I received my UK ‘Public Enemies‘ Blu-ray this week. I now finished capping the scenes featuring Marion Cotillard in the main movie. I’ll try capping the Marion-relevant extras tomorrow. Enjoy!

On a sidenote, our gallery has now surpassed the 30,000 limit mark as it currently houses 30,321 pictures.

389 Public Enemies > DVD Screencaptures

from Empire (UK) / by Ian Freer, Phil de Semlyen

London, Paris, Geneva, Madrid, Adelaide, Los Angeles, Nashville… Empire has scoured the globe to talk to the seven women of Nien – the cast of 2009…

At the end of the day, when we had the whole cast together, there was that moment where I thought, “Oh my Lord! Look at this cast! How lucky did I get?!” says Nine director Rob Marshall, currently in post-production on his first musical since the Oscar-laden Chicago. “It was an amazing experience – working with the crème de la crème.”

Riffing on the Tony-winning Broadway show based on Fellini’s 8 1/2, Nine may centre on the artistic neurosis of celebrated film director Guido Conini (Daniel Day-Lewis, in his first hoofer), but perhaps the real hook is the bevy of women who populate Guido’s reality, memory and fantasies.

Marshall had seven key female roles to cast, and what he has come up with is hands-down the ensemble of the year, a heady mix of pure acting chops, stunning looks, iconic talent and irrepressible chutzpah. He also demanded something else: no divas.

“For me, they have to be lovely people,” he says. “As I get older and as I move into more films, the process is everything and I wanted to make sure that I love these people and loved working with them. To me, that’s very important.”

Marion Cotillard – the Wife

Tell us about Luisa Contini
I love Luisa because she’s an authentic lover. She’s more than his wife: she’s his confidante, his best friend. She’s really a person committed to this relationship. She loves him. She lives for him. She stands by her man. What she gave up for him is not painful – what’s painful is how the relationship turned out to be, because she realises that the confidence they used to share is collapsing, and what she lives for is going away.

Your big number is My Husband Makes Movies.
I love this song, Lisa is a very internal character – am I right to say that? – but sh really keeps things inside because she doesn’t really know how to deal with the fact that she’s been left aside, so she tries to protect him. At first she tries not to show how much she’s suffering, but when you’ve suffered for a long time, it’s hard to keep it inside. So she’s struggling with trying to stand by her man, but standing alone at the same time.

You also sing a song created especially for this movie.
Yes. It’s called Take It All. What she says is very close to Be On Your Own. That she was there for him, but if he doesnt’t look at her then she can’t live in a relationship where it’s only one-way. She needs love, to love. To be able to give love, you need love.

What were your favourite musicals growing up?
It was definitely Singin’ In The Rain and Annie. I knew all the songs and all the choreography! I’d spend hours in front of the TV with a video-tape of Singin’ In The Rain trying to do the choreographies in my living room. It was kind of funny.

People keep pronouncing the deathof the musical, but every year there’s another monster musical at hte box office. Why are they still so popular?
Musicals are very demanding in terms of working, so I think it’s a good thing that they’re kind of rare, but I don’t think it’s dying… America is the musical country. Maybe there were more musicals before, but people need more reality in movies so maybe that’s why they may have looked like they were dying. But when you have too much reality, you also need dreams, so maybe that’s why they’re coming back.

I added the scans of the full ‘Nine‘ feature in Empire (UK) magazine as well as a transcript of the small article and the interview with Marion.

• Dream Girls, Empire, December 2009

008 Scans from 2009 > Empire (UK) – December

Marion Cotillard together with Daniel Day-Lewis, Judi Dench, Kate Hudson, Penelope Cruz, Stacy “Fergie” Ferguson, Producer/Director Rob Marshall, and Producer John Deluca will attend the Variety Screening of the movie on Monday, November 16, 8pm in New York and take part in the Q&A session afterwards. More information here.

Rumour has it that the ‘Nine‘ cast (Daniel Day Lewis, Nicole Kidman, Penelope Cruz, Kate Hudson, and Marion Cotillard) will appear on Oprah in the near future. Maybe on November 20. Stay tuned for more information! Thanks for the heads up on these 2 events goes to Nadine.

