Naomi Watts: The Life Story Behind the Quiet Star
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Naomi Watts was born on 28 September 1968 in Shoreham, Kent, England, and she became one of the most respected actors of her generation after a decade of struggle in Hollywood, with her breakthrough coming at thirty-three in David Lynch’s Mulholland Drive. She grew up in England and Australia, the daughter of a sound engineer who worked with Pink Floyd and a mother who worked in antiques, and her father’s early death shaped her childhood and her determination. She worked in Australian television, moved to Los Angeles, and spent ten years taking small roles before Lynch cast her as an aspiring actress in a film that became a modern classic. Her career since has included horror hits, Oscar nominations, blockbusters, and a long partnership with the actor Liev Schreiber, and her recent work on television, including The Watcher and Feud, has shown that she is still at the top of her game. Naomi Watts’s story is about patience, loss, and a talent that refused to be ignored, even when Hollywood took a decade to notice it.
Shoreham to Sydney: A Childhood of Loss and Moves
Naomi Ellen Watts was born in Shoreham, a village in Kent, England, the daughter of Peter Watts, a sound engineer who worked as a road manager for the rock band Pink Floyd, and Myfanwy Edwards, who worked in antiques and as a set designer. She has an older brother, Ben Watts, who became a photographer, and the family lived in England for the first years of her life, moving between Kent and London, where her father’s work with Pink Floyd gave her an early exposure to the music industry. When Naomi was seven years old, her father died, at the age of forty-four, an event that shaped her childhood and her relationship with her mother, who was left to raise two children alone. The family moved to Australia when Naomi was fourteen, settling in Sydney, where her mother worked in antiques and where Naomi attended school. The move from England to Australia was a major change, taking her from a small English village to a large, sunny city, and the loss of her father gave her a seriousness and a determination that stayed with her.
Growing up in Sydney gave Naomi an Australian adolescence, with beaches, sunshine, and a laid-back culture, but it also gave her a sense of being an outsider, because she had been born in England and because her family had moved so often. She attended Mosman High School in Sydney, where she was a good student, and she became friends with Nicole Kidman, who was also a young actress in Sydney, a friendship that would last for decades and that would later help both women in Hollywood. She began acting as a teenager, appearing in school productions and in local theatre, and she showed a natural talent that her teachers noticed. The Sydney years were happy, but they were also restless, because Naomi knew, even as a teenager, that she wanted to act professionally, and Sydney, for all its charms, was a long way from the centres of the film industry. The decision to pursue acting was made early, and her mother supported it, encouraging her to audition and to take acting classes.
By the time Naomi was in her late teens, she was already a working actress in Australia, with small roles in television and in film, and she was also working as a model, a job that paid well and that gave her exposure to the fashion world. She appeared in the Australian film For Love Alone in 1986, in a small role, and she worked in television, including the series Home and Away in 1991, in which she played Julie Gibson, a role that gave her a taste of soap opera acting. The early work was modest, but it gave her experience, and it showed that she could work professionally, even if the roles were small. The Sydney years were the foundation, and the friendship with Nicole Kidman, who was already becoming a star, gave Naomi a connection to the wider world of film. The move to Hollywood was still years away, but the ambition was already there, and the determination that had been shaped by her father’s death was driving her forward.
Australian Television and the First Film Roles
Naomi’s first major Australian role came in the film Flirting in 1991, directed by John Duigan, in which she played Janet, a schoolgirl at a boarding school, alongside Nicole Kidman, who played a supporting role, and Thandiwe Newton, in her film debut. The film, set in the 1960s, was a coming-of-age story, and Watts’s performance, with its warmth and its naturalness, was praised by critics, although the film was not a commercial success. She followed it with roles in the Australian television series and in the film Wide Sargasso Sea in 1993, an adaptation of Jean Rhys’s novel, in which she played Fanny Grey, and in the film Gross Misconduct in 1993, in which she played a student. The early 1990s were a period of steady work in Australia, with Watts building a reputation as a reliable, talented actor, but the roles were small, and the Australian film industry was too small to support a major career. The decision to move to Los Angeles, which she made in the mid-1990s, was a gamble, but it was one she felt she had to take.
