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Sienna Miller’s New Beginnings




On the morning I meet Sienna Miller in London, she has just attended a prenatal yoga class—the first of her pregnancy. She went down the street to the neighborhood place and was reminded of how pleasant it is to be in the presence of other pregnant women. Also, no one blinked. Or if they did, she tells me, they did “a very good job hiding it.”

Miller, 41, is already mother to Marlowe (whom she co-parents with the actor Tom Sturridge), and now is having another girl. She’s 28 weeks into the pregnancy, with boyfriend Oli Green, 27, an actor with whom she has been in a relationship since 2021. Today she’s dressed in a black tank top and roomy, low-hanging Levi’s, held up by what looks like a silk sash; her hair is hanging long and loose in a way that many a stylist would undoubtedly spend hours trying to emulate. Two dogs—Walter, a mini dachshund, and Tennessee, a rescue from the American South—swirl around our ankles as we form a plan. The agenda had been refreshingly vague—though she warns me that she’s starving.

There was a time when Miller’s life was far more prescribed by external pressures, dictated by the punishing rhythms of paparazzi chases and high-profile romances. But if her schedule now allows for morning yoga and improvised lunches, it’s also a different kind of whirlwind. She’s arguably at a creative peak, having delivered a series of complex, nuanced performances in recent years: a mother coming to terms, over the course of decades, with the disappearance of her daughter in 2018’s American Woman; the wronged wife of a Tory MP in the delicious 2022 Netflix series Anatomy of a Scandal. Last spring, she finished shooting the second installment of Kevin Costner’s Horizon: An American Saga, a Civil War–era, multi-film opus that covers a 15-year period during the settlement of the American West.

It’s a project with uncommon ambition, one that has been gestating for 30 years. Costner began the script back in 1988, and as he revised it through many drafts, the story took on the scale of a Western epic, a return to the wide-screen grandeur of his Oscar-winning directorial debut, Dances With Wolves. (Costner put up money for the production; he’s pointed out that no one wanted to finance Dances either.) Horizon tells the story of a 19th-century frontier settlement, which grows from tent encampment to established town over the course of the films. Miller is to appear in all of them, as an East Coast settler, named Frances Kittredge, with her husband and two children. The first two “chapters” are due to be released by Warner Bros. this summer.

Horizon’s shoot, in Utah last summer, was additionally meaningful for Miller (and not just because she venerated Costner growing up—even naming a pair of pet rabbits after his character’s wolf and horse in Dances). She describes the production as feeling more like an independent film than a big-budget studio movie: If the light hit the red rock canyons of Moab in a particularly beautiful way, the crew could get in their vans and quickly move to capture the shot. Costner, Miller says, created an entire universe: “You could ask him anything about this period in time, and he would have an answer.”

Miller filmed her scenes in a corset while enduring the first waves of morning sickness. “There was a lot of being buried under rubble and being shot at,” she says, “and a lot of time in a very dark tunnel. There are scorpions and snakes, and it’s blisteringly hot. But I actually love that kind of work—I like feeling completely battered and bruised and spent by the end of the day.” She wasn’t rolling around in pristine studio dust, manufactured to create an illusion, she points out, but in a real hole in the Utah desert, “spitting out bits of earth for the next week.” Costner filmed Miller’s sequences together, in part to avoid any difficulties that might arise from her pregnancy.

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