from NBC News Today / Transcript from The Today Show

MEREDITH VIEIRA, co-host:

Eight thirty now on this Monday morning, December 21st, 2009. A lot of the weekend snow is already being scooped up here in downtown Manhattan. Right now, Oscar winner Marion Cotillard scooping up toys for our 16th annual toy drive. We’re going to talk to her in just a bit.

MEREDITH VIEIRA, co-host:

But first, let’s welcome Marion Cotillard to the plaza.

ANN CURRY, co-host:

Hello, Marion.

VIEIRA: She is one of the stars–nice to see you…

CURRY: Hello. A pleasure.

Ms. MARION COTILLARD (“Nine”): Hi.

VIEIRA: …of the new musical “Nine.”

NATALIE MORALES, anchor:

Marion, hello.

VIEIRA: Her performance has already received…

Ms. COTILLARD: Congratulations!

VIEIRA: Oh.

MORALES: They’re engaged!

VIEIRA: And congratulations to you, you’ve already received a Golden Globe nomination…

Ms. COTILLARD: Thank you.

VIEIRA: …for “Nine,” which is very exciting.

Ms. COTILLARD: Yes, it is.

VIEIRA: You won the Globe last year along with the Oscar for your performance as Edith Piaf in “La Vie en Rose.” Is it still special second time around?

Ms. COTILLARD: Oh, of course.

VIEIRA: Yeah.

Ms. COTILLARD: You know, when you–when you’re able to share it a movie with people and they show you that they like it and they like what you did in it, it’s so exciting.

VIEIRA: Along with two of your co-stars, right, Daniel Day-Lewis and Penelope Cruz also got the nod.

Ms. COTILLARD: Yeah, and Penelope Cruz, yeah.

VIEIRA: So that’s very exciting.

CURRY: You know, you said that–you’ve been quoted as saying that at the very beginning you were a little intimidated working with Daniel Day–which of course who wouldn’t be, I mean, frankly.

Ms. COTILLARD: Yeah. He’s a genius.

CURRY: And you were–and you were…

VIEIRA: Yeah.

CURRY: …playing his wife, which made it even more challenging. So what got you over that intimidation so that you could excel at this role?

Ms. COTILLARD: Well, you know, when you get into the work, and we had an amazing time rehearse–with rehearsals, because when you do a musical, you get to rehearse for it, and we were together for two months dancing and singing.

CURRY: Mm-hmm.

Ms. COTILLARD: And when you just dive into the work, then you forget about you know, your shyness and how you–how you were intimidated the first time.

MORALES: Yeah.

VIEIRA: Yeah.

Ms. COTILLARD: So it’s just about the work that–and you get over it.

MORALES: Yeah.

VIEIRA: Yeah, yeah.

MORALES: Now I read also that you were inspired by “Annie” to do an American musical, even though you did “La Vie en Rose.” So now to be able to do an American musical like “Nine,” how was that?

Ms. COTILLARD: Well, when I was a kid, it was my dream to do an American musical. I loved “Singing in the Rain” and “Annie,” and I–and I knew all the dancing and…

MORALES: Wow.

Ms. COTILLARD: …and I would dance in front of my TV. And it really was my dream. And when I got this call from Rob Marshall saying that he wanted to meet me, I was like already jumping and dancing.

MORALES: Wow.

Ms. COTILLARD: And so yeah, it was really one of my biggest dreams.

CURRY: Wow.

VIEIRA: But the dancing in “Annie” is not quite like the dancing in “Take It All,” that’s…

Ms. COTILLARD: No, actually no.

CURRY: And the singing is also very different.

VIEIRA: Yeah. Yeah, you–it was just wonderful.

CURRY: But–and also–but just the talent you have, I mean–because you actually–they used your voice in addition to Edith Piaf’s voice in the movie that you–that’s–no, not that much or…

Ms. COTILLARD: Well, not really.

CURRY: Oh.

Ms. COTILLARD: Actually, they used my voice only a little bit.

CURRY: Oh.

Ms. COTILLARD: But because she’s–in that scene, she’s drunk and she sing like a cow…

CURRY: Oh.

MORALES: Yeah.

CURRY: Oh.

Ms. COTILLARD: …that’s why they used my voice, which is not a really good sign. But…

VIEIRA: Well, I got to tell you…

CURRY: Well, congratulations.

VIEIRA: …when I used to watch Audrey Hepburn in films, she’d mesmerize me…

MORALES: Yeah.

VIEIRA: …because she just lights up the screen, and you have that same quality. You are just so incredible.

Ms. COTILLARD: Oh, thank you.

VIEIRA: I’ve got a little girl crush here.

Ms. COTILLARD: Oh, my.

VIEIRA: So anyway, you’re wonderful.

CURRY: I’ll get out of the way.

VIEIRA: Wonderful in the movie.

Ms. COTILLARD: Thank you very much.

VIEIRA: Thank you so much. Truly wonderful.

Ms. COTILLARD: Thank you so much. Thank you.

CURRY: Congratulations.

Ms. COTILLARD: Thank you.

VIEIRA: And the movie opens on Christmas Day, which is very exciting. A perfect present for folks.

Ms. COTILLARD: Yeah.

VIEIRA: That is “Nine.” Marion Cotillard.

CURRY: Marion Cotillard. Thank you so much.

from Examiner.com / by Carla Hay

“Nine” is one of those rare movie musicals in which most of its stars are Oscar winners.The film’s cast includes Oscar-winning actors Daniel Day-Lewis, Judi Dench, Marion Cotillard, Nicole Kidman, Sophia Loren and Penélope Cruz. Oscar nominee Kate Hudson and Grammy-winning singer Fergie (of the Black Eyed Peas) round out the stellar “Nine” lineup.

The movie musical “Nine” (directed by Rob Marshall, who also helmed the 2002 Oscar-winning musical “Chicago”) is based on the stage production of the same name, which was inspired by the Federico Fellini film “8 1/2.” Day-Lewis plays Guido Contini, a famous Italian filmmaker who’s under pressure to start his next movie, but he has writer’s block and doesn’t even have a script or concept for the film.

In the middle of this professional crisis, Guido is dealing with conflicting emotions about women from his past and present: his long-suffering wife, Luisa (played by Cotillard); his demanding mistress Carla (played by Cruz); his costume designer/longtime confidante, Lilli (played by Dench); his actress muse Claudia Jenssen (played by Kidman); a star-struck Vogue magazine writer named Stephanie (played by Hudson); a prostitute from his childhood named Saraghina (played by Fergie); and his late mother (played by Loren). At a “Nine” press conference in New York City, Day-Lewis, Fergie, Cotillard and Dench sat down to talk about their experiences making this musical extravaganza.

Judi, you were quite sexy chanteuse when you performed your solo number in “Nine.” How did the costume make you feel? And is there a behind-the-scenes story you can share?

Dench: I trained as a costume designer before I trained as an actress, so I know how important it is to have a costume that empowers you. ["Nine" costume designer] Colleen Atwood designs something quite organically on you. She will perhaps do a drawing, but when it comes to actually seeing you in it, certain things will change and she will ask you how you feel and things. At least, getting into that costume I felt that I might, in fact, be part of a nightclub in Paris at some time. So that is unbelievably empowering and does half the work for you. Then you’ve got to do the rest of it, which isn’t easy!

What was a help in all that [filming of the scene] is that it happened on a stage. And the only reference back I had was I played Sally Bowles in “Cabaret” in London. And suddenly, I thought, “Oh yes, this is what this [scene] reminds me of: this kind of stand-up person who speaks to the audience.” So that reference for me was very, very helpful. It was difficult for the audience sitting there, take after take after take after take, to still look as if they’re enjoying it and having a nice time and smoking a cigarette. You wanted to scream at them, “For Christ’s sake! Look as if you’re enjoying it!” I didn’t get a chance to do that. But anyway, they stuck with me until the end. It was a long day.

Marion, your strip-tease scene in the movie wasn’t in the “Nine” stage musical. What inspiration or what did you refer to when you were doing that scene?

Cotillard: I would say I referred to her [Luisa]. What was interesting with Luisa is you have many layers, many faces of her in the movie. She’s someone who keeps things inside because she doesn’t really know at that moment in her life how she feels. She’s lonely. It takes courage to end a love story, to tell the man you love that you can’t take anymore; you can’t be so empty anymore.