[edit:] The taping of the Oprah interview takes place this Friday, November 13, 2009. Thanks Nadine!

Marion Cotillard together with other French actors has participated in a spot asking people to sign the petition L’ultimatum climatique. The petition mainly addresses the French president, that he should take a stand for the environment during the upcoming conference in Copenhagen in December. But it also asks the French citizens to support any measures to save our planet and to show their readiness to do so by signing the petition. More information in the Press Release as well as on the official website Copenhague-2009.

Participants in the spot: Charles Berling, Marion Cotillard, Stéphane Debac, Agathe de La Fontaine, Marc Jolivet, Mélanie Laurent, Bernard Lavilliers, Emmanuel Petit, Lea Seydoux, Daniel Bravo & Guizmo De Tryo, Christophe Willem & Zazie.

People who have already signed the petition include Jane Birkin, Guillaume Canet, François Cluzet, Clotilde Coureau, Vanessa Paradis, Sylvie Testud and many more.

Gallery: 010 Charity & Causes > L’Ultimatum Climatique (2009)
Video: 001 Other > L’Ultimatum Climatique

from Harper’s Bazaar (UK) / by Cath Clarke

Oscar-winning actor Marion Cotillard is taking eco-campaigning to the charts, on a new single with Mark Ronson, Lily Allen and Duran Duran.

For Marion Cotillard, the environment isn’t just a recent concern; she was a Greenpeace spokeswoman and eco-activist long before her soulful turn as chanteuse Edith Piaf in La Vie en Rose won her an Oscar last year. Since then, her life has been transformed from that of a hardworking French actress into one of an international star. Along the way, she has acquired a reputation for being outspoken – which is true, by Hollywood standards at least; Cotillard has that very French knack for plain-speaking.

Today, the 34-year old is in Paris, taking a break from the set of her new film Les Petits Mouchoirs – directed by her boyfriend, actor Guillaume Canet. Despite the best efforts of the French press to turn the couple into the country’s Brand and Angelina, they refuse to discuss their relationship. But both have lent their voices to ‘Beds Are Burning’, the single that has become the soundtrack to a campaign called ‘Tck Tck Tck’, set up to rais awareness of global warming. The group aims to put pressure on world leaders ahead of December’s UN climate-change summit in Copenhagen. Cotillard, 34, is persuasive on the issues. ‘Reality is scary at the moment,’ she says emphatically. ‘The message needs to be loud. We need to tell politicians that we will be watching them. Our eyes are open.’

It was as a teenager, after moving to fume-filled Paris aged 17, that she first became aware of pollution and started recycling. This being Paris in the early 1990s, it wasn’t easy, and Cotillard would find herself lugging bags filled wih batteries and paper around on the Metro. ‘People thought I was weird,’ she says, laughing. These days, she readily admis that flying is the ‘black shadow’ on her carbon credentials, but otherwise, she is pretty clean. ‘When I buy something, I want to know where it comes from, how it was made,’ she says. ‘I will never eat a strawberry in the middle of the winter.’

‘Beds Are Burning’ has been called ‘the Band Aid for the internet generation’. It’s a cover of a track by Australian rockers Midnight Oil, and was Cotillard’s favourite song as a teenager. She says she wasn’t nervous about singing alongside its all-star cast of musicians – including Youssou N’Dour, Mark Ronson and Duran Duran. ‘I love singing,’ she says. ‘Lip-syncing is more difficult’ – referring to the art she perfected to play Edith Piaf, to the extent that most people assumed she was performing for real. She does, however, get to belt out a few show tunes in the upcoming film musical Nine by Chicago director Rob Marshall, which is based on Italian director Frederico Fellini’s 8 1/2. ‘When I was a little girl, I always wanted to be in a musical, an American musical,’ she says. ‘I knew Singin’ in the Rain by heart. My favourite movie was Annie.’

As for environmental issues today, Cotillard is cautiously optimistic. ‘People used to say I was crazy. Now, we are more and more crazy people.’

For details of how to get involved in the ‘Tck Tck Tck’ campaign, visit www.timeforclimatejustice.org.