The move to Los Angeles in the mid-1990s was the beginning of a long, difficult period, in which Watts, who had been a working actor in Australia, found herself auditioning for small roles and being rejected, often for parts that went to more established actors. She lived modestly, worked as a waitress and in other jobs, and auditioned constantly, with little success, and the years of struggle tested her determination. She appeared in small roles in films such as Tank Girl in 1995, in which she played Jet Girl, and in the television series Sleepwalkers in 1997, and she worked in the film Children of the Corn IV in 1996, a horror sequel that was released directly to video. The roles were not prestigious, but they kept her working, and they gave her experience in American film and television. The struggle years were long, nearly a decade, and Watts has spoken about the difficulty of those years, about the rejections, the loneliness, and the temptation to give up and return to Australia. She did not give up, and the perseverance would eventually pay off.
By the late 1990s Watts was in her early thirties, an age at which many actresses find their careers stalling, and she was still waiting for a breakthrough, with a filmography of small roles and a reputation as a talented actor who had not yet been given a chance. She auditioned for the film Mulholland Drive, a project by the director David Lynch, who was known for his surreal, dreamlike films, and the audition, in which she performed a scene with a raw, emotional intensity, impressed Lynch so much that he cast her in the lead role. The casting was a turning point, because Lynch was a director whose films were watched by critics and by cinephiles around the world, and a lead role in his film was a major opportunity. The film, which began as a television pilot and was then reworked into a feature, was released in 2001, when Watts was thirty-three, and it changed her life. The ten years of struggle were over, and the breakthrough had arrived, in the most unexpected way, from a director who saw in her what Hollywood had missed.
Hollywood, Ten Years of Struggle and Mulholland Drive
Mulholland Drive, released in 2001, starred Naomi Watts as Betty Elms, an aspiring actress who arrives in Los Angeles and becomes involved with Rita, a woman with amnesia played by Laura Harring, in a story that moves between dreams and reality. The film, directed by David Lynch, is a surreal, mysterious work, with a narrative that is deliberately confusing, and Watts’s performance, which moves from wide-eyed optimism to terror to despair, was praised as one of the best of the year. The film won the Best Director award at Cannes for Lynch, and Watts’s performance earned her awards from critics’ groups and a new level of attention in Hollywood. The role was a breakthrough because it showed her range: she could play innocence and darkness, comedy and tragedy, often in the same scene, and the film’s famous audition scene, in which Betty performs a sexually charged reading, is one of the most celebrated scenes in modern cinema. Mulholland Drive made Watts a star, and it remains the film she is most associated with, more than twenty years later.
The success of Mulholland Drive led to a series of leading roles, including the horror film The Ring in 2002, in which Watts played Rachel Keller, a journalist who investigates a cursed videotape that kills its viewers in seven days. The Ring, directed by Gore Verbinski and a remake of the Japanese film Ringu, was a major commercial success, grossing more than two hundred million dollars, and it made Watts a star in the horror genre. She returned for the sequel, The Ring Two, in 2005, and the two films together established her as a leading actor who could carry a commercial film. The same year as The Ring, she appeared in the film 21 Grams, directed by Alejandro González Iñárritu, in which she played Cristina, a former drug addict whose husband and daughters are killed in a hit-and-run, a performance that earned her an Academy Award nomination for Best Actress. The two films, released within a year of each other, showed her range, from a commercial horror film to a serious, art-house drama, and they established her as one of the most versatile actors in Hollywood.
The Oscar nomination for 21 Grams was a major honour, and it confirmed that Watts, who had spent a decade struggling, was now one of the most respected actors in the industry. The film’s fragmented structure, with its scenes told out of order, required Watts to play Cristina’s grief in fragments, and her performance, with its rawness and its emotional honesty, was widely praised. The nomination was her first, and it came at the age of thirty-five, after a career that had begun in Australia nearly twenty years earlier. The years 2001 to 2003 were the breakthrough years, with Mulholland Drive, The Ring, and 21 Grams forming a trilogy of roles that showed her range and her talent, and that made her a star. The decade of struggle was over, and the next decade would bring leading roles, blockbusters, and a second Oscar nomination, as Watts became one of the most sought-after actors in Hollywood.
The Ring, 21 Grams and the Breakthrough Years
In 2005 Naomi Watts starred in King Kong, directed by Peter Jackson, in which she played Ann Darrow, the actress who is taken to Skull Island and who forms a bond with the giant ape. The film, a remake of the 1933 classic, was a major commercial success, grossing more than five hundred million dollars, and Watts’s performance, with its physicality and its emotion, was praised, particularly in the scenes with Kong, which were created with motion capture and which required Watts to act opposite a tennis ball on a stick. The role was physically demanding, with Watts performing stunts, running, and climbing, and her performance gave the film its heart, because Ann’s relationship with Kong is the reason the audience cares. King Kong was the biggest film of Watts’s career to that point, and it established her as a leading actor who could carry a blockbuster. The film’s success also brought her a new level of fame, and it made her a star in the action genre as well as in drama.