What is very interesting with Luisa is you have the face of this woman who is handling things, and then when the disrespect is too much to take … Because she’s an actress too, she has things inside of her that need to come out. The anger is everything that’s sexy. It’s anger, it’s fierce, it’s sad. My reference was her pain.

Daniel, why did this role in “Nine” appeal to you? And how did you feel about doing the musical numbers?

Day-Lewis: Nervous as hell, like everyone else. I didn’t really ask myself initially why I was drawn so much to it. Tony [Minghella's] script was so beautiful, but I could have appreciated that from the outside without necessarily being drawn into the world he was describing. I suppose that anyone who does any kind of creative work at some time in their life, and it tends to happen as you grow into middle-age, you come to a time when you really question more and more frequently whether you have anything else to offer. And at its very worst, you feel utterly bereft of whatever creative force it takes to do that work. And so I suppose I was interested in that dilemma for a man who’s about to shoot a film in five days and he’s living in a wasteland of his own making.

Fergie, what did you draw from in your life that you put into your character in “Nine”?

Fergie: Going into this musical. I’m definitely “the singer” going into this A-list acting world. So it was intimidating for me, flying over and knowing I was going to be amongst these people who were at the top of their game in their field. I really just thought, “You know, maybe I’ll just sit in a corner and kind of be a sponge and not speak unless spoken to.” Kind of just watch what these people do and how they hone their craft. The first person I met there was Daniel, and I think it was 15 minutes later I was standing by a piano and I had to belt out the song right in front of him. I’d admired his work for years and I had to push through it and just say, “What the hell?” This is what I do.

That’s kind of how I handled the audition. I was hungry for this role, I really wanted it, and I was a really good student. I came to London with all my tools, all the Fellini films, studying old Italian actresses and how they walked and spoke with their hands and just really studying this character from that period.

What I can bring to the performance part of it is things that come more naturally to me that is performing, which is the more extroverted style of performing. What was interesting is that during the ["Be Italian"] number, I’m not moving like myself. During this film, whenever I would sit down, I would never cross my legs, because that’s not how Saraghina would sit. She wasn’t a lady. I would walk in a different physicality than I would use myself.

But the performance aspect of it is pretty much ingrained in me. It was more about, for me, putting that together with the thoughts. I say “be Italian” many times in the song, and it was important to me that every time I said, “be Italian,” for it to have a different meaning, because there are so many things about being Italian. There’s love of life, there’s love of food, there’s love of sex, love of drink, love of dancing, love of singing. And every one was different. So it was putting all of that into it behind what I already knew and combining the two.

What was fun for me — and I’m really excited about this — when we do the reality section of the film, it’s not about performing and being broad at all. It’s about keeping it still and everything is internal, and just using that and counting on that. And that’s what really excited me. I definitely have caught the [acting] bug, because it’s another way to express yourself as an artist — and getting to see these people do their thing.

Fergie, how do you separate your professional life with your private life?

Fergie: I’m pretty good about that. I would get off work and we hangout. We went to the Madonna concert after one of our work days. [She laughs and says jokingly] And that was private! I’m not as Method as someone like Daniel [Day-Lewis]. I’m pretty much go into it, I wear that hat, and then I leave it there …

How did you get your role in “Nine”?

Fergie: As soon as I knew this part was available, basically, I had been touring [for my solo album] “The Dutchess.” I had been touring for about five-and-a-half years straight with the [Black Eyed] Peas. And if any of you know anything about touring, it’s basically different hotel rooms every other night, and it’s a very rock’n’roll lifestyle. And they planned this big tour for me, and I said, “You know what? I’m not 110 percent on this right now. I’m a little bit burned out. I need to take a break.”

Then I found out that this [role in "Nine"] was available and I was like, “I need to audition for this.” Immediately, like a student, I go on BlueGobo.com, I’m studying all the different Saraghinas. “8 1/2,” I’m watching it different times, trying to find new things. And I just dove into it.

Cotillard: I didn’t know there was a play, a musical on stage. And actually, I auditioned for three roles [in "Nine"] before Luisa. What was funny, actually, was my memory of the last audition was that I couldn’t sing the song. I was with ["Nine" musical conductor] Paul Bogaev, and [Luisa’s solo number] “My Husband Makes Movies” is kind of difficult. And I couldn’t get the whole melody at the end. I was working with Paul, and we had and hour, and I knew Rob [Marshall] was coming with ["Nine" producer/choreographer] John [DeLuca] and I don’t remember exactly who was there. And it was in this tiny room, and I told myself, “Well, I’m going to improvise something at the end if I can’t do the right melody.”

And sometimes, miracles happen. And I remember they came — Rob, John — and I was very nervous, because I really couldn’t sing the entire song without making mistakes. And I started that song, and I felt that we were waiting for the moment I would crash down. And then a miracle happened and I could sing the song without mistakes. And I remember Paul looking at me, singing what I couldn’t sing before …

And this day, I had a very special feeling about Luisa. I actually have to say that we went through the process and at that time I was working so much. Two days before, I had this dancing audition and I had to learn so many choreographies. What they don’t know is I was about to cancel the whole thing, because it was my dream to do a musical, but I thought, “My reputation is [being] a hard worker. If they go there and they find out that I haven’t worked the whole thing, I’m going to miserable!” And I went anyway because I thought, “OK, I’m going to improvise my hair or something.” So when I went to the third audition, I didn’t really realize that I was auditioning for Luisa, actually.

Dench: For 52 years, I have been doing plays that, unless they’re Shakespeare, I’ve never read. I’ve just said, “yes,” when I’ve been offered something. I always think I’m very lucky when something comes along. So I didn’t know about “Nine.” It was talked about quite a long time ago.

And then suddenly the day came when I was asked to meet Rob and John at Claridge’s in London. And I went in and I looked at them both and said, “Yes! Yes! Why would I ever not want to do this?” But I had not heard [Lilli’s solo number] “Folies Bergère.” I had not seen it. I just take it on complete instinct. And I knew straight away the minute I walked in and met them that I passionately wanted to be part of this. And I can’t believe that it happened, and I’m thrilled!

Daniel, did you have any singing lessons? And did you learn Italian for the movie?

Day-Lewis: I didn’t learn Italian for the movie. I learned some Italian over the years. A couple of people have said, “Oh, you’re a fluent Italian speaker.” I wish I was, but I’m not. I understand quite a lot.

Rob convinced me, really against my better judgment, that I would be able to do this thing. I tried to think of every excuse I could not to, because I thought he needed somebody else. I think I gave him a few names actually! But he said, “No, I think you can sing.” So I wanted to put it to the test. So Paul Bogaev, the musical director Marion mentioned, came over to the place I was staying, and I tried to stagger through the songs with him. And quite clearly, I was incapable of singing them, but Rob still managed to convince me that it would be OK.

Rather like Judi, even though I knew a little more than Judi did about the demands, I took it on blind trust but had severe doubts about it. I knew I would enjoy the work, but I had no idea what the results of the work would be. I was a choir boy in the local church, when I was a little schoolboy, but other than that, I hadn’t done any singing to speak of.

Daniel, have you every had moments like Guido when you question your beliefs and abilities?

Day-Lewis: Only every single one.

Can you explain how you can “claim” a role when you audition for it?

Fergie: It’s quite funny, because I remember getting ready for this audition and I was thinking, “OK, I want this. I really want this.” And so I’ve learned ever since I was a little girl, when you want something, you walk in as that character. So I’ getting dressed and trying to make my lips look fuller and red and more Italian. I’m trying to contour my nose to make it look more Italian. I’m doing the hair and push [she points to her breasts] making everything look bigger.

And as I’m leaving — we’re in London, mind you — and I was just scared that the paparazzi was going to get a picture of me walking out of a hotel looking like and go, “What was she thinking?” So I just came there and I really wanted it. I have not seen my audition tape, but I’m assuming it’s pretty risqué. I did research. I really feel you should do something unless you really want it, unless you really want to do it, because there’s somebody else’s that’s going to want it. And then that role is theirs. But I really wanted it and I was willing to put in all the work it needed to be that character.

What about the anxiety that actors have about performing?

Day-Lewis: That anxiety is an aphrodisiac.

Daniel, you a play a character surrounded by incredible women and your female co-stars are incredible women in real life. Did you find that that affected how you played your character in “Nine”?