I added the scans from the December issues of both the UK and the Japanese Harper’s Bazaar. Many thanks Lorna and Kelly for scanning the features for us!

I also added a transcript of the UK magazine – it’s mostly to promote Beds are burning, but also Nine. It has information about Marion’s engagement for the environment that previously only French publications have written about. Obviously, I don’t understand the Japanese article but it’s to promote ‘Public Enemies‘.

• Siren Song, Harper’s Bazaar (UK), December 2009

[edit:] Links are now working! Sorry, don’t know what had happened!

002 Harper’s Bazaar (UK) – December
006 Harper’s Bazaar (Japan) – December

Finally! Gaumont released the French trailer for ‘Le dernier vol‘ yesterday – in time for today’s screening at the American Film Market. Doesn’t it look perfect?! For a HQ version as well as a translation of the dialogue visit our forum.

Gallery: 066 Le dernier vol (The Last Flight) – 2009 > Screencaptures > Trailer
Video: 001 Tags: Le dernier vol > Trailer

from FemaleFirst.co.uk

To celebrate the release of the excellent Public Enemies, out on DVD and Blu-ray 2nd November, we caught up with one of Hollywood’s hottest actresses, Marion Cotillard.

Her rise has been nothing short of meteoric – from a range of movies in her native France to proud owner of an Academy Award for Best Actress for her portrayal of Edith Piaf in La Vie En Rose.

- Do you still consider yourself as being from France? Or are you now from Los Angeles or a New Yorker?

I live where I work. So I was African this past month. I’m still from France, definitely, but it’s been a long time since I’ve been in my country. I love to travel. I miss my friends and family, that’s all.

When I did Michael Mann’s movie, we were for four months in Chicago so I lived in an apartment there, because I’m French so I need a kitchen to cook sometimes! To have a healthy life, you need to have your home bedroom and make the bed in the morning.

- Do you like this gypsy kind of life?

Yes, for the moment. I know that it will not be my whole life and one day I will maybe take some time off and stay in my house in France. But I love to meet people.

I love to make different contacts. The world is rich with so many things that I want to discover that I’m very happy with this gypsy kind of life.

- Is it a stereotype that the French women are obsessed with cooking and food?

I love to cook and French love good food. In Chicago, you can find very good food. It’s just that I like to know what I eat.

- What made you feel ‘I have to be in Public Enemies’?

I didn’t know anything about the [John] Dillinger case and I read the script and I started to do some research about American history, native American history, this very special and tough period of the depression and the creation of the FBI. I thought it was so interesting. I love to learn things, I love to learn history.

What I loved in the movie is that you can feel in each character the failure and the violence, the pain of this period. You can see it in Dillinger, you can see it in [FBI Agent Melvin] Purvis, you can see it in [her character] Billie Frechette.

You can see it in all the characters and I think it’s beautiful to manage to make you feel what was the period, just by seeing someone live. Without a word, you feel this failure.

- You are doing more and more American movies. Is it something you did on purpose because people in the French film industry were jealous of you and you needed to escape?

No. I have never thought of my work this way. I was in Los Angeles and I had this amazing opportunity to meet Michael Mann. I couldn’t believe it. I loved him right away.

I wanted to give everything I could to that guy because, as I said before, I loved the story and it was more than a gangster movie. It tells you much more than just guns and robbing banks.

And it was not ‘I have to do that and I have to do this.’ I just couldn’t do something that I don’t believe in – I would be very bad at it.

- How much did the Oscar change your status in Hollywood?

I think that what has changed things in my life was the movie La vie en rose and the Oscar is like the proof of the change. You know, it has changed but I’m not more confident.

I wish I could be but I’m not. It brings me all these beautiful opportunities to meet people that I loved forever, that I’ve admired forever.

Each time my American agent calls me and says, ‘This director would like to meet with you’, ‘This director would like to offer you a role,’ it’s magical. I will not get used to it. It’s amazing.

Public Enemies is available to own on DVD and Blu-Ray from 2nd November

from Vogue / by Plum Sykes

What actress doesn’t dream of reliving Fellini’s magic? Here, a head-spinning lineup of A-list stars join forces in Rob Marshall’s movie-musical Nine. Plum Sykes visits them on set. Photographed by Annie Leibovitz.

