“[Outlander] has been a quarter of our lives! An insane amount of time.”
Caitríona Balfe reflects on the final season of Starz’s epic historical drama Outlander, taking time to decompress after wrapping and how she decides what comes next.
Editor’s Note: This conversation has been edited and condensed for publication.
It’s such a pleasure to meet you. When I told people that I was doing this interview, I can’t tell you how many people freaked out about Outlander. I know of the show, obviously, but people go mad for this show. The audience is wildly in love with it.
I guess because we’ve been around for a while. A little over 10 years, right? Yeah, we first aired in 2014. And I think also because the show has also gone into syndication and people are finding it still. And it’s amazing it does always kind of blow me away how many people watch it. And the kind of…breadth of people who watch it? It’s like it traverses all kinds of age groups and it’s men and women and it’s younger people now a lot. I think it was a slightly older demographic in the beginning, but it’s great.
And how active they are on social media! And some of the fan fiction! I really discovered some things that I didn’t know.
We’ve all learned a few things in Outlander.
But they get really invested! Especially in the two leads, you as Claire and Sam Heughan as Jamie. And it created spin-offs!
They’ve got the prequel now. [Blood of My Blood.] I think it’s just this beautiful love story. I think that is just such a positive and hopeful thing to invest in. I think people need that. So it has been really amazing to be part of something that has meant a lot to people. I think that’s a really special thing.
How does the end of this chapter feel for you? Because this is a massive part of your career!
It was all my career for a long time. It’s such a mixed bag of emotions—I think there’s obviously a lot of pride, and I feel so proud to have been part of something like this. It is sad; any ending is sad. But I think it’s also doing something for a decade plus. When we finished the show, Sam [Heughan] and I were both like “Wow, this has been a quarter of our lives!” An insane amount of time to be playing one character and being involved in one show. So it also felt like, “Okay, as an actor and as a person, I’m ready for new challenges,” and that’s exciting and scary. But to have had the education that I’ve had on the show, to have the experiences I’ve had, to have formed the relationships I’ve had, I just feel so grateful for that.
Without giving anything away, do you feel like the story—your character’s story—comes full circle in the end? Do you feel like it’s a satisfying ending for her?
It’s hard to know, right? Because like, what is a satisfying ending? You don’t want your character to end. I feel like Claire found peace, in some ways. Well, no, actually that’s…there’s never peace on Outlanders. There’s always drama. But I feel like, in terms of the overall thing, she’s with her family. And I think that that felt very appropriate and that this season especially there’s a lot of people coming back together, and that was really beautiful. But I’ve lived with her from—in the show she traverses from the age of like 27, 28 I think in the beginning, that’s how old she was, and by the time we finished she’s supposed to be in her 60s. So that’s a life. And I think that you just have to be, I don’t know, there’s no kind of proper ending. It is all part of itself. Does that make sense?
It totally makes sense. And also, too, with a show this big, with the fan base that’s writing fan fiction and doing the things that they do, that must be a lot of pressure going in for creatives—but also for the actors involved—going into a final season to give that final season what they expect, or what hopefully the fans want. Was there pressure there?
I think Sam and I especially felt a lot of responsibility to end this show in a really strong way. It’s funny because I think it’s the season that we knew the least about. Because I think the writers were very…they didn’t want to give any spoilers. So we never knew at any point what was gonna happen until we got the scripts. And that was new because I think in previous seasons we’d always get an overview. And so it was really interesting because it was exciting in a way because we’re like, “Okay, well, we have no idea where this is going.” And that’s probably the best thing, because I think otherwise we probably would have been trying to steer it one way or another or something. But as a control freak that I am, it was hard to give up that control a little bit. So yeah, there is no way I think to end anything in a perfect way. I think you just have to let it be and go with it and enjoy the ride. So we tried to do that.
Over the course of the series, as it became more popular, both you and Sam had more involvement. You became a producer on the show. And that I think is only fair because you’re so wedded to these characters. Of course you want to have a stake in maybe even the discussion of where this character’s going, how she ends up. From a producing standpoint, how much involvement did you have?