Day-Lewis: It helped. [He laughs.] It really helped a lot. When I was first talking to Rob about maybe doing this work, he talked about the rehearsal period, which initially made me step backwards, because I don’t tend to rehearse. I don’t like to rehearse. I couldn’t understand how you cold go through eight weeks of rehearsals without exhausting every possibility to the point where you’re lying gasping on the floor.

And yet, little by little, I realized that the demands of the music were such that there was no possible way of achieving that thing at all if you don’t go about it with that kind of discipline. That’s the only way it works … It’s been a long time since I worked in the theater, but one of the things I most loved about the theater and the rehearsal process wasn’t the exploring of the text, because I thought, “We’ll be exploring the text for six months in performance.” It was really to do with the bond of trust that is formed between the group of strangers.

Although I knew and admired hugely each of the people that I knew I’d be working with — Judi I’d worked with once before; I sent her a note saying, “I promise not to run out on you this time.”

Was that for “Hamlet”?

Day-Lewis: Yes, it was. But it was really that time during rehearsals where I felt that work was done, not just with the discipline of doing the music — and in the girls’ case, the dancing as well — but just forming those bonds of trust you need to have so that you can then you can live near the edge of anarchy, which is where most creative work happens.

Daniel and Judi, can you describe working with one another?

Day-Lewis: She’s naughty. She’s very naughty. She’s a very, very naughty girl.

Dench: What is terrific about having worked with somebody is you create a shorthand, so that when it comes to the next time, if you’re lucky enough that it comes to the next time, that there is a degree of shorthand between you that you know each other. Therefore, the initial thing of having to act with somebody you don’t know — a lot of the time at the beginning of rehearsals is just getting to know how that person works, how they react, and understanding about them, which in a way, takes up time that you should use playing your character or being that person.

But we, because of Daniel and I working together [before], we didn’t have that. And much of our relationship in the film is exactly what we’re lucky enough to have. And that, in a way, was there for us to draw on. And we did draw on it, didn’t we? [Day-Lewis laughs.] I think we drew on it.

Day-Lewis: We did. Also, the other thing about rehearsing is, you know, Fergie mentioned that moment when she had to sing at the piano, and I have to say — I said this a few times to people — that the first ["Nine"] musical number I remember listening to was “Be Italian,” and it was a fairly early stage of the rehearsal. And I thought, “We might as well just go home now,” because it was so magnificent and we still had six weeks of rehearsals there.

But the thing about rehearsals and relating to the business of trust is you make complete fools of yourselves in that process, and you have to. You have to be able to do that and be allowed to do that. And it was very early on in that period of time that we had to do things as un-self-consciously as possible which we knew were going to be difficult in front of each other. And once you’ve done that, it sort of clears the way a little bit. It doesn’t really mater anymore whether you’re a fool or not. You have to be able to be a fool.

Daniel, you’re a Method actor, so can you talk about staying in the Guido character off-camera? Did you want people to call you Guido when you weren’t filming? And to any of the women on the panel, how did you relate to that way of acting?

Day-Lewis: I don’t mind what people call me, within reason. I’m only too happy if they choose to call me by the name of my character, but it isn’t written on the call sheet. It’s not like that … Everyone has their way of working. My way of working is individual to me, just as Marion’s in to her, and Fergie and Judi and soon and so forth. All you can do is to be true to your own way of working. That can only be of use in a company situation when you’re not making demands on the people you’re working with.

But how do you stay in character 24 hours a day?

Day-Lewis: I don’t know. Like all of us, I’m just interested in a world we’re trying to create. And it takes time and energy to enter into an unknown world and unknown culture and see the world through different eyes. So just from my point of view, it makes better sense, I suppose, for me, to once having entered that world to stay there because I like it. There’s nothing mysterious about it.

Fergie: I have to say that Daniel is really charming. We’d go in our dressing rooms and find this little note on this stationery, and I’d open it up and it would be Guido stationery. And right in the middle of the note to would say, “Guido.” They were very cute and very charming … I kind of didn’t want to relate to him face-to-face very much, because I respect everybody’s way of work. My character is with Guido is basically him as a 9-year-old boy, and I didn’t want to treat Daniel Day-Lewis as a 9-year-old boy. I created this space. I thought, “We can have our moment to together, and that will be it.”

Daniel, can you talk about working with Sophia Loren?

Day-Lewis: She’s a mighty woman. She has a real laugh as well. She’s naughty, too. One of the great joys of working on this film for all of us, most of what she will be known for in the English-speaking world is the films she made in the English language or films she made in this country. But when you discover or rediscover the films she made in her own language, she is such a sublimely gifted actress.

“Each time is unique in its own way. It was my dream as a kid to be in an American musical. It’s an amazing movie and a very special movie, and I hope that people will be made more aware of it by this.”

“The light of my dream is still on and it’s really shining bright today.”

“I feel so good! I’m so, so, so happy! I’m so happy for the movie and I’m so happy for all the people who worked so hard with us because this film really was an ensemble job that we all did. We can’t separate anyone from all these nominations … This nomination is very special. It was my dream when I was a kid to do a musical, so already to be part of this adventure – especially with Rob Marshall who is a genius … This [is] a dream that became true for me and a reality.”

de Le Matin (Suisse) / par Edmée Cuttat

La comédienne évoque son rôle dans le film de Karim Dridi, son expérience aux Etats-Unis après son Oscar et son engagement dans la défense de l’environnement. Interview.

Ils forment le couple le plus joli et le plus glamour du cinéma hexagonal. Six ans après Jeux d’enfants, Marion Cotillard et Guillaume Canet se retrouvent à l’écran dans Le dernier vol, de Karim Dridi, dès aujourd’hui dans les salles de Suisse romande. L’histoire, qui se passe en 1933, est celle de l’aviatrice Marie Vallières de Beaumont, qui n’a qu’une obsession, retrouver son amant, le célèbre pilote anglais Bill Lancaster, disparu dans le Sahara français. Après avoir survolé le Ténéré, elle est contrainte de se poser près d’un poste avancé d’officiers méharistes. Le capitaine refuse de lui apporter son aide pour continuer ses recherches. Elle obtient alors celle d’un lieutenant en rébellion contre sa hiérarchie. Tous deux partent pour une longue errance à dos de chameau. Liés l’un à l’autre comme des naufragés, ils se rapprochent, inéluctablement.

Marion Cotillard, qu’est-ce qui vous a particulièrement attirée dans ce personnage?
Sa force, sa détermination, sa volonté obsessionnelle de partir à la recherche de l’homme de sa vie. Elle m’impressionne aussi en tant que femme. Etre pilote à cette époque, ce n’était pas rien. Je ne connaissais pas son histoire, mais elle est sublime.

Ce rôle vous a-t-il demandé beaucoup de préparation?
J’aurais préféré lui en consacrer davantage. J’aurais par exemple rêvé de passer mon brevet de pilote.

Comment étaient les conditions de tournage ?
Assez éprouvantes. L’environnement étaitz plutôt rude avec ce mélange de silence de vent, de solitude.

Est-ce plus facile ou plus difficile d’être un couple à l’écran avec son compagnon à la ville?
Je dirais que c’est facile de jouer avec quelqu’un qu’on aimeet qu’on connaît bien. En plus, Guillaume et moi avions déjà été partenaires dans Jeux d’enfants.

Vous récidivez dans «Les petits mouchoirs». Sauf que là, Guillaume Canet réalise.
Oui, et c’est aussi un vrai plaisir. Je le trouve exceptionnel. C’est le plus grand directeur d’acteurs avec qui j’ai travaillé.

En février 2008, vous deveniez la deuxième Française à remporter l’Oscar de la meilleure actrice. Que vous a apporté cette statuette?
Des propositions magnifiques qui m’ont permis de vivre ma passion de comédienne aux Etats-Unis. Après Public Enemies avec Johnny Depp, j’ai fait Nine, une comédie musicale de Rob Marshall (ndlr: elle est nommée pour un second Oscar), et là, je vais tourner avec Leonardo DiCaprio un film de SF contemporaine. Bizarre, non? Ça s’appelle Inception. Mais vous savez, pour moi l’Oscar et La môme se mélangent complètement. C’est la première fois que je plongeais aussi intensément dans un personnage. J’ai découvert qu’avec beaucoup de travail, on peut tout faire.

