Day: May 11, 2011

'Midnight in Paris': Stills, Interviews, Reviews

After a few French interviews, here’s an article in English about actresses in Hollywood who don’t have English as their first language. Marion Cotillard is mentioned throughout and there seem to be a few new quotes:
One foot’s in Hollywood, the other’s in Europe, Los Angeles Times, May 11

Thanks to Oliver.G.Byrne I added English translations of two of Marion’s recent in-depth French interviews. Many thanks for your hard work!
I would have loved to walk the stairs of the festival with Woody Allen, L’Express Styles
I would love to live a double life, Madame Figaro

Then, the official ‘Midnight in Paris’ website has gone live with a ton of content. Be sure to check it out. Here’s the Spanish Website, the movie opens in Spain on Friday. One of the interesting contents are the production notes:
Midnight in Paris: About the Production

The production notes reveal quite a large part of the plot so procede with caution if you want to remain spoiler-free. Here some Marion-relevant bits:

About Adriana: “Adriana doesn’t know where she belongs, she is searching for her place. She admires artists because their world is wide and their imagination takes them to some marvelous places. She needs to dream. She has always felt she didn’t belong to the era she lives in and she feels Gil is the same kind of person. She recognizes herself in him.”

Woody Allen about Marion Cotillard: “Marion has got a built-in charism. She makes the most ordinary kind of moments and dialogue sound interesting because she herself is such an interesting movie actress. And she’s got a very lovely and interesting face to look at; I never get tired of looking at it. I also noticed that she’s able to call up any kind of emotion she wants quickly and easily.”

Marion Cotillard about Woody Allen: “Woody Allen is a brilliant man in the way he observes life, people, things,” she says. “You feel a lot of wit, tenderness, and humor.”

And here are some gorgeous new stills of Marion Cotillard as Adriana:

005 Midnight in Paris (2011) > Stills

The actual movie was screened this afternoon to the press and later opened the Cannes International Film Festival. As previously posted, Marion Cotillard did not attend the ceremony but Woody Allen had Rachel McAdams, Owen Wilson, Michael Sheen, Lea Seydoux and Adrien Brody at his side. Of course, this means that the reviews started coming in. They generally like the movie for it’s light & fresh feeling, great acting and comic timing as well as beautiful cinematography. However, there are those who think it too light and too much of a tourist ad for Paris. But so far they generally agree on Marion’s contribution in the supporting role of Adriana:

As Adriana, Cotillard again brings a performance you can’t help but be entranced by.
Rope of Silicon

Beautiful Marion Cotillard has a difficult part to play as Gil’s perfect woman Adriana. She risks being little more than a fetish object – and she’d be a dark, exotic and sexy one – but Cotillard brings a note of dreamy melancholy to her; the soft, unspoken sadness of a woman born out of her time. Though she appears to be living the high life amongst the literati, there’s something missing for Adriana and it gives her an air of mystery. Part personified temptation and part individual with needs of her own, Cotillard is just right.
Living in Cinema

Cannes opens with a Woody Allen love letter to the French capital, a shallow examination of nostalgia with endearing performances from Owen Wilson and Marion Cotillard. … Gil’s ingenuous enthusiasm entrances Picasso’s beautiful mistress Adriana, played with conviction and finesse by Marion Cotillard: they fall in love, but it appears that Adriana is just as discontented with her time period as Gil is with his.

Cotillard is the perfect object of Gil’s romantic and creative dreams
Hollywood Reporter

But most entrancing of all is the mysterious muse played by Marion Cotillard, who has recently posed for her Spanish painter-beau.

While Inez ignores him, a fetching French dame (Marion Cotillard, once again capitalizing on her classic good looks) worships Gil immediately, recognizing his genius from the first line of his manuscript.

He also falls in love with a an artist groupie, played with an alluring blend of charm and sadness by Marion Cotillard. … Certain moments are breathtakingly lovely: a close-up on Wilson and Cotillard as they dance – literally, a man in love with his fantasy – is one of the most purely romantic images Allen has concocted in years.

Marion Cotillard is luminous as Wilson’s fantasy lover.

Marion Cotillard looks terrific in her 1920s dresses, though is actually given little to do apart from act the romantic muse to the mildly neurotic Gil.

Gil is compelled to return to his nightly, supernaturally swirly walks around the city and falls in love with a mysterious stranger named Adriana (a smoky Marion Cotillard).
The Playlist

As muse to artists, Marion Cotillard is prickly, playful, and finds even here one of her best roles.

