According to PurePeople the upcoming Dior campaign with Marion Cotillard – which was shot last week in Paris, see recent updates – will not be for the Lady Dior handbag but for the Miss Dior handbag, to be released in stores at the end of July. Have you admired her outfits in the snapshots as much as I? Those were apparently from the Prêt-à-porter Fall/Winter 2011 Collection.
Month: June 2011
This afternoon the Dior Photoshoot in Paris continued and there are more lovely pictures of Marion Cotillard wearing different outfits. Enjoy! A big shout out to Isabelle from J’Adore Beatrice Rosen for making this update possible!
044 Lady Dior > Unknown photoshoot – On Set, June 2 & 3, 2011
Yesterday was Marion Cotillard’s first official sighting since giving birth to son Marcel 2 weeks ago. Looking nothing but stunning on a photoshoot for Dior in Paris.
I think we can see Mario Testino on one of the pictures. It’ll be interesting to see what the pictures will be used for. For another Dior campaign or even a Vogue UK cover in the fall? One thing is certain though, the final photoshoot will look just great! (Source)
020 Other Work > Lady Dior > Unknown photoshoot – On Set, June 2, 2011
from Eurostar Metropolitan / by Craig McLean
Marion Cotillard has the world at her feet. A successful actress, singer and model, and partner of one of France’s leading young directors with a baby due this month, her world is indeed rosy. She talks to Craig McLean about singing, protesting and working with Woody Allen
A luminous woman in a red silk dress sings in front of a mirror. Now dressed in man’s suit, she fronts a sharply dressed, flick-haired group of musicians, who bob and weave behind her. “Whatever happened to beautiful?” she pouts, “Where’s our love story? So now we’re selling our dreams…” The song is called Eyes Of Mars, and the clip is directed by Swedish filmmaker Jonas Åkerlund.
But this is no ordinary pop video, and the stars aren’t the usual hip young things trying to make it big. They are Scottish art-rock outfit Franz Ferdinand and they’ve written a left field homage to Dior, which Oscar-winning actress Marion Cotillard is singing.
It gets weirder. Franz Ferdinand may have written the song but that isn’t Franz Ferdinand in the video. The band are lookalikes. The singer is definitely Cotillard. But audiences outside France may not recognise the star of 2007’s La Vie en Rose. Cotillard won the Academy Award for her portrayal of Edith Piaf, “the little sparrow”, who was four foot eight and all gawky angles. Cotillard as Cotillard is five foot five and decidedly not gawky.
Even today, when we meet over coffee at a Paris hotel, she is suffering from a heavy cold and could be expected to be a little jaded because she is pregnant, but she radiates poise and beauty. In her smooth English, with just a hint of an American accent, she describes making the pop video. “It was an incredible adventure,” she says. “I’ve been working with Dior for two years, and it’s been very creative. That was the plan when they asked me to work with them. They wanted me to choose some directors and to shoot some shorts rather than commercials, not for TV but for the internet.”
Time constraints meant the short film had to be dropped, but a pop video was suggested. Cotillard liked the idea. When she’s not working in America on films such as Christopher Nolan’s Inception and Michael Mann’s Public Enemies, or in France on Little White Lies or Woody Allen’s latest, Midnight in Paris, Cotillard occasionally plays bass and keyboards in a Paris-based band called Yodelice, under the stage name Simone (her late grandmother’s name).
She sings too. This 35-year-old Paris-born actress is not a woman to do anything by halves. To play Piaf, she sang every day for seven months, even though in the end her vocals were not used in the film.
Music is obviously dear to her heart. Is she a frustrated pop star? “Oh no!” she exclaims. “I’m a very happy actress. But I’ve always loved to sing because in my childhood my mother would sing all the time. I cannot remember one journey in the car without singing. So music is part of my life.”
Last year, back in Paris after spending much of 2009 working in the US, she jumped at the offer from Yodelice’s Maxim Nucci to join the band. “More than just singing or recording something, I wanted to be on stage,” she says. An album may be in the offing, but she won’t be drawn.
For Inception, in which she played Leonardo DiCaprio’s character’s dead wife, she had to appear as a dreamlike figure. “Chris Nolan is so smart and yet mysterious, too. If you need to know something, you just have to ask. You will maybe not understand everything,” she says with a smile, “but you will just get what you need to go further into his world. And Inception was a fantastic journey, creating a character that is a projection of someone else’s mind.
“We worked very closely with Leo, because I was a part of him in a way. He really helped me to create my character. I have a lot of admiration and respect for him too.”
Cotillard had to have similar faith in Woody Allen. Famously, the veteran American director doesn’t like to give his actors too much information before filming. “Well, I was told I was lucky to have the script! So yeah, I think that’s true.”
What does she think of his vision of Paris? “He’s so creative,” she replies. “Quite brilliant. He has this very realistic and yet cinematographic vision of life. It was a privilege to see him work.”