Cela vous a-t-il rendu plus sûre de vous?
Pas de moi, mais de ma capacité à m’investir complètement.

A propos d’investissement, vous vous engagez aussi beaucoup pour la défense de la planète?
Oui, il y a longtemps que je m’intéresse à la nature et à sa protection. Cela me vient de mes parents. Et surtout de mes grands-parents, maraîchers. J’avoue que, lorsque je suis arrivée de ma campagne à Paris, j’ai vu beaucoup de choses aberrantes. D’autant que j’ai été éduquée dans le respect de toute chose. De soi, des autres, de l’endroit où l’on vit. C’est inhérent à ma personnalité. J’observe, je regarde le monde. On est avec, dedans.

Que faites-vous à votre niveau pour préserver l’environnement?
Des choses simples que chacun connaît, mais que trop peu pratiquent. Je trie les poubelles, j’essaie de ne pas gâcher l’eau ou l’électricité, de ne pas surconsommer, d’acheter utile, local et responsable, concernant notamment les vêtements et la nourriture. Je ne mange pas de mangue. J’évite les fraises en hiver et les haricots du Kenya.

Suivez-vous le Sommet de Copenhague?
Bien sûr. Tous les jours. On ne peut évidemment dire ce que ça va donner. Mais par rapport à Kyoto où personne n’en avait rien à faire, je trouve qu’il y a quelque chose de rassurant. Une réelle prise de conscience. Les gens se sentent plus concernés. ils veulent vraiment savoir comment on va gérer ce réchauffement climatique.

Yay! Marion Cotillard was nominated for her second Golden Globe (in the same category as 2 years ago):

Best Performance by an Actress in a Motion Picture – Musical or Comedy
Sandra Bullock, The Proposal
Marion Cotillard, Nine
Julia Roberts, Duplicity
Meryl Streep, Julie & Julia
Meryl Streep, It’s Complicated

Other nominations for ‘Nine‘: Motion Picture, Comedy/Musical, Actor, Comedy/Musical (Daniel Day-Lewis), Supporting Actress, Comedy/Musical (Penelope Cruz), and Original Song (Cinema Italiano). Congratulations!

from CNN.com / Transcript from Larry King Live

LARRY KING, CNN ANCHOR: Tonight, the all-star cast of the Golden Globe-nominated “Nine” — Kate Hudson, Nicole Kidman…

KING: Daniel Day-Lewis, Penelope Cruz…

KING: …Dame Judi Dench…

KING: Marion Cotillard, Fergie and the one and only Sophia Loren.

Next on LARRY KING LIVE.

Good evening.

“Nine” opens this Friday in New York and Los Angeles, and across the country on Christmas Day. It’s been nominated a record 10 times by the Broadcast Film Critics Association, including nods for best picture, best supporting actress and best ensemble. And just earlier today, “Nine” was nominated for five Golden Globes, including best picture, musical or comedy; and best original song.

Joining us is the cast — Kate Hudson, Academy Award-nominated actress — this is going to sound repetitive; Nicole Kidman, Academy Award-winning actress; Penelope Cruz, Academy Award-winning actress and Golden Globe nominee; Dame Judi Dench, Academy Award-winning actress; Daniel Day-Lewis, two-time Academy Award-winner and Golden Globe nominee; Marion Cotillard, Academy Award-winning actress and Golden Globe nominee; Fergie, the Grammy-winning recording artist and actress; Rob Marshall, the Academy Award-winning — Academy Award- nominated director; and from Geneva, Sophia Loren, the Academy Award- winning actress.

We’re out of time, so good night.

(LAUGHTER) KING: Before we get into our discussion with this talented bunch, let’s take a look at the film everyone’s talking about.

KING: I was fortunate enough to see “Nine” last week at its L.A. Premiere. And my quote will be, “‘Nine’ is a 10.”

Its director is Rob Marshall.

How did you assemble this cast?

ROB MARSHALL, DIRECTOR: Oh, gosh. I guess piece by piece. I mean, I never imagined we’d have this cast. And this is a dream cast for me, every single one of them. It was joyous to work with them every day.

KING: Who was the hardest to get?

MARSHALL: Oh, gosh. The man — the man in the middle…

UNIDENTIFIED FEMALE: Yes.

MARSHALL: …Daniel Day-Lewis.

KING: Did you resist it, Daniel?

DANIEL DAY-LEWIS, ACTOR: You can’t resist him. He’s irresistible.

KING: Did you like this from the get-go or were you?

DAY-LEWIS: I did, yes. But I — it just wasn’t — at the — at the time, it was — it was when he — when he found me, we’d just finished making — my wife had just finished making a film in — in the States and it was not — it wasn’t a good moment for me to transplant everyone somewhere else to (INAUDIBLE)…

KING: So why did you succumb?

DAY-LEWIS: Him.

KING: Him.

DAY-LEWIS: And these lovely ladies.

KING: And the script.

Let’s go around.

Kate, how did they get you?

KATE HUDSON, ACTRESS: I auditioned for Rob. I went in and I sang first. And then I — it — it was kind of old school. So I went and I sang and then I got a call back.

(LAUGHTER)

HUDSON: And I danced and then I got another call back. And I sang and I danced. Then I got another call back.

MARSHALL: That’s true.

HUDSON: So it was a process for me.

KING: Did you think you’d get it?

HUDSON: You know, to be honest, I just wanted to sing and dance for Rob, you know. And I — of course, I hoped that I would be able to be a part of such an incredible film. But I was more…

KING: But you got it.

HUDSON: … Just trying to stay in (INAUDIBLE) — well, yes.

KING: You were great.

Fergie, how did they get you?

FERGIE, ACTRESS/SINGER: I auditioned, as well. And everyone else had been cast, so it was…

KING: The last one?

FERGIE: Yes, I was the last one. And I — I wanted it so badly. And I came in and, you know, I did my make-up. I contoured my nose. I have this bump on my nose and I tried to make it look bigger with make-up and over-line my lips and tried to make everything look bigger, because, you know, that’s what…

KING: Everything?

FERGIE: Everything, Larry.

(LAUGHTER)

FERGIE: And — and — and, yes and — a few weeks went by and — and I was — I was hoping, hoping. And every day I would think about it. And I — I basically gave up on it. I let it go and I said…

KING: Really?

FERGIE: … Well, I would have heard by now. I guess I didn’t get it. And about a week letter — about a week later, I got a call from Harvey and I screamed…

KING: That’s Harvey Weinstein.

FERGIE: Yes. Yes.

KING: Nicole, you — how did they get you for “Nine?” NICOLE KIDMAN, ACTRESS: Actually, Rob told me. We were — I think we had lunch or coffee or something. And he said that Anthony Minghella had written a role for me and so…

KING: He wrote it for you?

KIDMAN: Yes. Rob tells that story (ph).

KING: So then you had to do it, right?

KIDMAN: Huh?

KING: Then you had to do it, if he wrote it for you?

KIDMAN: Well, I had to do it because I wanted to work with Rob. And, of course, Anthony was one of my dearest friends. So, yes.

KING: Marion, how did they get you?

MARION COTILLARD, ACTRESS: Well, I auditioned, too.

KING: You had to audition?

COTILLARD: Yes. The first audition was singing.

MARSHALL: Yes.

COTILLARD: And then…

MARSHALL: For Judi’s role.

COTILLARD: Yes, it was for Judi’s role, actually. And…

(LAUGHTER)

COTILLARD: And I sang Claudia’s song, too.

MARSHALL: Yes, also, she auditioned for Claudia, exactly.

COTILLARD: This…

MARSHALL: We — we were — we cast — we were at casting before we started writing. So we weren’t sure exactly who was going to play what and…

KING: But…

COTILLARD: Because Lilli is French.

MARSHALL: Lilli is French or Lilli sings a French song, “Folies Bergeres.” So we thought well, maybe that. And we weren’t sure.

COTILLARD: Yes.

KING: The star of “La Vie en Rose” had to audition?

MARSHALL: Well, I didn’t know she could really sing or dance. And that…

COTILLARD: And it was much before…

MARSHALL: … None of these actors would…

COTILLARD: …I actually…

MARSHALL: …would — would audition except the fact…

COTILLARD: That movie was just…

KING: Wait a minute.

COTILLARD: …released at that time, it was…

KING: Kate auditioned.

MARSHALL: No. No, they wouldn’t have…

KING: Oh.