Well, this season was interesting because I got to direct as well. So in the very beginning, I felt that I was part of so many conversations, and it was really interesting. I was there from the very first day of prep. I started prep about five, six weeks before we started shooting. So I got be involved in conversations about like bills and things like that…the new house that was built and all of that, and it was amazing. Because as an actor I could bring something to the table as a producer that maybe other people didn’t, so I got to have conversations with our set designer being like “Well, we need places like this or this” and to be able to do stuff and that affected how the build went, and that was amazing. But it was really funny because then after I directed my episode—which is episode two—I had to go back to, like, not knowing. And I was like, “Hold on. I’m not part of these conversations…” And other people are in those rooms instead. So personally, that was hard because, as I said, I am a control freak. But yeah, it was interesting not knowing where your character was going to go, especially [in] the last season. I was constantly like, “What’s happening? What’s happening, like what’s going to happen?” And they’d be like, “We can’t tell you.” It did drive me nuts.
But it probably made the performance.
Well, that’s the thing. You have to then take every moment as it comes to you. And there was something great in that, too.
What I think is so amazing about a show that is on for a long time—any show I’m thinking, even like sitcoms like Friends or whatnot—you see the performers on the show become full-fledged creative forces in their own way. And you, of course, are a great example of that over the course of this series. Not even just producing, but then going into directing, but also the start of even more higher-value film work and things you’re doing in film spaces. Why was it important for you to direct more? And do you want to be doing more of that in the future?
Yeah, I would love to. I think just being on set all the time and watching how the decisions get made and watching other people direct and watching people who I was like, “Oh, I really love how you’re doing this.” And then watching some other people and you’re like, “Hmm, if I were doing that, I would do it differently.” And I just thought I am always aware, as an actor, of my limited ability within storytelling in the terms of—as Katrina, who I am, the age I am, the way I look, all of these things there are only a certain amount of avenues for me to tell stories in a way. And you become sort-of limited in your casting. It’s like, you’re this age group so you’re gonna get roles that are in this age group, or you’re female, so you’re going to get roles that are this. I love storytelling, and I love telling different stories. And so I just wanted to expand my ability to do that. And also, I just found it so interesting how, as an actor doing one character, you become so micro-focused on that role and what that character’s role and journey. But as a director, you get to be over everything. And you see the bigger picture. That part I found really interesting. I just loved it. Like when I got to do it, there were so many new things and exciting things that I didn’t really understand went into it, like all of the prep stuff and how you take a script from that first day and how you start building your visual language, building your thematic language throughout the whole thing. All of that was so interesting. And then just getting to work with all of the different departments, it’s so exciting and you get to see the amazing talent that comes together to make an entire project. I had the best time, and it was really hard then to go back and just be like, “All right, I’m just gonna stay in my lane.” Well, especially for a control freak.
You’ve also worked both on Outlander and outside of Outlander in films with great directors. Was there any influence that you had in terms of your directing style that you look back on with other directors?
Oh, of course. I think, I am a magpie—constantly stealing from people—and just inspired by people. I’ve been so lucky. I’ve worked with Jodie Foster as a director, Jim Mangold as director, who’s like amazing. I think Jim is so jovial and like… Jim is never afraid to give anybody a direct note, and I think that’s the one thing with the directors that I’ve loved working with, like Kenneth Branagh. It’s the specificity of direction. I think the worst thing any director can do is try and tentatively walk around an actor and be afraid to tell them “no.” We all like direct notes and, you know, obviously given with kindness and an understanding of the vulnerability of the process. But I’ve been so lucky with the people and also all of the directors I’ve worked with, how generous they have been once they know that I’m interested in directing with their kind of advice and showing you and also cameramen and women and all the people in those departments. Like, they’re always willing to share information. They all want to give that. They want to impart all their knowledge. I’ve just been so lucky to work with great people.
I recently interviewed James L. Brooks for his new film, and he was talking about the directing style and what he loves about directing, particularly some of the women he’s directed over the years. And one of the things that he said that stands out to me from what you’re saying is that a great director is just obsessed with actors and is just in love with what an actor can do with whatever they put on, whatever they take from what they’re giving or the director’s giving or writer’s giving, or in his case, writer-director. And for an actor then to go into directing, I’ve talked with other actors, like recently with Tyler James Williams from Abbott Elementary about how he’s directing episodes now, too, and that experience of directing your colleagues, your fellow actors, it actually—from what he tells me—it’s heightened because you have this serious relationship with this person, it’s a secondhand language that you have with maybe Sam and directing him or whatever it might be. Did you experience that?