The years after King Kong included a mix of commercial and art-house films, with Watts appearing in the thriller Funny Games in 2007, a remake of Michael Haneke’s film, in which she played a woman terrorised in her home, and in the drama The Painted Veil in 2006, in which she played Kitty, a woman in 1920s China, alongside Edward Norton. The films were not commercial successes, but they showed Watts’s willingness to take risks and to work with challenging directors. In 2012 she starred in The Impossible, directed by J. A. Bayona, in which she played Maria Belón, a mother who is separated from her family by the 2004 Indian Ocean tsunami, a performance that earned her a second Academy Award nomination for Best Actress. The film, based on a true story, was a harrowing, emotional work, and Watts’s performance, with its physicality and its grief, was widely praised. The Impossible was a critical and commercial success, and the Oscar nomination confirmed that Watts, in her forties, was still at the top of her game.
The Impossible’s success was followed by a period in which Watts worked in both film and television, with roles in the films Diana in 2013, in which she played Princess Diana, a casting that drew criticism and mixed reviews, and in the film Birdman in 2014, in which she played Lesley, an actress in a Broadway play, in a cast that included Michael Keaton, Emma Stone, and Edward Norton. Birdman won the Academy Award for Best Picture, and Watts’s performance, with its humour and its vulnerability, was praised, although the role was supporting. The film’s single-take style, with its long, continuous shots, required the actors to perform without cuts, and Watts’s stage training, from her early years in Australia, served her well. The period from King Kong to Birdman was a productive one, with Watts moving between blockbusters, dramas, and comedies, and establishing herself as one of the most versatile actors of her generation. The leading lady of the 2000s was becoming a character actor, and the transition suited her.
King Kong, The Impossible and the Leading Lady
In 2017 Naomi Watts starred in the television series Twin Peaks: The Return, David Lynch’s revival of his cult series, in which she played Janey-E, the wife of Dougie Jones, a character played by Kyle MacLachlan. The role reunited her with Lynch, sixteen years after Mulholland Drive, and her performance, with its mix of comedy and drama, was praised by critics, who noted that her Janey-E was one of the most human characters in a series that was often surreal and strange. The series was a critical success, and Watts’s work in it showed that her collaboration with Lynch was still productive, and that she could play a character who was both funny and grounded. The same year she starred in the Netflix series Gypsy, in which she played Jean Holloway, a therapist who becomes involved with her patients’ lives, a role that was a departure from her film work and that showed her willingness to take on television. Gypsy was not renewed for a second season, but Watts’s performance was praised, and the series showed that she was comfortable as a television lead.
The late 2010s and early 2020s brought Watts roles in the films Ophelia in 2018, in which she played Gertrude, and in the film The Wolf Hour in 2019, in which she played a writer in 1970s New York, and in the television series The Loudest Voice in 2019, in which she played Gretchen Carlson, the Fox News anchor who accused Roger Ailes of sexual harassment. The Loudest Voice role was a dramatic one, and Watts’s performance, with its strength and its vulnerability, was praised, although the series was controversial. She also appeared in the film Penguin Bloom in 2020, an Australian film in which she played Sam Bloom, a woman who is paralysed in an accident and who finds hope through an injured magpie, a role that was personal and emotional, and that was praised by critics. The film’s Australian setting, and its story of resilience, resonated with Watts, who had grown up in Australia, and the role showed that she was still drawn to stories about survival and recovery. The period was a productive one, with Watts working in film and television, in Australia and in the United States, and establishing herself as a versatile, reliable actor.
The recent years have brought Watts some of her most acclaimed television work, including the Netflix series The Watcher in 2022, in which she played Nora Brannock, a woman whose family is terrorised by anonymous letters after moving into a new house, in a series created by Ryan Murphy. The Watcher was a commercial success, and Watts’s performance, with its anxiety and its determination, was praised, although the series’ ending divided viewers. In 2024 she starred in Feud: Capote vs. The Swans, in which she played Babe Paley, a New York socialite and the wife of William Paley, in a series about Truman Capote’s fall from grace, and her performance earned her an Emmy nomination and critical acclaim. The role was a glamorous, tragic one, and Watts played Babe with a elegance and a sadness that made her one of the series’ most compelling characters. The recent television work shows that Watts, in her fifties, is still taking on challenging, high-profile roles, and that her career, which began with a decade of struggle, is still going strong.