Marion Cotillard illuminates the movie with her charm.

One foot's in Hollywood, the other's in Europe

from Los Angeles Times (US) / by Steven Zeitchik

CANNES, France — For French actress Marion Cotillard, it’s not the directors, the scene, or even the casting grind that can make Hollywood exhausting. It’s the accents.

The “Inception” star is the rare performer with a flourishing career in the United States and continental Europe. But even after nearly a dozen English-speaking roles, getting her mouth around the words is still tricky.

“I tried to do it for a little while without a dialect coach,” she said by phone from Paris, in nearly flawless (but accented) English. “I couldn’t do it. I have trouble even with the coach. There are so many subtleties in English, just in the way you stress the words. And words are a big part of how you act.”

Switching between languages, the literal and filmic kinds, is a feat few performers can manage. But as the Cannes Film Festival kicks off this week, the spotlight will be on two Oscar-winning actresses with different backgrounds who display that versatility.

Cotillard stars in “Midnight in Paris,” a Woody Allen romantic comedy that opened the festival Wednesday night. It’s a perfect showcase for the 35-year-old’s two-continent status – she plays a period Frenchwoman who speaks English.

She sandwiched the part between two movies that couldn’t be more different: an intimate French-language dramedy called “Little White Lies” directed by her romantic partner, Guillaume Canet, and the upcoming comic book sequel “The Dark Knight Rises,” which reunites her with “Inception” director Christopher Nolan.

On Saturday, Penelope Cruz will help unveil her movie, Disney’s 3-D extravaganza “Pirates of the Caribbean: On Stranger Tides.” The Spaniard – who made her first major blip on American radars in 2001 opposite Tom Cruise in “Vanilla Sky” (after playing the role in the Spanish-language original) – came to this festival two years ago with a very different film: Pedro Almodovar’s “Broken Embraces.”

In “Pirates,” she plays a swashbuckling foil to Johnny Depp’s Jack Sparrow – the confident Angelica, who tries to one-up Sparrow, flirt with him and help find the Fountain of Youth all at the same time.

Cruz, 37, said that while she doesn’t intentionally alternate between Europe and Hollywood, it often works out that way. “It seems to happen in a natural way,” she said by phone from Los Angeles. “After I finish doing a movie and I start reading scripts, I naturally pick something that’s the opposite.”

Cruz will continue the continental shuffle by following “Pirates” with an Italian-language movie with director Sergio Castellitto, then will star in a Rome-based film that Allen is making.

Building a transatlantic career isn’t easy. Few non-native English speakers become bona-fide Hollywood stars. Those who do usually leave their native countries behind. But an increasingly multilingual international acting community, coupled with Hollywood’s growing belief that foreign actors expand a movie’s appeal globally, has led more performers to attempt the dual-continent trick.

Cruz’s husband, Javier Bardem, of course, was a star in Spain before crossing over to American films and winning an Oscar for “No Country for Old Men.” But the dearth of juicy female roles in Hollywood makes it harder for women. Noomi Rapace, for instance, recently leveraged her star turn as Lisbeth Salander in the Swedish-language Millennium trilogy into a role in “Prometheus,” the sort-of prequel to “Alien.” But the jury is still out on whether she’ll pull it off.

Cruz and Cotillard say they benefited from working with directors in their home countries who are on Hollywood’s radar: Cruz, via her frequent collaborations with Almodovar, and Cotillard in the Luc Besson-stewarded franchise “Taxi,” as well as with American auteurs such as Tim Burton (“Big Fish”).

Born 17 months apart, the Paris-raised Cotillard and Madrid native Cruz came to acting in different ways, but their careers have converged in recent years. Cotillard hails from a family of performers, solidly middle class, and began acting at a young age. Cruz is from a working-class background and spent much of her teens and 20s studying dance.

They won their Oscars a year apart. Cotillard in 2008 for her performance as singer Edith Piaf in “La Vie en Rose” and Cruz in 2009 for her supporting role in Allen’s “Vicky Cristina Barcelona.” They also costarred in the 2009 musical remake “Nine.” They even were pregnant at the same time (Cruz gave birth this year and Cotillard is due shortly.)

Producers say performers such as Cotillard and Cruz could stand at the head of a burgeoning new group as Hollywood goes more international.