Shepperton Studios, London, on a bleak December day. Shrouded in a freezing fog, the lot seems faintly neglected, as though abandoned. The various buildings—prop shops, costume houses—look like little more than sheds. A car drops me off at a side door to a soundstage, where a harried but friendly publicist meets me.

Inside, it’s as though a magician has waved his wand. Suddenly I am transported half a century back in time to the Italy of La Dolce Vita. To my left is an empty set-within-a-set of a Roman piazza, and to my right is a bustling re-creation of a 1960s movie studio. An intricate scaffolding of iron balconies and stairwells has been built in front of the corrugated walls of the soundstage. Nowhere, it turns out, could be more perfect for Rob Marshall to direct the song-and-dance numbers for Nine, his latest movie, because the bones of Shepperton have an uncanny resemblance to the Cinecittà of Fellini’s 8½, the inspiration for Maury Yeston’s 1982 Broadway musical Nine, on which this film is based.

Bang ahead of me, Daniel Day-Lewis, playing the lead, Guido, is dressed in a forties-style waistcoat, a white shirt, and beige pants. Nine is Guido’s story—the tale of a legendary director who can’t find a subject for his next film or a way to control the many women in his life. Day-Lewis is seated on a crane, “directing” a scene.

I stand and watch for a while. Well, actually, I stare in a fanlike manner, rather than a professional-Vogue-journalist kind of manner. Day-Lewis’s cheekbones are as mesmerizing as his acting, and his performance is so intense he literally is his character. Suddenly an arm appears and gently repositions me about two yards to the left. “Could you please move out of Daniel’s eye line, Miss Sykes?” asks a crew member. I am politely informed that since Day-Lewis is a Method actor, he doesn’t like to see anyone besides cast and crew while he is working. Nor would I, if I were taking on a role originally played by the iconic Marcello Mastroianni. (On Broadway, Guido was played by Raúl Juliá in 1982 and Antonio Banderas in 2003.)

No matter; there is plenty else to look at—and what a show it is! Behind Day-Lewis, the scaffolding is peopled with 100 extras and 24 dancers, immaculately choreographed and dressed in glittering gradations of white: Dancers in flapper dresses preen on the stairwells; girls in corsets flirtatiously drape themselves over the balconies; buxom ladies in bustiers and hot pants twirl giant fluffy ostrich-feather fans. This is the spectacular, over-the-top ensemble number “Folies Bergeres”: Guido’s imagination come alive.

One by one, six of the seven leading ladies in Guido’s life appear through a doorway high up in the rafters and slink down the stairs, positioning themselves languorously around the set. First, to the grand orchestral music of the “Overture Delle Donne,” the singer Fergie, who plays Saraghina, a prostitute, appears in a gray, corseted frock, all cleavage and russet hair, her eyes kohled into a smudgy, sexy mess. She is followed by Kate Hudson, perky as ever, in a white fringed sixties minidress and go-go boots, her blonde tresses teased into tumbling curls. The outfit perfectly suits her character, Stephanie, a Vogue journalist. Next, Judi Dench, playing costume designer Lily, appears clad in black and smoking a cigarette. Then comes a saucy Penélope Cruz, as Guido’s mistress, Carla, in a polka-dot cocktail dress that gives her the silhouette of a fifties pinup. Nicole Kidman follows, striking a powerful pose in a nude-colored strapless, sparkling gown as movie star Claudia, Guido’s inspiration and obsession. Finally, an astoundingly well-preserved Sophia Loren, playing Guido’s mother, makes her entrance, leaning over the balcony and shooting a stern but loving look toward Guido far below. (Marion Cotillard, who plays Guido’s long-suffering wife, Luisa, is not in this scene.)

“You could call it an iconfest,” I scribble in my notes. Then, rather unimaginatively, I add “razzle-dazzle-pizzazz musical great antidote to misery-gloom-doom of credit crunch” before, thankfully for the reader, I am diverted by the whisper “Ciao! Plume!” from behind me. I turn to see a vision of toffee-colored Loro Piana cashmere before me—Mr. Valentino and his partner, Giancarlo Giammetti.