Birdman, Twin Peaks and the Character Actor
Naomi Watts’s personal life has included a long partnership with the actor Liev Schreiber, whom she met in 2005 and with whom she had two sons, Alexander, known as Sasha, and Samuel, known as Kai, before the couple separated in 2016, after eleven years together. The separation was announced jointly, and the couple have remained on good terms, co-parenting their children and appearing together at family events. Watts has spoken about the challenges of balancing a career with motherhood, and about the decision to raise her children in New York, where she lives, and in Australia, where her family is based. Her children, who are now teenagers, have been mentioned in her interviews, although she has been careful to protect their privacy. The family life, and the long partnership with Schreiber, are part of her story, but they are not the whole of it, and Watts’s career has continued regardless of her personal circumstances. The personal life is a chapter, not the book, and the book is about an actor who persevered.
Today Naomi Watts lives in New York, works in film and television, and continues to choose roles that interest her, whether they are leading or supporting, dramatic or comic. She is a mother of two, a friend of Nicole Kidman since their teenage years in Sydney, and an actor whose career spans more than thirty-five years, from For Love Alone in 1986 to Feud in 2024. Her honours include two Academy Award nominations, for 21 Grams and The Impossible, and awards from critics’ groups around the world, and her reputation as a versatile, reliable, and talented actor is secure. The story that began in Shoreham, with a girl whose father died when she was seven, and who moved to Australia at fourteen, became one of the great success stories of modern cinema, and it continues, in a quieter key, into the 2020s. Naomi Watts’s talent, which took a decade to be noticed, is now recognised around the world, and her career is a reminder that patience, and perseverance, are as important as talent.
My Take:
Mulholland Drive is the film that defines Naomi Watts, and it deserves its reputation, because it is a masterpiece of modern cinema, and Watts’s performance is the reason why it works. She plays Betty Elms, an aspiring actress who arrives in Los Angeles with wide-eyed optimism, and who becomes involved with Rita, a woman with amnesia, in a story that moves between dreams and reality, and Watts’s performance, which moves from innocence to terror to despair, is extraordinary. The film’s famous audition scene, in which Betty performs a sexually charged reading, is one of the most celebrated scenes in modern cinema, because Watts plays it with a rawness and a vulnerability that make the audience feel as if they are watching something real. David Lynch’s direction, with its surreal imagery and its dream logic, gives Watts a frame that allows her to show her full range, and the film’s ending, which is deliberately ambiguous, leaves the audience thinking about Betty long after the credits roll. Mulholland Drive is a great film, and Watts is great in it.
The Ring is a film that shows Watts’s commercial appeal, because it is a horror film that became a major hit, grossing more than two hundred million dollars, and Watts’s performance as Rachel Keller, a journalist investigating a cursed videotape, is the reason the film works. The role required Watts to be both a sceptic and a believer, a mother and a detective, and her performance, with its intelligence and its determination, makes the audience care about Rachel’s fate. The film’s scares, including the famous scene in which the girl crawls out of the television, are effective because Watts sells them, reacting with a fear that feels real rather than performed. The Ring’s success made Watts a star in the horror genre, and its sequel, The Ring Two, confirmed that she could carry a franchise. The film is not as artistically ambitious as Mulholland Drive, but it is a well-made, effective horror film, and Watts’s performance is a major part of its success.
21 Grams is the film that earned Watts her first Oscar nomination, and it deserves its reputation, because her performance as Cristina, a former drug addict whose family is killed in a hit-and-run, is raw, emotional, and unforgettable. The film’s fragmented structure, with its scenes told out of order, required Watts to play Cristina’s grief in fragments, and her performance, with its anger, its guilt, and its love, is widely praised. The scenes in which Cristina confronts the driver who killed her family, played by Benicio del Toro, are among the most intense in the film, because Watts plays them with a fury that is both frightening and sympathetic. The film’s director, Alejandro González Iñárritu, gave Watts a role that demanded everything she had, and she delivered, with a performance that is still counted among the best of the 2000s. 21 Grams is a difficult film, but it is a great one, and Watts is great in it.