MARSHALL: …if I — but I didn’t know they could sing or dance. Nicole did not because I knew her work as a singer. Judi, I — I didn’t audition, either.

(LAUGHTER)

KING: All right. Penelope, how did you come to “Nine?”

PENELOPE CRUZ, ACTRESS: I auditioned for three different parts. And my first meeting with Rob was like two-and-a-half years ago already.

MARSHALL: Yes.

CRUZ: And I just knew I wanted to be in part of this movie. I said to him, “I don’t care which character, just have me there on the set cleaning the floors just to learn,” because I admired him so much. And then he called me one day and he said, “I have decided that I want you to be Carla.”

KING: Judi, how did they get you?

Oh, Dame.

Do you have to say “Dame?”

DENCH: No, you don’t have to say Dame.

KING: Judi, how did they get you?

DENCH: It’s a bone of contention, actually, between Nicole and I, because Nicole, I know, was asked by Rob to have lunch and was asked to do the part. I was just asked to have a coffee.

(LAUGHTER) DENCH: But, you see, the same magic.

How can you resist him?

KING: Are you glad you did it?

DENCH: Oh, you bet. I’m just resentful that I’m not in all the other dances.

(LAUGHTER)

KING: Sophia in Geneva, how did you get to do “Nine?”

SOPHIA LOREN, ACTRESS: Yes?

KING: How did you come to do the part?

LOREN: Well, I got a phone call from Rob Marshall — one phone call. And I said yes right away. So it’s very short, my story.

But — no, no, no. There is also another — there is also another reason, is that the film was involved, of course, the life of Fellini. And many times before, of course, before he died, I was very, very close to do a film with him. But as it happens in films, it never happened.

So I was very happy to be involved in the life of Fellini. And beside the phone call from Rob — which I adore — it’s because I was very moved to be closer to my dear friend, Fellini, which I think is the best — that he was the best director in town, in — in — in the world, you know?

Yes.

KING: A great story.

We’ll — we’re just getting started with the cast of “Nine.”

Much more with our nine guests right after the break.

KING: That was Daniel Day-Lewis, of course, before he became Guido in “Nine.”

And we’ll be showing you some of the star turns from each of our guests during the hour.

Did you know you could sing?

DAY-LEWIS: I certainly didn’t. I don’t think he did, either. He — he managed to convince me that — that — that he knew that. But I think I insisted on at least trying to sing to you.

MARSHALL: Yes. I think you would have wanted to audition yourself, as well.

KING: OK. What…

DAY-LEWIS: It was hopeless, Larry. And he still — still managed to convince me.

MARSHALL: No, it was beautiful.

KING: But what was it like as a distinguished actor, a two-time — I mean, one of the — many consider you maybe the best actor in the world today.

UNIDENTIFIED FEMALE: Right.

KING: What was it like to sing?

DAY-LEWIS: I — I don’t — I think maybe we all secretly hope that we have a voice in us that one day somebody will help us to discover and — and it always looks — when — you know, when you see somebody expressing themselves through music, it looks as if it must be so satisfying. So how it…

KING: Was it?

DAY-LEWIS: Yes, I mean, with all the frustrations that you go through beforehand. But, yes, very, very satisfying.

KING: Fergie, how good was he?

DAY-LEWIS: Yes.

FERGIE: Oh, he did a great job. He was spectacular. In fact, he was the first person that I — that I met on set, you know, flying and just being really intimidated, you know, walking onto the set and the first person I see is Daniel. I’m going, great. And Rob, 15 minutes later, pulls me over to the piano and says, “Why don’t you just sing along? We’ll do a piano version right here.”

And Daniel’s sitting right there in the corner. And I’m going, “OK.”

So those fears kind of had to go out the window really quick. And they did, because everyone here is — is very down to Earth. And I find that…

KING: Yes?

FERGIE: …that the more — the more people who — who are very successful and — and talented at what they do are — tend to be the nicest, because they’re not trying to prove anything to you. So it made it very comfortable for me.

KING: Were you at all, Rob, intimidated by Daniel Day?

MARSHALL: I was thrilled. I was thrilled to be able to work with, to me, the greatest — I agree, the greatest actor in the world.

UNIDENTIFIED FEMALE: I agree.

MARSHALL: And so every day for me was thrilling. Imagine, you know, the call sheet, Larry, you know, Daniel Day-Lewis in a scene with Judi Dench; in a scene with Nicole Kidman and Penelope Cruz; and Marion and Kate. I mean, I was in heaven.

KING: But were you able to say to these stars, “No, let’s do it that way?”

MARSHALL: Oh, I think that…

UNIDENTIFIED FEMALE: Yes.

MARSHALL: Oh, I think they’re desperate for that.

UNIDENTIFIED FEMALE: Yes.

MARSHALL: Well, you know, I think of it as a collaboration, in a way. I mean, I never feel like I’m instructing them to do certain things. I feel like it’s something we’re — we’re creating together. And, you know, these are the best in the world because they’re — they work so hard. It’s not because there’s some magic thing that happens. It’s because of the…

KING: They (INAUDIBLE)…

(CROSSTALK)

KING: If they prove it…

MARSHALL: It’s because of the work ethic. Yes.

KING: Was it nervous for you, Kate?

HUDSON: I was — I was thrilled. I was — you know, I was nervous when I heard the song for the first time, because it was a very challenging — it’s a very challenging song. And I got intimidated by the actual song that — that they wrote. And — but the thing about Rob is that he provides this amazing, you know, sort of safety net around you, so you — it — it helps you build your confidence that I think, in order to, you know, be able to perform those things, when you’re not — when it’s not your everyday, you know…

KING: It’s not?

HUDSON: No, you know?

KING: Marion, this is a very different kind of musical.

Did you enjoy doing it?

COTILLARD: It was my dream to do a musical — an American musical and — and to have the opportunity to do one with Rob was magical, really. And — and I more than enjoyed, I mean, working with all these amazing, gifted people and — and also all that…

KING: You’re not bad yourself.

COTILLARD: …that — sorry?

KING: You’re not bad yourself.

UNIDENTIFIED FEMALE: Yes.

UNIDENTIFIED FEMALE: Yes.

(CROSSTALK)

COTILLARD: Thank you.

(CROSSTALK)

COTILLARD: And Rob’s team, John DeLuca and all the dancers and — and Paul Bogaey, our singing guide…

KING: A couple of the stars transformed themselves for the film. We’ll talk about that ahead.

Back in 60 seconds with the cast of “Nine.”

KING: We’re talking with the terrifically talented cast of the new movie, “Nine.” Daniel Day-Lewis plays Guido Contini, an Italian director with no direction, struggling to make his latest movie.

The character played by Penelope Cruz is his mistress.

Take a look.

KING: Do you like doing love scenes, Penelope?

(LAUGHTER)

CRUZ: What?

KING: Do you like doing love scenes?

CRUZ: No.

(LAUGHTER)

KING: No?

CRUZ: It’s — it’s always a very strange thing. I mean, I — I — we had the best director and — and I was in the best possible company, but it’s always something strange, right, Daniel?

DAY-LEWIS: We had to laugh.

(LAUGHTER)

CRUZ: And, God, we laughed a lot together, because you have to bring humor to those situations.

DAY-LEWIS yes.

KING: With a cast this big, there had to be some behind-the- scenes drama.

Was there?

We’ll ask after the break.

KING: Nicole, is a musical harder to do?

KIDMAN: No. No, I don’t think so.

KING: Even though you prerecord the music and you have to kind of lip sync over it?

KIDMAN: Yes, except, I mean, as — as an actress, that’s just — that’s what you want to do. You want to be able to do it all. You want to have a chance to sing and dance and — and act and — that’s what they used to do. So, it’s nice to have that chance now.

KING: Of course, you had the experience in “Moulin Rouge!” too, right?

KIDMAN: I did.

KING: Let’s take a look at Nicole and Daniel in action. Now, Kidman plays Guido’s muse.

See why she’s so important to him in “Nine”.

KING: What’s it like to work with this cast?

KIDMAN: Wonderful. I mean it was one of those things that…

KING: I mean you were all stars. Is there a little diva issue or do you actually — are you workers?

KIDMAN: I — I mean, I think when you get to — as Fergie said, when you get to a certain place in your career, everyone is there because they are hard workers.