“Whenever I’m starting to cast a new movie, I’m always thinking about who could help me in Europe or other places,” said “Fast Five” producer Neal Moritz, who recently cast German actor Christoph Waltz in a new film for that reason. He also has emailed studio executives who monitor or are based in foreign countries to alert him to male and female stars in those territories.

A few years ago, the Dutch actress Carice van Houten seemed to be on the brink of following in Cruz’s and Cotillard’s footsteps. She was coming off one of the most lauded roles of the year, the 2006 World War II drama “Black Book,” in which she played a beautiful, clever member of the Jewish resistance in Nazi-occupied Holland, switching deftly between languages.

“Right after it happened, I got roles in ‘Valkyrie’ and ‘Repo Men,'” she said, referring to two mainstream Hollywood productions, “and I thought it would be easy. But it’s been a little frustrating since then.”

Soon after those two roles, the parts dried up, and Van Houten grew weary of the burden of convincing Hollywood of her English skills and appeal. The actress said that while the movies she coveted felt bigger, the roles, when she could get them, felt smaller. She now concentrates on her native country, though she is working on at least one American TV project.

“There are all these things I don’t have to deal with in my home country, questions about whether I’m bankable enough. And then when you do get a part, it’s usually to do things that aren’t as interesting as in my home country.”

Cotillard has had the kind of breakthrough Van Houten never really got. She played the ethereal Mal in “Inception,” a character that brought a bit of European mystery to an American blockbuster. Indeed, Mal’s very existence seemed nebulous. “I think I’m very attracted to very mysterious characters, so it might be that I attract the very mysterious characters as well,” she said.

In “Paris,” Cotillard’s character, a kind of muse for Owen Wilson’s nostalgia-minded writer, radiates a similar aura. “She’s very present and very mysterious at the same time,” Cotillard said. “What I had to do was make it real and simple, but also make it someone inspiring.”

Cruz too said taking on a big production such as “Pirates” gave her pause. “You do worry about working on a huge production,” she said. “But I realized that there were a lot of layers to Angelica. She’s bossy and playful and clever.”

Cruz said she’d like to continue alternating between Hollywood and Europe. Cotillard offers a bit more je ne sais quoi. “I don’t really calculate anything,” she said. “I go where my blood takes me.”

I would have loved to walk the stairs of the festival with Woody Allen

Originally published in L’Express Styles (France), written by Paola Genone

translated by Oliver.G.Byrne

EX: In Midnight in Paris you are playing the beautiful Adriana, a muse of famous painters, who takes an American writer, Gil (Owen Wilson), with a case of writers block into her mysterious universe. What aspects of the role interested you and how was the experience of shooting this film?
Adriana is a timeless woman. She’s very sensitive and looking for herself. She feeds herself with the genius of different artists and gives herself completely to them. Adrianna can exist only when in contact with their imagination, which she herself helps develop. It is very difficult to describe the relationship that exists between a muse and a creator: Woody Allen does it brilliantly. This film was for me both an exciting and destabilising experience. Woody Allen sent me the script and we spoke on the phone but I only met him four days before shooting! So I was petrified. I have seen all his films, read all his books: I wanted to please him so much, to be what he was expecting from me that I put huge pressure on myself.

EX: Well, during shooting, Woody Allen said of you: “Marion has real charisma. I never get tired of looking at her face, her various expressions have no limits and they always come at the right moment”
He helped me greatly to find my marks. He’s an extremely generous director: He talks a lot and he’s very precise in what he asks. He has an incredible personality that carries you. He’s brilliant, even more than you can imagine! With this caring eye, this amazing energy, this mixture of softness, humour and precision… He creates universes who belong only to him and he’s capable to create the craziest story with his pen. To see him during shooting is a fascinating experience and I understand how great women like Diane Keaton or Mia Farrow fell under his spell. He his very charming.

EX: Music seems to have taken an important place in your life: you performed a song by the band Franz Ferdinant that they composed for you. You sang in “La Vie en Rose” and in the musical “Nine” by Rob Marshall. And for over a year you’ve been performing on stage (singing and playing the bassguitar) with the Yodelice, the band fronted by Maxin Nucci, as for example on March 22 at the Olympia…
I’ve always dreamed to be part of a band and Maxim – a friend since more than ten years – gave me the gift to join his. Last year, he invited me to perform on stage with him. So that no one would recognise me I wore a man’s costume and a hat and went by the name “Simone” – the name of my grandmother who dreamed of being a singer! I play with him whenever I can. The last time was at the Olympia, I was very moved. I had terrible nerves. I have great respect for music. I started playing piano from a very young age and, pushed by Maxim, I started playing the guitar, then the bass guitar and improved my singing skills. Last January ,pregnant, I decided to stop making film after film to go to Los Angeles for 2 weeks with Maxim and to dedicate myself exclusively to music. I wanted to see once and for all if I was capable to write my own songs or if it was just a dream.