“We’re here to see Sophia,” explains Giammetti. “She said to me, ‘It’s the best movie I’ve ever done.’ ” Mr. Valentino adds, “She said, ‘It’s the most expensive movie I’ve ever done.’ ” From the rear, producer Harvey Weinstein, dressed in a white shirt and black pants, booms, “Judi Dench said to me, ‘I have to make Ten and Eleven!’ ” Just then, Pedro Almodóvar walks by, plus entourage, in search of Penélope Cruz’s dressing room. I scrawl “icon overload” on my legal pad.

A few minutes later I find myself climbing a very steep ladder up to a small stage where Rob Marshall has been perched for most of the last twelve weeks. Dressed in dark jeans and a navy sweatshirt, Marshall, 49, is good-looking—and dead serious. He has four screens to monitor and multiple cameras, and is shouting directions at the actors, who are repeating the scene over and over. The only line in the scene comes at the end, when Day-Lewis says, “Action!”

The pressure doesn’t faze Marshall, who is thoroughly enjoying himself. “I was born in the wrong time,” he says, sighing. “I wish I’d lived in the MGM era, when they churned out musical films one after another.” An ex-dancer and choreographer whose exhaustive résumé includes codirecting, with Sam Mendes, a revival of Cabaret that won four Tonys, and directing the movie Chicago, which won six Oscars, Marshall is in his element. “One of the joys of working on a musical is that you rehearse for two months. You actually get to create a company, which you never do usually in film,” he says.

Still, even a multiple-Oscar-winner cannot escape the provenance of Nine and the expectations that it brings. Fellini’s 8½—so called because it was, literally, Fellini’s eight-and-a-halfth film—which was released in 1963, is extraordinarily iconic to moviemakers because of the surreal and beautiful way it dealt with the subject of creative procrastination. To the fashion crowd, 8½ is simply a diabolically stylish movie that defines 1960s European chic. The curvaceous women of 8½ are clad in shockingly sharp shift dresses, demure gloves, and enormous, veiled hats from under which their immaculately lined eyes gaze blankly out. Shot in cool, grainy black-and-white, 8½ starred the sexiest actresses of the day, including Anouk Aimée and Claudia Cardinale. “This movie is not a remake of 8½!” exclaims Marshall nervously. “I could never remake that movie in half a million years. I could never touch Fellini and the brilliant, genius masterpiece of all time.”

A break is announced, and Weinstein escorts me back down to the set to meet the actresses, who are chatting while they wait for the next take, Penélope and Kate dwarfed by the ethereal-looking Nicole in her glittering gown. Her hair, colored a beautiful shade of palomino, is curled and immaculately pulled back from her forehead, and her clear blue eyes and pillar-box-red lips are like exclamation points against her alabaster skin, showing off the enormous Chopard diamonds around her neck to perfection. I tell her I cannot believe she had her baby, Sunday Rose, only six months ago. “My baby gives me energy. I don’t feel tired,” says Nicole. Claudia was played by Claudia Cardinale in 8½. I can’t resist asking Nicole how she feels about being a movie icon playing a movie icon who was once played by an Italian movie icon. “No!” she insists. “I’m not playing Claudia Cardinale. Even when I played Virginia Woolf I didn’t take the real woman into account.” Nevertheless, Marshall says he picked Kidman for the role because “when Claudia comes on, she has to be the iconic film star, and Nicole has really attained that in her life.”

Nicole turns to Kate, who has covered her costume with a white terry robe. Her feet are now clad in a pair of UGG boots. “Kate should be on Broadway,” says Nicole. “She should be the lead.” Kate’s eyes sparkle with excitement when she talks about her number “Cinema Italiano,” which was written especially for her by Yeston. “I spent most of my childhood singing and dancing and just never had the chance to do it professionally. So when I got the chance to work with Rob, I was so excited, I was out of my mind.”

Hudson tells me that rehearsals felt like “being at summer camp,” although she adds, “I don’t think there is any actress who looks forward to missing those days with her kids. But at the same time there is no one who wants to stop acting.” Nicole admits, “I had no desire to work after I had my daughter, but to lure me back, this movie was the only way.”