Oh, my God, I was so scared. I think my first day I had this seven-page scene with Sam and Richard [Rankin]. And I was like, “Oh, my God,” like “They’re really throwing me in the deep end!’” But I was so unprepared for the fact that I would stand behind the monitor, and I would have this like Cheshire cat grin on my face because I was just enjoying watching them and because I do know them so well, I’m like, “I can see what he’s going for.” And I think I know how I can help him just that one little bit, either amplify it or put it down because like in the whole piece. And it was beautiful. Also because you’re never watching your co-star or your scene partner as an audience member when you’re in a scene with them. You’re never watching them, you’re affecting each other and you’re with them. So then to be able to watch them, and I was like, “Oh, my God,” like, “I get it.” Not that I didn’t, but like you’re watching in a different way. And you’re like, “Wow.” And with Richard, it was just—all of them. I loved that relationship. To go in and just help all of them get to where I could see they want to go. And most of the time it’s staying out of their way. It’s like, if ever there’s a moment where you can see somebody needs a little adjustment, then to be able to do that was so amazing.
With Claire, what were you first attracted to when you first received the script, and how do you feel like you’ve seen the evolution of her?
That’s a really interesting question. I don’t know, because when I was given the script, I was a struggling actor in L.A. I was just trying to get any job. And I remember getting the first audition, and I put it on tape, and then never heard anything. And then I met with an agent in London. He was like, “There’s a role, and I think you’d be really good for it.” And he was explaining it. And I was like “Oh no, I think I’ve already taped for that.” And he was like, “Send me the tape.” So I sent him, and he was like “Oh.” Because I had only gotten two lines of an explanation or whatever at the time. And he’s like, “Oh no, this is a much deeper breakdown of who the character is. Like I think he should re-tape it.” And I did, and I sent it in and that was when they were like, “Oh, we want to test you.” So I had four days, and I read the book in four days, which is…. These books are not…they’re pretty thick. So I remember—this was L.A,. so it was like nice, I could lie out in the sun and like just, but from the book—because I didn’t have a script, I only had two scenes or whatever—from the book I was just like, “Oh my God, like—this woman’s amazing, this world is amazing, this would be the most insane adventure.” And then, I tested for that, but I don’t know that I, I think the Katrina that met Claire, it was perfect synchronicity, because I think where I was at in my life, I could relate to that idea of being thrown into something, because I was so green. And had I been a more experienced actor, maybe I wouldn’t have understood that kind of, lack of knowledge of anything in the same way that Claire was experiencing when she went back in time first. There was this, I don’t know, there was a synchronicity there.
Which really worked! Also on paper, even just the IMDB description of the show, I’m always kind of enjoying it because when you read it, it sounds kind of bonkers. But then when you watch it…
When you watch it and explain it in the beginning and people are like, “What?”
Well, when you watch it, you see how epic it is and how grand it is and how big it is. And the story is just so intimate. And there’s a poignancy to it, but yet in the description, you’re like, “Wait, what does she do?“
I think that was also, you talk about synchronicity and meeting things in life at the right time. Like I just had my heart broken. I remember then when we started filming and it was like all of this grief that I had to play and heartbreak and everything. And I was like, “Oh my God, this is all just like my life,” you now? And then the falling in love was like, I was finding myself. Like it was all perfectly in sync for where I was at that time. And that first season—it’s such a beautiful story where Diana got it…like downloading from wherever it was. It’s such a beautiful…it’s just it’s a beautiful, inspirational and hopeful story. Also violent and crazy. Of course, yeah. But the two together really work.
To have those 12 years to look back on, that must be special in a way, to see that your career quite literally grew over the seasons and who you are as an actor and where you’ve gone. It’s so impressive to watch!
That show has given me so much. It has opened so many doors for me. But it gave me the most incredible education. It allowed me to explore so many different facets of humanity and human emotion and all of these things. And yet there’s also action and there’s bits of comedy and all of these things. It encompasses so much. And I learned so much on that show, and I grew so much as a person, as an actor. Yeah, it will always forever be a huge life-defining part of me and my story.
Speaking of your film work, it defined you as an actor, and it also allowed you to do roles that I think are really special and different and kind of new. Just the list of films you’ve done while being on Outlander is so unique in the span of the stories that are being told and from The Amateur to Belfast, so many. How do you feel the show and playing Claire changed the type of roles you’re offered or that you’re able to pursue?