EX: What happened?
There was a click, a light bulb… I had tons of ideas all over the place and finally they started to take shape. I don’t yet know where it will go but I would really like to create something that can be shared… a CD. Playing an instrument is something that moves me. And I really want to sing.

EX: You are playing a doctor in Contagion the new film by the director Steven Soderbergh, starring Matt Damon, Kate Winslet, Jude Law, Gwyneth Paltrow… This film that is very committed to the environment must have resonated with you.
I am indeed concerned about the fate of our planet and with this film Soderbergh brought me into a very scary universe, even more so than Erin Brockovich. Contagion follows the rapid spread of a deadly virus that kills within days. While the virus spreads the global medical community frantically tries to find a cure. Before the shoot I spoke with WHO to learn about new viruses which I call the invisible enemies. If I already was a bit paranoid on the subject this thriller made it worse. Luckily I could also talk with Soderbergh about our fears in a funny way like “Do you touch the remote in your hotel room?” “And how do you do it with door handles?”, “How often a day do you wash your hands?” Like Woody Allen, Steven Soderbergh is a very intelligent director with an impressive sense of humour and he’s very cultured. To be among those artists gives me a great deal, in life as well as at work.

EX: You’ve always lived in an artistic world. Your mother, Niseema Theillaud, is an actress who will soon be in the film “Pourquoi tu pleure?” Your father Jean Claude Cautillard is a director, actor and mime.
My mother was also part of the cast for Little White Lies and Guillaume Canet acted in “La clef du problem” too – the first film by my brother Guillaume Cotillard. My brother’s always had a great gift for writing, we’ve always been fascinated by his letters, his poems, his stories. I am very proud of him because he used to work in IT but he’s finally taken the risk to express his artistic side. My parents have always encouraged our creative side, my other brother Quentin is a sculptor and a painter. It is the most important thing they have given me along with being respectful towards each other: the openness of the spirit and the heart. I dream to work one day with my father. When I was little, I saw all his performances as a mime which fed my imagination. He tought me the basics of this art. I know how to be stuck between two walls, I know how to cycle without a bike, to eat apples without apples, to climb stairs without stairs…

EX: Expectant mother… How do you imagine yourself?
I have a hard time speaking about my personal life. I am very prude. All I can say is that I’ve always lived each step of my life to the fullest. To swim in unknown waters excites me. It’s a very moving experience, it teaches me a lot and enriches the person that I am.

EX: Midnight in Paris by Woody Allen will open at Cannes. Will you be at his side? What does this festival mean to you?
I would have loved to walk the stairs of the festival with Woody Allen. But I won’t go… I am occupied with something else! I have no regrets and I am so happy that the film is opening the festival. It’s a festival that I love, even if at times, it crossed the line into an odd direction. People have criticized it, with good reasons, for becoming a sort of market for everything and nothing. I think of the arrival of reality TV stars on the red carpet that transform it into a brainless marketing machine. Thankfully, this institution has always known how to renew itself and it is still one of the greatest festivals for films, full of creativity. In my eyes the Cannes film festival will always have this mixture of beauty, glamour and discovery.

Midnight in Paris: About the Production

From Production Notes

Even for people who have never been to Paris, the name of the city is more than a metaphor for magic—it’s almost a synonym. Certainly there’s no better place on earth that Woody Allen could have chosen for his new romantic comedy than Paris. It is a city with a unique mythology and heritage, celebrated for the extraordinary beauty of its streets, boulevards and gardens, as well as the splendor found inside so many of the greatest museums in the world. The resonance of its history, from major political and cultural events to the aura of its legendary restaurants and cafes, is felt everywhere. The past endures and shines brightly in Paris, which makes it wellsuited for a story of a man reinvigorating his feelings and finding inspiration to reflect on his life.