Penélope also plans to work less in the future. She says that she is so often cast in tortured-female parts that she needs to put in more and more energy and time to play them. “Luckily I don’t have to identify with my roles, because if I did I would be dead by now!” she says with a laugh. “I’ve been working since the age of seventeen, and I really haven’t stopped. I want to balance it a little more. Instead of making three or four movies a year, I will do one.”

Still, it isn’t as though the girls haven’t had fun. Penélope loved living in the same apartment building as Kate and Fergie. “I’ve had some very long dinners with Kate, because she loves eating,” she says. “I mean four-hour dinners. We are exercising so much we don’t feel guilty at all.” Fergie then walks over and adds that because she had to gain weight for her part, she stopped working out and “started eating crap. I ate everything fried.”

Later I visit the wardrobe department, which turns out to be an entire floor of another building. There are so many racks of forties frocks, sequined gowns, and beaded dresses that I literally can’t see where they end. Costume designer Colleen Atwood, who won an Oscar for Memoirs of a Geisha (directed by Marshall), had a fashion challenge on her hands with Nine: The film is set in the sixties, but the women in Guido’s life go back to the mid-twenties, so the costumes had to reflect all the different eras. Colleen used vintage clothes for the extras but created all the period looks for the principals because they had to sing and dance in them—350 costumes and 200 pairs of shoes in all. She sewed couture-like corsets for Nicole Kidman to give her the silhouette of a goddess and was inspired by a print from a sixties Pucci purse to make a blouse for Kate Hudson. “We have given you a major fashion moment,” says Marshall. Even the period lingerie for the women was handmade, whether it was frilly garter belts or satin-and-lace bras.

In the makeup studio, I meet Peter Swords King, Oscar-winning hair and makeup designer, who has a team of 28 working with him. The walls are covered in inspirational black-and-white photos of sixties stars like Monica Vitti, Brigitte Bardot, and Julie Christie. “Those girls always looked like they just got out of bed—in a good way,” says Peter, confiding that authentic bedroom hair is achieved by running your fingers through your hair instead of brushing it, after you curl it. “I was completely inspired by the Italian New Wave-film look—Sophia Loren and Claudia Cardinale.” As for the makeup, think false eyelashes, eyeliner, and pancake foundation. “There’s something incredibly sexy about the dark eyes and the pale lips,” says Marshall. “That era worshipped the beauty of women.”

A few minutes later Weinstein picks me up in a chauffeur-driven car. En route, he tells me, “I’ve made more than 100 movies, but I’ve never, ever made a movie like this. I’ve been working on Nine for nearly five years,” he says. “It’s been a real passion of mine since I saw the original with Raúl Juliá.” When we arrive at the office the first clip I see is Penélope performing “A Call from the Vatican,” which she sings wearing a white satin-and-black lace teddy and fishnets. It’s sexy and fun. Kate Hudson’s go-go-dancing turn is more than a little reminiscent of her mother, Goldie Hawn, in the sixties comedy-sketch show Rowan & Martin’s Laugh-In. Finally, I see Marion Cotillard singing “My Husband Makes Movies” while performing a dazzlingly chic striptease. When I talk to her by phone a few weeks later, Marion, who speaks with a delightful French accent, tells me, “It’s been my dream to do an American musical. When I was a child, Annie was my favorite. I just never thought I would get to do it.” Of playing opposite Daniel Day-Lewis, Cotillard says, “It’s easy to work with such an amazing artist.” Because he was always in character, “it gives an energy to the crew. He creates this desire in everyone to be at their best.”

At five o’clock, I go back to the set, where it’s a wrap. The soundstage is littered with the debris of moviemaking—giant wind machines, a double-decker bus, bunches of cables, a child’s bed, lampshades. Actors rush for their coats and bags. A troupe of good-looking extras dressed as priests in white cassocks say goodbye to one another, looking slightly deflated now that it’s all over. Sophia Loren walks alone to her dressing room, a fat mink coat draped over her costume against the cold. A dancing girl covers herself in a dull green mackintosh and heads home. The spell is broken—I am reminded of the bleak London day outside, and venture out into the mist.