“These are the big boys and girls of Hollywood, and I had all of these scenes where it’s normally just me on my own, standing my own ground and addressing all of these very talented individuals,” Duncan-Brewster tells. “This was also the one scene that stuck in my head as, ‘You’ve got to get this right, Sharon.’ The one thing I didn’t want to do was try to be a female version of Max [von Sydow]. No one could ever touch what he did because he’s the wonderful actor that he was.
Duncan-Brewster is also opening up about her character’s powerful sendoff after helping Paul Atreides and Lady Jessica flee the Sardaukar. “What a way to go. What a way to praise your purpose and whoever it is that you serve. And with a smile,” Duncan-Brewster shares. “I remember doing loads of reshoots for my hand going down. There was a metal plate embedded about a meter down underneath the sand, and it vibrated, so I couldn’t stop laughing. It was like being tickled for some reason. This was one of my main moments in the film and I was like a little giggly child.
At the end of the film, the audience is left with a bit of ambiguity regarding her character as a Kynes-like figure appears to be riding the giant sandworm, Shai-Hulud. “All I can say is that I don’t know what that is, and I actually haven’t asked the question about it,” Duncan-Brewster says. “The wonderful thing about it is that it can mean whatever the audience member wants it to mean. I really like the fact that Kynes could be dead, or is dead, and what we’re seeing is something otherworldly. As it should be. If you’re going to go on your way, go on your way in style.
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