Wouldn’t you agree with that?

DAY-LEWIS: Yes. Yes.

KIDMAN: And we love — we love what we do and the craft of it.

KING: Do you like musicals, Judi?

DENCH: Yes, I love it. I love them. It’s a great — well, I loved being in a musical on stage, when an orchestra starts and you — and you suddenly hear all that music. And it’s like a huge, you know, support to you. So all you’ve got to get on is get on and do your bit.

KING: Sophia, have you seen the finished product?

LOREN: No, I’ve not seen the film because I have in mind to see the film with my children. I want to enjoy the whole film with my children, because it’s — this film is very important to me, because, being Italian, I’ve always wanted to be in a musical. And now that I have this chance, even though my role is cameo, but I think it’s a good start. And I think while the shooting, I enjoyed, really, every moment of it.

So I want to see it finished and I want to see it with my family.

KING: You will love it.

Was she — what was she like to direct, Rob?

MARSHALL: Oh, my god. I mean that’s almost impossible to — to explain for me. I mean there was a sequence I remember very clearly, shooting in Rome, in the Piazza de Popolo with Daniel and Sophia in a little Italian sports car and everything set in the ’60s. So there was Sophia in a ’60s Italian sports car. I thought I’d died and gone to heaven. I — I couldn’t quite believe I was there, this kid from Pittsburgh was there directing this iconic major actor and — and Daniel. I mean I couldn’t believe it.

KING: What was it like for you, Daniel, to work with one of the grand dames?

DAY-LEWIS: Oh, I — I tell you, I shall treasure it forever, for every single moment I spent with that wonderful woman. I’ll treasure it, yes.

KING: Will you…

DAY-LEWIS: It was funny, because we were going around in circles pretty much all day long. And a huge crowd had turned out to see Sophia. And — and she turned to me at one point and she said, you know, all these people, every time we go around, they think that the reason we’re doing it and again is because we’re so stupid…

(LAUGHTER)

DAY-LEWIS: …that we just can’t get it right. Dua criatinni (ph).

KING: Do you ever get used, Penelope, to doing it again and again?

CRUZ: What?

KING: Do you ever get used to that — let’s take another take, let’s do another take?

CRUZ: I — I always get thrown out of the set, because asking for too many dates — takes.

KING: You like takes?

CRUZ: I — I — I have a problem with that. I cannot let go. I cannot say OK, now we can stop and move to the next thing…

MARSHALL: We had to call security.

CRUZ: Yes, I — I…

(LAUGHTER)

CRUZ: …I drive everybody crazy because I can’t control myself. I always want to do one more.

KING: Penelope’s sexy rope dance — she suffered for her art. We’ll talk about it ahead.

KING: That was, of course, was one of the greatest screen performances ever.

Did you know you were going to win?

COTILLARD: I didn’t want to think about it. I really tried to stay in the present time all — all this advent — all the — sorry.

(LAUGHTER)

KING: Now when you’re sitting there in that theater…

COTILLARD: All the way long.

KING: …and they’re opening the envelope.

COTILLARD: No, I mean it was two or even three months of amazing adventure, amazing meetings with people I admire so much. And the way in America you share movies with actors, we don’t do that in France. And then you have to talk about your work with people who know what you are talking about.

It was — it was so amazing that I really wanted to keep it out of the fantasy, out of thinking, oh, if this happens, if that happens. So I really — and being nominated with Cate Blanchett was something huge for me. So I really wanted to enjoy the present time and to enjoy it, you don’t have to think about what’s — what could happen.

KING: Well said.

Penelope, that dance that we showed, what was that like to do?

(LAUGHTER)

CRUZ: It — it was amazing. It was amazing to learn it from them and to be able to train for three months I had until I shot it. And to see how everyday you can get a little farther and the feeling of freedom that you get when you can get to do the entire number without stopping. It’s been a great experience for me.

KING: Do you think that’s the biggest turn-on moment of the movie, Rob?

MARSHALL: Oh, gosh. I mean, I–

(LAUGHTER)

MARSHALL: I think all the–

KING: Oh, come on, Rob.

(CROSSTALK)

MARSHALL: — question for me. Listen, I think —

KING: It is the–

MARSHALL: Well, I think she’s– KING: There are many sexy scenes, but that’s–

MARSHALL: Well, that’s — that’s a particularly sexy scene.

(LAUGHTER)

MARSHALL: But all these ladies have their moments of — of beauty and sex in this film, I have to say, every single one of them.

KING: Fergie, did you all get along?

FERGIE: Oh, yes. Oh–

KING: Come on.

FERGIE: Oh, yes. I’m serious. We would have lunch together and, you know, I — I really didn’t know what to expect, you know, coming on and with — with all these Academy Award winners and — and nominees and–

KING: Well, you’re a Grammy winner.

FERGIE: And — yes, a Grammy winner. Exactly. I got — I got to have something.

(LAUGHTER)

FERGIE: But, you know, I didn’t know what to expect. I didn’t know if I was going to sit in the corner and kind of let everyone do their thing and kind of soak it up.

MARSHALL: But Fergie attacked us — she attacked this like an actor.

FERGIE: Yes. But we–

MARSHALL: Big time.

FERGIE: But we all got along really well. I mean — I mean honestly.

COTILLARD: It was fun.

FERGIE: Yes, we had a good time.

MARSHALL: It’s very exciting doing a musical together. It really is. It’s a joy. It’s a joyous experience. This is a — this is a tough musical in some ways, too. It’s more sophisticated, in a way, and — and — and sort of treads some different territory. But there’s a joy to making musicals. The dancers are so — they’re spectacular to be around — the discipline. Amazing.

KING: You grew up in show business, Kate.

HUDSON: Yes.

KING: Right?

So what — did your mother see it yet?

HUDSON: No. She’s going to be my date tonight to the premier so I’m really excited about that. It’s actually really interesting, this — this movie for — for the first time I feel like — and my mom was a dancer. That’s how she started her career. And so for me to be able to work with Rob, who’s, you know, for our generation or my generation, the — the choreographer to look up to and for me to kind of have that connection with my mother and then be able to bring her to the movie tonight and it’s kind of — it’s pretty — it’s pretty amazing–

KING: That’s — yes.

You were — are you a good dancer, Rob?

MARSHALL: I was a dancer.

(CROSSTALK)

UNIDENTIFIED FEMALE: He’s amazing.

MARSHALL: Well, it’s a–

KING: There’s a lot of choreographers who are not great dancers.

MARSHALL: Well, listen, John DeLuca and myself, who choreographed this with me, you know, we’re dancers. That’s where we come from. We — you know, we — we started in the — in the chorus in the ensemble. There we were.

(CROSSTALK)

CRUZ: — in a film Rob can dance it.

COTILLARD: Yes. He can do my routine–

KING: Whoa.

COTILLARD: — way better than I can.

(CROSSTALK)

KING: Because it’s true, though, right?

A lot of great choreographers–

MARSHALL: Well, the only way I can choreograph–

KING: — are not necessarily great dancers?

MARSHALL: Well, the only way I can choreograph is actually to get up there and do it.

KING: Show them? MARSHALL: And feel it and try it.

(CROSSTALK)

KING: As we go to break, a look at Kate Hudson’s greatest hits.

KING: We’re back.

“Nine” opens in Los Angeles and in New York Friday night and then will open wide on Christmas Day. It’s a great movie.

Fergie really worked hard for this part. She plays a prostitute from Guido’s past, and sings “Nine’s” signature song that you may be singing when you the see movie.

Here’s Fergie in action.

KING: Now, you can applaud that.

Now, Rob–

FERGIE: Remember when we were–

KING: It had to be interesting–

FERGIE: Remember when we were trying to decide what pose would be the great–

MARSHALL: I know. We–

FERGIE: — the grand ending pose.

MARSHALL: Yes. Yes. We came up with hundreds.

FERGIE: And Rob was getting on the chair and, you know, turning all these different ways.

KING: And Fergie was the only one of these people that’s a singer, right?

MARSHALL: Yes. It was amazing to see her come from that side of things. But the challenge was huge for her. FERGIE: Yes.

MARSHALL: Everybody had this big mountain to climb, but hers was different. But, you know, I was so impressed every day with how Fergie attacked this role, like an animal. Really. She wanted to feel it. She wanted to believe it.

FERGIE: Yes.

