: You mention the upstate New York setting, and because Justin’s films have such a sense of place, did being there actually inform the character?
Adelaide Clemens: It absolutely helped me. I’ve shot on location, quite a bit. Prior to “The Automatic Hate,” I’ve done about six films in similar locations, so I don’t know if it’s specifically on this film where I absorbed those ideas. Being in Oneonta was amazing. So beautiful. Just as much as the landscape, it’s also just being separated from your usual daily life, so you’re able to really plow into a role. You’re forced to spend a lot of time with the cast and crew and it really makes it like family. So safe and lovely. It was great shooting up there.
Interviewer: What was it like to have the Zima sisters and Ricky Jay around as your character’s family?
Adelaide Clemens: It was so cool! I love Ricky Jay so much! He’s the biggest sweetheart in the world. We had a lot of fun. They were just wonderful company. That was really the most important thing. If you can have a friendship or a relationship with an actor outside of the roles, what you’re going to put on film is going to be way more interesting and in depth. The thing with the sisters was just a riot. We were really lucky with that cast. Every day working with Joe was fantastic. He’s such a brilliant actor. You really never knew what was going to happen. It was just really exciting.
Interviewer: Justin was very complimentary of you, saying you were able to make every take unique. Do you actually change things up from take to take?
Adelaide Clemens: I didn’t try to, but I guess it just happens. Right now, the play [“Hold On to Me Darling”] every night is different, and my co-star is the same, but I can’t do the same thing twice. I’m not someone who can just regurgitate an exact performance, mainly because if I use all the same ideas, or if my character thinks exactly the same things that I just thought, the thought becomes stale and I don’t think that’s as exciting. If I don’t try to mimic myself exactly, what tends to happen is something more interesting comes to mind and sometimes it’s not exactly accurate to the story you are trying to tell, but that’s why it’s been helpful working with different directors and writers, and I’ve had a little bit of insight into the editing process, especially with “Rectify,” and you just never know what they’ll need. Sometimes I can paint a character as a villain, but they’ll need a moment of sympathy, and you never know when you’re shooting when that moment of sympathy or vulnerability will be required, so I like to give the director whatever they may need and trust that they’ll tell the story.
Interviewer: We’ve danced around it, but what’s it been like starring in a Kenneth Lonergan play these past few weeks?
Adelaide Clemens: It’s so good. We’re having a riot. I’m going to my matinee right now. Walking to work. Kenny is just a genius. We’ve probably done it, set up and run, a hundred times and we’re coming up to our sixteenth preview. We’re still getting re-writes and things like that, so there’s that challenge, but that’s always fun. Also, there’s parts of the script we’ve known very well for a while, and we’re discovering it has second and third meanings, so it’s like we’ll never completely comprehend this play, which keeps it exciting.