MIDNIGHT IN PARIS is Woody Allen’s valentine to the City of Light, which he considers equal to New York as the great city of the world. “Of course I’m partial to New York because I was born there and grew up there,” he says, “but if I didn’t live in New York, Paris is the place I would live.” The film is the second time Allen has filmed there, after a small bit of EVERYONE SAYS I LOVE YOU. “I get great enjoyment out of presenting Paris to the cinema audience the way I see it,” he says. “Just as with New York, where I present it one way, and other directors present it other ways, somebody else could come and shoot Paris in a completely different way. I want to present it my way, projecting my own feelings about it.”

Allen fell in love with Paris during the shooting of WHAT’S NEW PUSSYCAT, his debut film as an actor and writer. Much like Gil, the protagonist of MIDNIGHT IN PARIS, he’s rueful about not staying there after the filming, as others on the film did. “It was an adventure that was too bold for me at the time,” he says. “In retrospect I could have stayed, or at the very minimum taken an apartment and divided my time—but I didn’t, and I regret that.”

Gil (played by Owen Wilson) is a Hollywood screenwriter who had aspirations to be a serious writer when he was a younger man. He idolized American novelists like Hemingway and Fitzgerald, and wanted to be a novelist in their tradition. But somewhere along the way, Gil left that path, discovered he had a talent for writing screenplays, and fell into a well-paid routine of work that didn’t satisfy him and affluence that he wasn’t entirely comfortable with. “He found himself to be a victim of that old Hollywood joke,” says Allen. “I laid down at the pool… and when I got up it was ten years later.”

As the story begins, Gil and his fiancée Inez (Rachel McAdams) are tagging along on a trip to Paris with her father, John (Kurt Fuller), and mother, Helen (Mimi Kennedy). John, a conservative businessman who has come to Paris to finalize a high-level deal, makes no attempt to disguise his disapproval of Gil, who he sees as an unreliable lightweight unworthy of his daughter. Gil’s absorption with the novel he’s writing, rather than the more lucrative profession waiting for him at home, makes him seem even more frivolous in John’s eyes.

Being in Paris triggers Gil’s memories of his one-time literary ambitions. “Gil lived in Paris when he was in his twenties and he has this romantic attachment to it,” says Wilson. “It represents the time when his professional life was just beginning, when he thought about what he was going to do with his life. That was when he came to the fork in the road. So of course being there again makes him think about that time and the road he didn’t take.”

Allen originally conceived of Gil as an east coast intellectual, but he rethought it when he and casting director Juliet Taylor began talking about Owen Wilson for the role. “I thought Owen would be charming and funny but my fear was that he was not so eastern at all in his persona,” says Allen. Realizing that not only could Gil come from California, it would actually make the character richer, so he rewrote the part and submitted it to Wilson, who readily agreed to do it. “Owen is a natural actor,” says Allen. “He doesn’t sound like he’s acting, he sounds like a human being speaking in a situation, and that’s very appealing to me. He’s got a wonderful funny bone, a wonderful comic instinct that’s quite unlike my own, but wonderful of its kind. He’s a blonde Texan kind of Everyman’s hero, the kind of hero of the regiment in the old war pictures, with a great flair for being amusing. It’s a rare combination and I thought he’d be great.”

Rachel McAdams joins the cast as Gil’s fiancée, Inez. “Inez is used to having her way,” says McAdams. “She’s very sure of what she wants. She’s in love with Gil or she thinks she is and is maybe not too inquisitive about the state of their relationship or the health of their relationship.

She thinks Gil’s a good guy, a good catch, and he’s stable provided that he keeps writing screenplays and they can have a comfortable life in the States. She’s supportive of his dabbling with a novel, provided that it’s a slight preoccupation, but I don’t think she’s encouraging it as a life-long dream, something he should spend too much of his time on.” Says Allen: “Inez just wants Gil to make enough money so they can go to parties and raise children. There’s nothing wrong with her aspirations; they’re just not Gil’s.”

Allen has high praise for McAdams’s work on the film. “Rachel just gets it,” he says. “She’s funny when she has to be funny; she’s serious when she has to be serious. She’s unfailingly real, she doesn’t do anything too big or too under-acted, and she’s totally alive on the screen.” Says Wilson: “What I saw even more from Rachel’s performance was how Inez is kind of funny in the way she uses her sexuality to manipulate Gil. Rachel has a very good sense of humor and knew exactly how to play those scenes.”