MARSHALL: It was extraordinary to see, you know — that — the first day of shooting was the black and white footage in that film, right, that we shot?

FERGIE: Oh, really?

MARSHALL: Yes. It was the first day of filming.

FERGIE: Oh, wow!

MARSHALL: And it was freezing cold water. You were in there and you wouldn’t leave.

FERGIE: Oh, that — that’s right.

MARSHALL: Yes.

FERGIE: That — that’s the — the realistic scenes. And — and it’s interesting for me–

MARSHALL: Yes.

FERGIE: — because, you know, the song is so big and–

KING: Right.

FERGIE: — and, you know, performing when — when you have dance moves, it’s — it’s projecting. It’s — it’s being extroverted. But on the reality side of the film, for me, it was so much fun to just go inside and be still and keep it about the thoughts, about what I’m seeing and — and about the reality of this situation with Guido and her relationship with him and — and how that all works and how that started that spark in his brain of that naughty, naughty, naughty, naughty, all these naughty thoughts that Guido has. And — and, you know, looking at Daniel Day Lewis and I have to basically look at him as a child, you know. And that was kind of weird for me. I kind of just let him do his thing and stayed away, because it’s awkward looking at, you know, the natives — that guy, you know, as–

KING: Daniel, was–

FERGIE: — as an eight-year-old boy.

KING: Daniel, did–

(CROSSTALK)

KING: Daniel, did you like Guido?

DAY-LEWIS: I don’t think I — I — I didn’t like or dislike him. I didn’t really — I didn’t look at him in that way. I didn’t — I didn’t relate to him as a separate being, I suppose.

KING: You became him?

DAY-LEWIS: Well, I — I kidded myself I did, yes.

KING: What was he like to work with, Nicole?

KIDMAN: Oh, very difficult.

(CROSSTALK)

DAY-LEWIS: Finally we’re getting to it.

KING: All right, let’s get to it now.

He bucks you, right?

KIDMAN: He — he lifts your game. He — I think that’s the thing. When you’re working with somebody like Daniel, it — it makes you want to do better.

KING: Judi, what was it like with you for him?

DENCH: We go back a long, long way, because I played his mother 20 years ago.

KING: Were you?

DENCH: In “Hamlet,” yes. So you see, I’ve known him for a very long time.

KING: On the stage in London?

DENCH: Yes, at The National. Yes. And well, the thing about Daniel is you’re meant to be — you come to make — you’re meant to be doing a scene with this person and this person is not Daniel; this person who you’d like to be doing the scene with is standing in front of you.

So it’s an all embracing thing, you know?

It’s — it doesn’t ex — stand in the way of working. Daniel’s way of working doesn’t exclude you, it includes you.

KING: How good a Hamlet was he?

DENCH: Oh, he was wonderful.

KING: That’s the hardest — the hardest role in the theater, isn’t it?

DENCH: I don’t think you can get harder than that, do you? DAY-LEWIS: I sent her a–

(CROSSTALK)

DAY-LEWIS: — I sent her a note when — when we started “Nine,” “I promise not to run out on you this time.”

(LAUGHTER)

KING: We’ll be back.

We’ll check in with Sophia, too.

Back with the cast of “Nine” in 60 seconds.

Here’s a look at Penelope Cruz and some of her acclaimed performances.

We’ve got a lot of them.

KING: Two screen legends, Oscar winners Sophia Loren and Dame Judi Dench, have played and portrayed all kinds of characters on film. And while you might not think of them as singers, this isn’t the first time they’ve carried a tune in movies.

Watch.

KING: Sophia, tell us, what is life like now? What are you doing? What are you doing?

LOREN: I just made a film on the life of my mother, which is a fiction for television that is going on for tonight. And — and then I’m preparing something else to do in films in Italy.

KING: Thank you so much, dear.

Give our love to everyone.

We love you, Sophia.

LOREN: Thank you.

Merry Christmas to everybody.

(CROSSTALK)

LOREN: Ciao, Rob.

(CROSSTALK)

KING: Ciao, Rob.

Sophia Loren. We lose the satellite.

The rest of the cast remains with us.

Nicole gave birth to her daughter weeks before “Nine” began filming. She brought her baby to the set. We’re going to talk about kids and families next.

KING: We’re back in New York with the cast of “Nine”.

All right, what’s with the — what’s with the baby?

KIDMAN: What do you mean?

KING: You brought the — you brought the baby to the set?

And she’s hold old now?

KIDMAN: I did. I did. It was when she first came, she was six weeks old. And everyone — everyone was really nice to her.

MARSHALL: It was beautiful.

COTILLARD: Yes, it was–

(CROSSTALK)

MARSHALL: Yes.

KIDMAN: So they’ve seen her grow up now, so —

KING: Now, she’s how old now?

KIDMAN: Seventeen months.

KING: What was it like having a baby around the set, Rob?

MARSHALL: It was part of the whole family extension. I loved it.

KING: Do all of you have children?

Who has children?

Everyone. OK. Let’s run around.

Kate, what’s your family?

HUDSON: I have a — he’s going to be six in January.

KING: What’s his name?

HUDSON: Ryder. Ryder Russell Robinson. And–

KING: Ryder Russell Robinson?

HUDSON: Yes.

(LAUGHTER)

(CROSSTALK)

HUDSON: He was. He was on the set–

KING: Did you take him to the World Series?

HUDSON: Yes. No. Actually, no. No, I didn’t. He was with his father. But — but he got to enjoy a lot of great baseball games.

KING: How is A-Rod, by the way?

HUDSON: Good. Really good.

KING: Are you really into baseball now?

HUDSON: I’ve always kind of been into baseball. You know, my Kurt — my dad played baseball so–

COTILLARD: Yes.

HUDSON: — I’ve always.

KING: That’s right, he did.

HUDSON: And my cousin played — played pro ball. So I’ve — I’ve all — baseball has been around my family for a while. But, yes, I took –

KING: So you have an older daughter, right?

KIDMAN: Seventeen.

KING: Seventeen now?

KIDMAN: Um-hmm.

KING: How — what’s her name?

KIDMAN: Bella.

KING: A great name.

Penelope, what — what is in your family grouping?

CRUZ: Well, my parents, my brother and sister. I don’t have kids yet.

KING: No kids.

Judi, do you have grown children?

DENCH: I have an actress daughter who is here to see the premier. And she has a son, Sammy, my grandson, who is 12 and who is in love with Fergie.

(LAUGHTER)

KING: A crush?

DENCH: This film has changed his –

KING: How many children do you have, Daniel?

DAY-LEWIS: I have three boys.

KING: Three boys?

DAY-LEWIS: Three boys, yes.

KING: Ages?

DAY-LEWIS: Fourteen, 11 and seven.

KING: Any want to act?

DAY-LEWIS: No, I don’t think so.

KING: Well, do they watch their father a lot?

DAY-LEWIS: Never.

KING: They don’t watch their father?

DAY-LEWIS: No. They have other things to do.

(LAUGHTER)

KING: Marion, do you — you’re not married, right?

COTILLARD: No. No kids yet.

KING: Do you want children?

COTILLARD: Yes, of course.

KING: Fergie?

FERGIE: I have two furry dogs that I — I remind them that I suffered for nine months for each of them. So if they get out of line, they get in trouble.

(LAUGHTER)

KING: Rob?

MARSHALL: I have a dog, as well, a gorgeous dog, Gilly (ph). And John, of course.

UNIDENTIFIED FEMALE: Gilly was on the set.

(CROSSTALK)

MARSHALL: Gilly is great.

UNIDENTIFIED FEMALE: Our mascot.

(CROSSTALK)

KING: This was all really this happy?

MARSHALL: Yes.

DAY-LEWIS: Yes, but, still — we’re sort of squeezing the last remaining time that we can, which is lovely that you invited us all to be together in this, because we rarely have a chance to be together now and–

KING: Because you all go off and do different things now, right?

DAY-LEWIS: And we miss it. I miss it. I didn’t do anything.

(CROSSTALK)

MARSHALL: I mean it’s — it’s — but one of the great things about doing this event tonight, for instance, and — is just being together, because we knew how special what we were doing was. I think — it rarely happens like this.

KING: Anthony Quinn told me once, the saddest day when you make a movie is the last day.

MARSHALL: That’s true.

KING: Because you all play these parts and you go off —

MARSHALL: That’s true. KING: — into another world.

