Picture this: You're starring in a gripping Netflix thriller, but instead of a cozy studio set, you're dodging dangers on a $150 million superyacht—luxury at its finest, or so you'd think. But for Keira Knightley and director Simon Stone, the reality of shooting The Woman in Cabin 10 was far from the glamorous yacht life we often imagine. It was a test of patience, precision, and pure willpower, where even a simple touch could cost a fortune. And this is the part most people miss: the behind-the-scenes struggles that turned a dream shoot into a high-stakes balancing act. Let's dive into their candid stories and uncover what really went down on that floating palace.
Keira Knightley, the acclaimed actress who shot to fame at just 18 playing Elizabeth Swann in the Pirates of the Caribbean series, has plenty of experience with seafaring adventures on screen. Yet, she admits that capturing The Woman in Cabin 10 on a real superyacht—those massive, ultra-luxurious vessels designed for the elite, often costing more than a small country's budget—was a whole different beast compared to battling pirates on a constructed ship. 'You can smash up the pirate ship all you want,' Knightley shared during a recent Zoom chat with Decider. 'But here, it's like, sprint for your life because someone's after you—yet don't even brush against the walls!' The challenge lay in avoiding any damage, knowing full well that a single mishap could lead to a hefty repair bill, potentially running into hundreds of thousands of dollars.
Now streaming on Netflix, The Woman in Cabin 10 is a suspenseful adaptation of Ruth Ware's 2016 novel. Knightley plays Lo, a determined investigative journalist who embarks on what she expects to be an easy assignment: covering a charitable luxury cruise organized by a rich entrepreneur, portrayed by Guy Pearce. But things take a dark turn when Lo witnesses a passenger being hurled overboard, only to be dismissed as delusional. This sparks her quest to expose a sinister plot lurking beneath the opulent surface. For beginners dipping into thrillers like this, think of it as a modern twist on classic mysteries—where the setting itself becomes a character, amplifying the tension.
Directing this atmospheric tale is Australian filmmaker Simon Stone, who previously helmed the 2021 Netflix drama The Dig. Stone proudly told Decider that, despite the risks, they managed to keep the superyacht mostly unscathed. 'We did scuff up a bit of the flooring and had to shell out about a thousand bucks to polish one area,' he confessed with a chuckle. 'But overall, we behaved ourselves pretty well.'
In their interview, Knightley and Stone opened up about the unique hurdles of filming on such an extravagant boat, including braving the chilly English Channel during autumn and Knightley's standout swimming skills. When asked if they were actually out on open water, Knightley replied, 'Absolutely, right in the English Channel. It was freezing—typical for that stretch of sea!' Stone added that many actors were initially excited about the yacht gig, envisioning sunny skies and smooth sailing. 'They'd say, "Fantastic, a superyacht! Where's the location?" And I'd answer, "The southern coast of England in fall." You could see their enthusiasm fade as they realized it meant lots of rain, biting cold, and relentless wind.' Knightley chimed in, 'It was going to be tough!' But Stone pointed out the silver lining: those harsh conditions added authenticity to the Scandi-noir vibe of the film, making scenes look eerie and intense. 'We wouldn't dare compare our work to something as noble as Médecins Sans Frontières,' he joked, with Knightley agreeing wholeheartedly. 'Our job isn't truly hard, but ironically, shooting on a superyacht isn't the lap of luxury either.'
Knightley elaborated on the yacht's constraints: 'These vessels are engineered for about 25 crew members and 12 guests. We had the full crew, plus 70 film technicians and 20 actors crammed on board. Rules were strict—no touching anything, no sitting on furniture, no walking on the carpets. We were all huddled in the middle, like sardines. Eating and drinking? Only in tiny designated spots. It shattered any fantasy of yachting bliss.'
The interview touched on a fun detail: the need to switch shoes frequently. Stone explained how this real-life quirk inspired a scene for Lo's character. 'We incorporated it because it builds relatability,' he said. 'Picture this—if you're not warned, you might slip up on the dress code, which for the wealthy means dressing down, not up. It makes Lo endearing; we all root for the underdog who messes up in a high-society world.'
Given Knightley's history with nautical roles, Decider asked if yacht filming was tougher than pirate ship adventures. 'Definitely easier on the pirate ship,' she laughed. 'You can romp around, lean on things, and just act freely. Here, it's "Run from the killer—but hands off the walls!" The pressure to avoid breakage was intense, especially with that potential $200,000 repair tab looming.' When pressed on whether they caused any damage, both insisted they were too scared. Stone reiterated the minor scratch and buffing cost, calling it a win.
They also discussed the film's climactic swimming sequence, where Lo leaps overboard in a desperate bid to escape. Knightley revealed she filmed in a controlled tank, with her stunt double, Jess Hooker, handling the frigid water parts. Stone praised Knightley's freestyle technique: 'All the swimming shots are her, and she's got real skill—even in a sweater! I kept reminding her to look more exhausted and shocked. She nailed it, though sometimes we had to edit to show her fatigue, making the audience fear for her life. In a few takes, she swam like Bear Grylls!'
But here's where it gets controversial... The chat took an unexpected turn when Decider brought up Knightley's voice role as Professor Umbridge in the new Harry Potter audiobooks, amid calls for a boycott due to author J.K. Rowling's outspoken views on transgender issues. Knightley admitted she wasn't aware of the backlash. 'I'm truly sorry about that,' she said thoughtfully. 'We're in a time where we all need to learn how to coexist with differing opinions and show mutual respect.' Stone echoed this, suggesting we should avoid silencing voices we find unbearable, as everyone might be 'that annoying kid' to someone else. He likened it to classroom dynamics, where political divides lead to ironic attempts to mute others, forgetting we're all guilty of the same. 'What if we paused the shouting and let a bit of chaos unfold? It might help us navigate this together.'
This raises some big questions: Should artists separate their work from an author's personal beliefs, or does association make them complicit? Do boycotts truly change minds, or do they just deepen divides? And in an era of polarized opinions, how can we foster genuine dialogue without shutting each other down? We'd love to hear your thoughts—do you agree with Knightley and Stone's live-and-let-live approach, or is there a line that shouldn't be crossed? Share your views in the comments below; let's discuss!