MIDNIGHT IN PARIS is the second occasion when McAdams and Wilson co-starred as a couple, after “Wedding Crashers” in 2005. “I was so excited to work with Owen again because we had so much fun when we worked together a few years ago,” says McAdams. “As this was a much more antagonistic relationship than the one we had in the other film, I was curious about how that would play out. So our characters aren’t getting along this time around—but we did again.” Says Wilson: “I loved working with Rachel again. She came in during the second half of filming, and I think she brought this burst of energy and got everybody renewed, got us charged up for the final push.”

While in Paris, Gil encounters Adriana (Marion Cotillard), an exquisitely beautiful aspiring fashion designer who has been the lover and muse to a series of famous artists. “Adriana doesn’t know where she belongs, she is searching for her place,” says Cotillard. “She admires artists because their world is wide and their imagination takes them to some marvelous places. She needs to dream.” Says Allen: “There are always special women that artists painted a number of times, women that lived with the artists and provided an enormous amount of support for them. Adriana is not only lovely, she’s also very intelligent, someone who can provide a very strong artistic force for them to bounce things off, to support them when they’re down, to encourage them when they need it, and to tell them when they’re wrong. In many cases this can provide a rich partnership with the artist.”

The role of Adriana fits Cotillard, an Academy Award® winner for LA VIE EN ROSE, like a lace glove; one look at her leaves little doubt about Adriana’s ability to become an object of desire for so many formidable men. “Marion has got a built-in charisma,” say Allen. “She makes the most ordinary kind of moments and dialogue sound interesting because she herself is such an interesting movie actress. And she’s got a very lovely and interesting face to look at; I never get tired of looking at it. I also noticed that she’s able to call up any kind of emotion she wants quickly and easily.”

When Adriana hears the first sentences of Gil’s novel-in-progress, she is almost instantly drawn to him. “She has always felt she didn’t belong to the era she lives in and she feels Gil is the same kind of person,” says Cotillard. “She recognizes herself in him.” Despite his almost-married status, Gil is amazed at his good luck in having attracted the attention of such a beautiful woman, and flattered that someone who has been the muse for so many virtuosic artists would admire his writing.

But as Gil’s interest in Adriana deepens, his doubts about his relationship with Inez increases. “While Gils’s very smitten with Inez,” says Wilson, “he also sees that there’s a disconnect about
where they want to live their lives, what he would like to do, and even if she’s the right person for him.” In a way, Gil and Inez are both caught up in illusions: he dreams of being somewhere else, and she expects a status quo that might not exist. “I don’t think they’re seeing each other anymore,” says McAdams. “They’re both just going through the motions, and carrying on— nobody wants to rock the boat. But I don’t think they could be any further apart than they are at the moment.”

While Gil is otherwise engaged, Inez spends time with Paul (Michael Sheen), a handsome intellectual visiting Paris with his wife Carol (Nina Arianda), while he lectures at the Sorbonne. While Inez sees Paul, who she has had a crush on since college, to be as charming as he is cerebral, Gil finds Paul to be an insufferable know-it-all, and can’t stand to be around him. As Gil is increasingly absent, both with his novel and with Adriana, Paul makes a move and starts flirting with Inez. While Gil sees Paul as an annoying stuffed-shirt, he does possess a substantial body of knowledge, which presented a balancing act for Sheen. “Michael had to do the pseudointellectual, the genuine intellectual, the pedant, and he came in and nailed it from the start,” says Allen.

Perhaps the height of Paul’s pompous actions is when he argues with the tour guide at the Rodin Museum, played by none other than France’s First Lady, Carla Bruni. Allen offered Bruni the role almost as a lark when he and his wife and sister were invited for breakfast with Bruni and her husband Nicolas Sarkozy, President of the French Republic. While chatting with Bruni, Allen found her so charming and beautiful, and knowing that she is a celebrated singer/songwriter and performer, he decided at the spur of the moment to offer her the part. “I told her, ‘I won’t take much of your time, you won’t have to rehearse—just come in for a couple of days and shoot,’” says Allen. “And she said, ‘Yes, it would be fun. I’d like to be able to tell my grandchildren I was in a movie, just for the experience.” Allen adds: “She did all the scenes very well, and I think if I cast her in a larger part, she would have been just as good, but I don’t think it would have been practical for her to take seven weeks off to shoot a movie.” Owen Wilson was impressed by how down-to-earth First Lady Bruni-Sarkozy was. “She was so gracious and nice to me and to all the crew,” he says. “She’s a great ambassador for the country.” As is typical for a Woody Allen film, a group of superlative actors fill out the supporting cast, ranging from stars like Adrien Brody and Kathy Bates to talented newcomers like Corey Stoll, Nina Arianda, Tom Hiddleston, Alison Pill, and Léa Seydoux.