MARSHALL: Well, I got to sit with them in a room, you know, and look at them and — and spend time with them during the editing process, which was beautiful for me. You know, I always feel it’s my job to serve them.

KING: Fergie is famous, of course, as a member of the Black Eyed Peas. here she is doing what she does best. Let’s get it started.

KING: Before we find out what’s next, let’s look at Judi and Daniel talking about how easy directing is.

KING: That’s a great last word in this movie — action.

I love that ending. And the entire premier audience stood up and applauded.

What’s next, Kate?

HUDSON: Christmas. Christmas shopping.

(LAUGHTER)

HUDSON: I’m trying to wrap my head around that and the family. But — but for work, I start a film in–

KING: Work.

HUDSON: — in January. I start a film where I play a girl that’s dying of cancer.

KING: Really?

Oh.

Rob, what’s next?

MARSHALL: I don’t know yet. I’m still sort of debating and a few things in the — mostly it’s just a rest would be lovely.

KING: — figure something out.

HUDSON: Here, here.

KING: Nicole, what’s next?

KIDMAN: I produced my first film and it’s — we’re going to release that, called “Robert Holt.” And then I’m going to play a transsexual in a film.

KING: A transsex–

HUDSON: Yes.

KING: You’ve got a cancer victim, you’re a transsexual?

HUDSON: Yes.

KING: Interesting lives these people lead.

(CROSSTALK)

KING: Fergie?

FERGIE: I am going to be on tour all year next year. So the end with the Black Eyed Peas. And I’m just designing my shoe line, and doing that. But touring — I’ll be in the tour bus a lot.

KING: Penelope?

CRUZ: I think I’m going to take a little bit of time for myself away from the set, because I’ve been traveling a lot promoting “Nine” and broken — at the same time. So I’ve been going around the world and I just wanted to take a little bit of time.

KING: Here or back home?

CRUZ: Both, mainly back home, but–

KING: The lovely Marion, what’s next?

COTILLARD: I want to travel. I’m going to go to Africa. I’m going to go to Peru. And I want to — I want to do a documentary about the forest.

KING: The forest?

COTILLARD: Deforestation and all amazing projects about reforestation. So I want to spend time in the forest.

KING: Dame?

(LAUGHTER)

DENCH: I did “A Midsummer Night’s Dream” with Peter Hall on stage in 1962. And I’m going to do it again.

KING: In London?

COTILLARD: I’ll be there.

MARSHALL: I’ll be there, too.

DENCH: Yes.

KING: And Daniel Day?

DAY-LEWIS: No plans, just — just spending time with the family and catching up with them.

KING: You work sparingly, don’t you?

DAY LEWIS: I do.

KING: You do a film like, what, every three years?

DAY LEWIS: Two or three, yes.

KING: Why?

DAY-LEWIS: I think I — I’ve found that the time that I spend away from — from working, which is a great luxury, of course, to be able to spend that time away from it, gives me what I need to be able to do the work. So it’s very much part of the same thing.

KING: So no chosen script yet?

DAY LEWIS: No.

KING: Rob, do you expect some Academy — obviously, you’re going to get Academy Award nominations.

MARSHALL: Oh —

KING: Do you expect a lot?

MARSHALL: Well, I think all of us are just go like this and just sort of — because — because those are gifts, really, you know?

It’s so dangerous to think in terms of that. I think we’re just so happy with the product and the process of what we did. I think that’s what you must do.

KING: Do you like the idea of 10 nominations for best movies this year?

MARSHALL: That’s an interesting question. I mean, I — I like that it includes a lot of different kinds of films, hopefully. I love the variety and — but, on the other hand, you do think, well, isn’t it, you know — the five, it’s always been that — or at least it has, you know, for the most recent past.

KING: Yes.

MARSHALL: And so you —

KING: It’s hard to change.

MARSHALL: Yes. Yes.

KING: All right, let’s hear it for Kate, Nicole, Penelope, Dame Judi, Daniel Day, Marion, Fergie, Rob and, from Italy, Sophia — from Sweden, rather — from Switzerland — from Sophia Loren.

Thank you all very much.

(CROSSTALK)

KING: “Nine” opens Friday in L.A. and New York and nationwide Christmas Day

Fresh off the plane and looking gorgeous! Marion Cotillard attended a luncheon at Per Se in New York yesterday to promote ‘Nine‘. Other cast members to attend were Daniel Day-Lewis, Penelope Cruz, Judi Dench, and Kate Hudson. Awards blogger Scott Feinberg was there too. And apparenly, Marion together with Rob Marshall, Daniel Day-Lewis Kate Hudson, Dame Judi Dench, and Maury Yeston are attending a preview of the movie right now.

004 ‘Nine’ Luncheon

I added many more pictures of Marion & Guillaume at the final day of the Gucci Masters on Sunday, a four-day unique equestrian event featuring the cream of the world’s best show jumpers.

036 International Gucci Masters Competition – Day 4

Marion also scored her 4th nomination for her performance as Luisa Contini in ‘Nine‘ yesterday. This time by the St. Louis Film Critics. Congratulations!

Best Supporting Actress:
Marion Cotillard, for “Nine”
Vera Farmiga, for “Up in the Air”
Anna Kendrick, for “Up in the Air”
Melanie Laurent, for “Inglourious Basterds”
Mo’Nique, for “Precious”
Samantha Morton, for “The Messenger”

Other nominations for ‘Nine‘: Best Cinematography and Best Music. The winners will be announced on December 21.

Later today, at 5am Pacific Time, the Golden Globe Nominations will be announced. Let’s keep our fingers crossed for Marion and the ‘Nine‘ gang!

Something I added belatedly to the post about Marion’s schedule: You will be able to watch the ‘Nine‘ premiere in New York LIVE! Be sure to tune in today at 6.45pm Eastern Time.

Earlier today the Broadcast Film Critics Association announced their nominees for the 15th Annual Critics’ Choice Movie Awards. ‘Nine‘ and ‘Inglourious Basterds‘ lead with 10 nominations each – a new record! Marion was also nominated – Congratulations!

Best Supporting Actress
Marion Cotillard – Nine
Vera Farmiga – Up In The Air
Anna Kendrick – Up In The Air
Mo’Nique – Precious
Julianne Moore – A Single Man
Samantha Morton – The Messenger

Other categories ‘Nine‘ scored nominations in are Best Picture, Best Acting Ensemble, Best Art Direction, Best Cinematography, Best Costume Design, Best Editing, Best Makeup, Best Song (Cinema Italiano) and Best Sound. The Critics’ Choice Movie Awards will be held Friday, January 15, 2010 at 9:00pm PST and will be broadcast live on VH1.

Before looking ahead let’s quickly review where Marion’s been in the last weeks:

November 14-16 she attended public ‘Nine‘ events in New York. Afterwards she did some ‘Nine‘ promotion in Los Angeles before returning to Paris, France. In the first week of December she was in Shanghai with David Lynch to shoot a short movie for Dior (thus missing the London ‘Nine‘ premiere). She returned to Paris, France last week where she started doing ‘Le dernier vol‘ promotion. Most notably on TV last Wednesday and yesterday but of course also behind the scenes. Places she could have gone as well – if she could be in two places at the same time – are the ‘Nine‘ premieres in Dubai and Los Angeles as well as the ‘Public Enemies‘ premiere in Japan. Due to Marion’s and Guillaume’s commitments there will be no ‘Le dernier vol‘ premiere this week in France (source: director Karim Dridi on official Facebook page).

What lies ahead? Marion is travelling to New York now.

December 15, 2009
• ‘Nine‘ premiere in New York, 6pm ET Watch live
• Larry King Live on CNN at 9pm ET (together with Nicole Kidman, Kate Hudson, Daniel Day Lewis, Judi Dench, Penelope Cruz, Sophia Loren, Fergie and director Rob Marshall)
• Late Night with Jimmy Fallon on NBC at 12.35/11.35 C
December 16, 2009
• Variety ‘Nine‘ Screening with Q&A, AMC Lincoln Square (NY) at 8.30pm (with director Rob Marshall)

Probably she’ll be heading to Los Angeles for awards season afterwards. Remember, ‘Le dernier vol‘ opens in France on Wednesday (Dec 16) and ‘Nine‘ opens in New York and Los Angeles on Friday (Dec 18).