First of all, it allowed me to be offered anything. I think, especially in the beginning. I was a struggling actor in L.A. I had done some very, very small roles prior to Outlander. And all of a sudden, you’re getting put up for things that you would never normally be in the conversation for. And it gives you confidence, because you have thousands of hours of work behind you all of a sudden, and you have that comfort of being able to just perform, I think that’s the thing—regular work gives you confidence, and confidence is key to being an actor. But I’ve been so lucky. It doesn’t feel like I did that much because we had such a long schedule, but I think the great thing that I had was also the ability to wait. And wait for a good role and wait for things that really spoke to me. And so that’s why I’ve tried to just choose things that I really was invested in.
One of them that was so special to me was Belfast. It was the level of anger that I had when you weren’t nominated for an Oscar for the film. And yet, the film received so much love, and obviously it did win the Oscar and it was so internationally recognized for how special it was. What was that experience like for you, looking at that and looking at your career as a whole? Outlander obviously was a massive, massive imprint, but I feel like Belfast is almost a peek into the future of the caliber of work that you’re going to go on to do, I hope.
That was the most beautiful experience. Like, Kenneth [Branaugh] is just the most—he’s a genius and he is a legend and a titan of our industry, but he’s also just the loveliest, most humble, just gorgeous human, and he was telling a very personal story and it was sandwiched between two lockdowns. So the world was crazy. This was pre-vaccination. So everybody was just slightly scared and we got to go to this little tiny place in Berkshire and play on the most beautiful story with Judy Dench, who is just the legend of all legends and Ciarán [Hinds] and Jamie [Dornan]and everybody else who’s in [it]…Jude [Hill], and we just had the most amazing seven weeks in this heat wave of a summer. It really felt magical, and then you don’t know what is going to happen. You don’t know how anything’s going to be received. And the way everyone was looking at it, Ken[neth Branaugh] was like, it’s just this little story. It’s his passion project and we never knew what it would do. And then I had my son and literally four weeks after he was born, they were like, “Do you think you could go to Telluride?” And I was like, “no.” And then at Telluride, it obviously got really well received. And then this machine starts rolling. Yeah. And I had this tiny little infant. And so the whole thing is just like a bonkers blur because you’d be at events…and then I’d be in these…fans and pumping and running to hotel rooms. But it was so fun because we had the best time, and I was with my friends and we got to go to L.A., and we got to the Oscars and it was just amazing. I’m so proud to have been a part of it, and I felt just so grateful and I’m so proud that Ken got his Oscar. It just was very, very special.
With the final season, there’s gonna be a lot of—just like I’m doing now—looking back at your career and how this thing changed you and the films that you did and the projects that you did outside of it, what do you do next? How do you decide what to do next? That would be a lot of pressure for me.
No, I think, this last year has been—I took six months off after we wrapped. I wanted to spend time with my family. I wanted just enjoy my life a little bit and decompress because I think coming off the show, it was such an emotional season, just because every time you’re like, “Ah, this is the last, we’re doing the last season!” It’s hard not to have that intense energy for a long time. So I needed to decompress. And then I’ve just been so fortunate that my reasons for choosing projects is still always the same. I wanna work on great material with good people, and it just has to speak to me. So I’ve done these lovely little bits in projects. Sometimes it’s a very small role, sometimes it’s a bigger role. That part doesn’t bother me. I just wanna work with interesting artists and on great scripts. And I had the best year, and I think if I let my curiosity lead me then I can’t really go wrong.
I spoke with Paul Giamatti yesterday, and I was talking to him about that, about the pursuit of the journeyman actor, how it doesn’t matter the size of the role, if there’s something great in that small role. Then you just have to do it.
Or the project, for me, so I got to be a small part of this incredible film that’s gonna come out next year called Tenzing, and I’m probably in five or six scenes, but I got go to Nepal, work with incredible actors, this brilliant director, Jennifer Peedom, also on a project that is reframing the narrative, this historical narrative about Tenzing Norgay. And his achievements in Climbing Everest, because he was always just regarded as a footnote in Edmund Hillary’s story. And all of a sudden, they’re making this beautiful film that gives him the recognition that he deserves. And it’s using all these amazing Nepali-Tibetan actors, and it’s the most gorgeous project. Honestly, it was like a gift. I just was like, “Wow, I am so grateful,” and I have such a small role but it was the most fun and that to me is like why I’m in this business. And then other stuff where it’s like bigger roles but when you feel that excitement about something and it’s like “Oh well, then I have to do it!”