The film’s locations include some of Paris’s most cherished sites, including: the Shakespeare & Co. bookstore, the grounds and Hall of Mirrors at Versailles, Monet’s Gardens at Giverny, Musée de l’Orangerie (Monet’s Water Lilies paintings), Musée Rodin, Musée des Arts Forains, Marché Paul Bert (flea market), Rue Montagne St. Genevieve (where Gil goes at midnight), Notre Dame Garden Square – Jean XXXIII (where the museum guide translates for Gil), Place Dauphin, Maxim’s, Quai de la Tournelle (book stalls), Pont Alexandre III, as well as the restaurants Le Grand Véfour, Les Lyonnais, and Lapérouse. “It was such a treat to spend time in these places which are usually swarming with tourists and be completely alone, with a really small camera crew, and a few actors wandering around as though it belonged to us,” says McAdams. “It was really magical.”

Woody Allen has often stated that he prefers to give his actors as much freedom as possible on the set. Speaking, of MIDNIGHT IN PARIS, perhaps with a degree of overstatement, he says: “I didn’t have to give any direction to anybody.” While Owen Wilson says he’d heard reports from other actors that Allen was “pretty quiet,” he didn’t have that experience himself: “I felt he very much had a point of view about the way the scenes should go,” he says, “which isn’t to say that he was fussy or too exacting with the words in the script—you could change things and make it more how you might say it.” Wilson discovered that Allen likes to shoot three-minute scenes in a single take, rather than the typical way of breaking up scenes into numerous shots. “It gives you that feeling of adrenaline like when you’re playing a sport,” says Wilson, “you know that you have to get it right and you won’t have all these different chances. It makes you concentrate a little bit more.” Says McAdams: “It was very relaxed, and I love that he knows what he wants—that really gives me a sense of confidence and direction. And yet he’s so open and collaborative at the same time, which I think is the ideal combination for an actor.” Cotillard simply considered herself “lucky” to be invited into Allen’s world. “Woody Allen is a brilliant man in the way he observes life, people, things,” she says. “You feel a lot of wit, tenderness, and humor.”

While there are always dark themes underneath all of Woody Allen’s comedies, the tone of MIDNIGHT IN PARIS is more upbeat. “I guess there will always be dark themes in my movies, because they’re underlying in my life, or anything I’ve ever thought about” says Allen, “but in this particular film, they’re not really addressed, they’re just minor themes. The tone and emphasis of MIDNIGHT IN PARIS is more romantic and light.”

The story of MIDNIGHT IN PARIS is about unusual journey that Gil takes. He makes a lot of mistakes and missteps along the way, and his behavior isn’t always admirable, but in the bigger picture he’s making progress. “Gil is a character who is digging himself out rather than digging himself in,” says McAdams. “He’s upsetting the balance, he’s pulling himself up by his bootstraps, and he’s making changes.” Through his relationship with Adriana, Gil rethinks his idea that he’d be better off somewhere else, and recognizes that being somewhere else carries with it its own issues and problems. “I think he has to find a way to be happy just where he is,” says Wilson. Allen adds: “If he’s going to take himself seriously, not just as an artist, but as a human being, he’s better off facing reality and recognizing that the contentment and happiness and spiritual peace that is required to get through life is something that’s inside you. So the movie is hopeful in that Gil comes to that conclusion that it’s better not to delude yourself—even though it’s more pleasant and less painful, it’s still better not to.”

“I think this film couldn’t be more hopeful,” says Wilson. “It couldn’t be more hopeful with the sense of endless possibility that exists in a place like Paris. It’s a celebration of that.”

On the cover of Femina & L'Express Styles

Marion Cotillard is also on the cover of two more French magazines promoting ‘Midnight in Paris‘. Femina and L’Express Styles – the latter has a brand new photoshoot with Marion. While I’m obtaining the magazines to provide scans here the covers.

[Edit] I added the scans from Femina – huge thank you goes to melfan from Jemima West Fan for sending me the magazine this quickly – and digital scans of L’Express Styles as a preview (sorry for the bad quality).

008 L’Express Styles (France) – May 11
005 Femina (France) – May 9

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