The Impossible is the film that earned Watts her second Oscar nomination, and it is a harrowing, emotional work, based on the true story of a family separated by the 2004 Indian Ocean tsunami. Watts plays Maria Belón, a mother who is injured in the tsunami and who searches for her family, and her performance, with its physicality and its grief, is widely praised. The film’s tsunami sequence, which was filmed with real water and with actors performing in difficult conditions, is one of the most terrifying in modern cinema, and Watts’s performance in it, with her injuries, her fear, and her determination, makes the sequence feel real. The film’s success, both critical and commercial, confirmed that Watts, in her forties, was still at the top of her game, and the Oscar nomination was a well-deserved honour. The Impossible is not an easy film to watch, but it is an important one, and Watts’s performance is the reason to see it.
King Kong is a film that shows Watts’s ability to carry a blockbuster, because Ann Darrow is the heart of the film, and Watts’s performance, with its physicality and its emotion, gives the giant ape a reason to be loved. The scenes with Kong, which were created with motion capture and which required Watts to act opposite a tennis ball on a stick, are remarkable, because Watts makes the audience believe in the relationship between Ann and Kong, a relationship that could have been absurd but that feels genuine. The film’s scale, with its Skull Island, its dinosaurs, and its New York climax, is spectacular, and Watts’s performance anchors it, giving the spectacle a human centre. King Kong was a major commercial success, grossing more than five hundred million dollars, and it established Watts as a leading actor who could carry a blockbuster. The film is a reminder that a great performance can make even the most fantastic story feel real.
Birdman is a film in which Watts plays a supporting role, but her performance as Lesley, an actress in a Broadway play, is one of the film’s highlights, because she plays Lesley with a humour and a vulnerability that make the character memorable. The film’s single-take style, with its long, continuous shots, required the actors to perform without cuts, and Watts’s stage training served her well, as she moves through the theatre’s corridors with a naturalness that feels unrehearsed. Her scenes with Michael Keaton, as the play’s star, and with Emma Stone, as his daughter, are among the film’s best, because the three actors play off each other with a chemistry that comes from their shared experience. Birdman won the Academy Award for Best Picture, and Watts’s performance, although supporting, was praised, and it showed that she could excel in an ensemble as well as in a leading role. The film is a useful reminder that Watts’s talent is not limited to carrying a film; she can also enrich one.
Feud: Capote vs. The Swans, in which Watts played Babe Paley in 2024, is a series that shows her at her best in recent years, because Babe is a glamorous, tragic figure, a New York socialite whose marriage to William Paley is falling apart, and Watts plays her with an elegance and a sadness that make her compelling. The series, created by Ryan Murphy, is a stylish, gossipy drama about Truman Capote’s fall from grace, and Watts’s Babe is its emotional centre, a woman who is beautiful, rich, and deeply unhappy. Her performance earned her an Emmy nomination, and critics praised her for capturing Babe’s glamour and her pain, often in the same scene. The role was a departure from her earlier work, because Babe is a real person, a socialite whose life was public, and Watts’s portrayal, with its attention to detail and its emotional honesty, does justice to her. Feud is a reminder that Watts, in her fifties, is still taking on challenging roles, and that her career is far from over.
The Watcher, the Netflix series in which Watts played Nora Brannock in 2022, is a thriller that divided viewers, but Watts’s performance is one of its strengths, because she plays Nora’s anxiety and determination with a conviction that makes the audience care about her family’s fate. The series, about a family terrorised by anonymous letters after moving into a new house, is based on a true story, and its plot, with its mysteries and its twists, kept viewers watching, even when the ending disappointed some. Watts’s Nora is a mother trying to protect her children, and her performance, with its fear and its resolve, is the series’ anchor. The Watcher’s commercial success, as one of Netflix’s most-watched series, showed that Watts could still draw an audience, and her performance in it is a reminder of her range. The series is not perfect, but Watts is excellent in it, and that is enough.
Twin Peaks: The Return, in which Watts played Janey-E in 2017, is a series that reunited her with David Lynch, and her performance is a delight, because Janey-E is a character who is both funny and grounded, a wife trying to hold her family together in a world that is falling apart. The series is surreal, strange, and often baffling, but Watts’s Janey-E is one of its most human characters, and her scenes, in which she deals with her husband Dougie’s strange behaviour, are among the funniest in the series. The role showed that Watts’s collaboration with Lynch was still productive, sixteen years after Mulholland Drive, and that she could play comedy as well as drama. Twin Peaks: The Return was a critical success, and Watts’s work in it was praised, although the series’ complexity meant that it was not for every viewer. The role is a useful reminder that Watts’s talent includes humour, and that her best work is not always in the most serious roles.
