There is a distinct, refreshing lack of calculation to Jodie Comer. For an actor who has spent the last few years effortlessly shifting between the sociopathic high-fashion whimsy of Killing Eve, the grueling intensity of West End and Broadway stages (Prima Facie), and gritty historical epics like Ridley Scott‘s The Last Duel, she remains delightfully unfazed by the mythos surrounding her.

Standing on the bustling red carpet world premiere of Michael Sarnoski‘s The Death of Robin Hood, where S Magazine got a Canadian exclusive, Comer is less concerned with legacy and far more invested in the reality of the work. An A24-backed take on the classic folklore, the film stars Hugh Jackman as a battle-worn Robin Hood grappling with a lifetime of crime and murder. After being injured in a brutal fight, he finds himself in an isolated priory under the care of a mysterious woman (played by Comer). Alongside Jackman and Comer, the dark adaptation boasts a powerhouse ensemble including Bill Skarsgård as Little John, Murray Bartlett, Faith Delaney and Noah Jupe.

When tackling a story as deeply embedded in folklore as Robin Hood, many actors would find themselves weighed down by the baggage of past iterations. Not Comer. In fact, she’s quick to admit she didn’t look back at all.

“Oh God, I mean, I can never think too much about whether I’m gonna surprise people,” she says, laughing. “I’m gonna be really honest: I wasn’t overly familiar with the earlier renditions of Robin Hood. So when I got this script, I just delved into Michael’s vision.”

By anchoring herself entirely in Sarnoski’s script, Comer was able to approach her character with a clean slate. “I was never comparing her to a past iteration or anything like that,” she explains. “It’s always lovely if you surprise people, you know? I’m always constantly trying to surprise myself, which is the main goal. And if people enjoy that as well, then amazing.”

That desire to surprise herself — rather than cater to the expectations of Hollywood — points to a deeper shift in Comer’s approach to her skyrocketing fame. At this stage in her career, she has developed a remarkably thick skin regarding the industry’s rumor mills and the public’s perception of her. When asked if there are any industry myths or personal misconceptions she feels a burning desire to bust, Comer offers a serene shrug.

“Honestly, I know, but I just feel like I can happily say I’m at a point where I don’t know if I care enough to bust it,” she admits with genuine candor. “Do you know what I mean? I think this is an inevitability of what people will think of you or their projection of you, and I’m quite at peace with it. It’s all good.”

It’s an enviable state of zen for an actor of her caliber. Given the inherently thieving nature of the Robin Hood lore, the conversation naturally turns to what Comer might have illicitly smuggled home from the set. Did she swipe a piece of the medieval wardrobe? A prop weapon?

As it turns out, her sights were set on something far more mystical.

“Oh gosh, what would I steal?” she muses, her eyes lighting up. “Well, honestly, I feel like I’d probably raid Bridget’s room, you know? She has so many herbs and potions and books and I feel like I’d probably just want to take everything that Bridget [has]… Yeah, I probably just want to take [it all].”

Whether she’s letting go of the public’s projections or plotting a fictional heist of apothecary goods, Comer continues to prove that the most unpredictable thing about her is just how delightfully grounded she remains.

The Death of Robin Hood is in theaters June 17.

Images courtesy of A24.