My honest assessment is that Naomi Watts is one of the finest actors of her generation, and that her career is a model of how to build a lasting body of work through patience, versatility, and a willingness to take risks. Her strength is her emotional honesty: she plays grief, fear, and love with a directness that makes her characters feel real, and her performances have a rawness that is rare. Her weakness, if it can be called one, is that she has rarely been given a role in a major franchise, and her best work has been in dramas and in independent films rather than in blockbusters, with King Kong as the exception. That is not her fault; it is a reflection of the roles available to her. Her legacy will be Mulholland Drive, 21 Grams, and The Impossible, and the doors she opened for actors who took the long road. She changed what was possible, and she did it by being excellent, consistently, for thirty years.
If a new viewer wants to approach Watts, the order is straightforward: start with Mulholland Drive, then watch 21 Grams, then The Impossible, and then King Kong, because those four films show her range, from surreal drama to fragmented tragedy to survival story to blockbuster. The Ring will show her commercial appeal, Birdman will show her ensemble work, and Feud will show her recent television work. The order matters, because it shows the arc from a struggling actor in Hollywood to a star to a veteran, and it avoids the temptation to judge her by a single role. Watts’s career is a long one, and it repays patience, because each role adds a layer to the last, and the whole is a portrait of an actor who persevered. She is one of the best, and her best is still coming.
One final point about Watts is that her friendship with Nicole Kidman, which began when they were teenagers in Sydney, is one of the most enduring in Hollywood, and it shows a loyalty that is rare in the industry. The two women, who met as young actresses in Australia, have supported each other’s careers for decades, and their friendship has survived fame, distance, and the pressures of Hollywood. Kidman’s success came earlier, and she helped Watts in Los Angeles, introducing her to people and encouraging her to persevere, and Watts has spoken about that support with gratitude. The friendship is a reminder that a career is not built alone, and that the people who believe in you when you are struggling are the ones who matter most. Watts and Kidman are a great pair, and their friendship is part of both their stories.
Watts’s Australian identity deserves a last word, because she is an actor who was born in England, raised in Australia, and became a star in Hollywood, and that triple identity has shaped her career in ways that are both obvious and subtle. Her Australian films, from Flirting to Penguin Bloom, show a connection to her adopted home, and her work in Australian television and film has kept her linked to the country where she grew up. The move from England to Australia at fourteen was a major change, and the Australian adolescence gave her a laid-back, direct quality that is visible in her performances. She is a global actor, but she is also an Australian one, and Australia is proud of her, with good reason.
Frequently Asked Questions
Where was Naomi Watts born?
Naomi Watts was born on 28 September 1968 in Shoreham, Kent, England. Her family moved to Australia when she was fourteen, and she grew up in Sydney, where she became friends with Nicole Kidman.
What was Naomi Watts’s breakthrough film?
Her breakthrough was Mulholland Drive, released in 2001 and directed by David Lynch, in which she played Betty Elms, an aspiring actress in Los Angeles. The performance earned her awards from critics’ groups and made her a star at the age of thirty-three.
How many Oscar nominations has Naomi Watts received?
She has received two Academy Award nominations for Best Actress: for 21 Grams in 2003, in which she played Cristina, and for The Impossible in 2012, in which she played Maria Belón, a mother separated from her family by the 2004 tsunami.
Who did Naomi Watts play in King Kong?
She played Ann Darrow, the actress who is taken to Skull Island and forms a bond with the giant ape, in King Kong, released in 2005 and directed by Peter Jackson. The film grossed more than five hundred million dollars worldwide.
Who did Naomi Watts play in Feud?
She played Babe Paley, a New York socialite and the wife of William Paley, in Feud: Capote vs. The Swans in 2024. Her performance earned her an Emmy nomination and critical acclaim.
Was Naomi Watts in Twin Peaks?
Yes. She played Janey-E, the wife of Dougie Jones, in Twin Peaks: The Return in 2017, David Lynch’s revival of his cult series. The role reunited her with Lynch, sixteen years after Mulholland Drive.