Her role is “kind of a muse”. A human muse? “Well, kind of.” Is it Inception part deuxième? “Non.” Inception en Seine? “Non.” She bursts out laughing.
Marion Cotillard was born to be an actress. Her parents were both actors, and her father ran a theatre company. Aged 14, at her own request and a year earlier than normal, she enrolled at the Conservatoire d’Art Dramatique in Orléans. “I lived in this world where my parents were very creative and they really opened the door of our imagination, for my brothers and myself,” she says. “As a kid I was fascinated by all the people my parents worked with too, all these actors who would sit around telling stories. And their company put on plays for kids too. So it was magical. It was really magical. And they were adults and that was their job! I wanted to be like them when I grew up too.
“I already had this burning desire to be an actress. It was something very deep. Because I was very shy when I was a kid. I was very inside myself, scared of people. Then I just simply found a way to express myself.”
This year, she happily declares that she is “totally unemployed”, although aft er our interview it is confirmed that she has accepted a part in the new Batman film, The Dark Knight Rises, due to start shooting this summer. Towards the end of the year she will have to promote her next American movie, Steven Soderbergh’s Contagion, in which she stars alongside Matt Damon and Kate Winslet. But, around the time of her baby’s birth, she hopes to “take time for Yodelice and the music”.
So how did she find working with Guillaume Canet, the actor and director of Tell No One and Little White Lies – also her partner and the father of her child? Would she work with him again?
“Ah,” she sighs shyly. “I would love to. He’s a wonderful director for actors. Because he’s been an actor, he knows how it works from inside. So, yes, I defi nitely would work with him again – of course.”
Cotillard talks just as enthusiastically about her environmental activism. She has previously campaigned on behalf of Greenpeace, and admits that she would like to do more. “I want to have more time to give to the people I work with, like Maud Fontenoy, a sailor and activist who does incredible things,” she says. “She tries to wake people up about what is happening to the seas and the oceans.”
There is also a documentary “about the forest” that she would like to help get made. “It’s very complex, because the forest is not just about trees; it’s animals, it’s insects, it’s a whole ecosystem,” she says. “And it’s people. I’ve always been fascinated by the forest. So I want to experience something other than just being someone else most of the time. Because when you’re an actor and you work almost every day – and it’s been a few years for me now. That is a lot of time spent being someone else.
“Of course, that is fulfilling. But I need to be fed by other things too.”
New baby, maybe an album, a role in the new Batman film, helping to save the planet… Even when she’s “totally unemployed”, as she puts it, Marion Cotillard is busier than ever.
Little White Lies and Midnight in Paris are on release now
From Delta Sky Magazine / by Sarah Elbert
Marion Cotillard is an Oscar-winning, stunningly chic actress who has beguiled directors from Olivier Dahan (La Vie en Rose) to Chris Nolan (Inception, The Dark Knight Rises) to Woody Allen (Midnight in Paris). And she makes it all seem so effortless.
// This month you’re starring in Woody Allen’s Midnight in Paris, and your character has been described as the “muse.” Do you have a muse in your life?
Marion Cotillard: A muse is a very intriguing character and person, someone who is totally fascinated by artists and has a very strong artistic side. The muses I read about have a common fascination with art and very strong characters, and they are open-minded — open on many levels — and very, very accessible. At the same time, they carry this mystery that you cannot really solve, which makes them vibrant, mysterious and inspiring.
There are many, many people who inspire me in my life and in this world. Some people I know, some people I don’t. But I wouldn’t say that I have a muse. I think there is a difference between being an artist like an actor and being an artist like a writer or a painter. When you are an actor, you have material that has been made especially for you. To be able to create something, you are inspired by many things that you choose as you work and create a character. But when you are a painter or a writer, your first material is yourself, the world and a pen, a sheet of paper or the material you use for painting. You, yourself, create from the beginning.
// So, in a way, you are your own muse for your roles?
MC: I wouldn’t say that . . . but, well, yes. I just did a movie and I was inspired by myself, and it was really weird, because I tried to get away from that, and I would always come back to me. Eventually I told myself, “Well it is like it is. You have to accept that the inspiration will be some of what you are.” Not entirely, because it would be too diffcult. I find it easier when the character is very far from who I am; when it is close to who I am, it is kind of scary to me.
// What role was that?
MC: It was in [Cotillard’s partner] Guillaume Canet’s last movie, Little White Lies.
// Midnight in Paris portrays Paris as a hotbed of creativity, art, big ideas and magic. Is that still the case?
MC: It is still a very creative spot, but it’s not like it was in certain periods of time when all of the artists would gather together and share this energy of creativity. Paris is still very creative about art, fashion, movies, but I feel that you don’t have this phenomenon that happened in the 1920s, in the ’50s, in the ’60s, with people like [poet and screenwriter Jacques] Prévert, [poet/novelist/playwright Jean] Cocteau and [actress] Simone Signoret. We don’t have this reunion of different arts and different artists who gather together. For example, I don’t know if you’ve heard about La Colombe d’Or, which is this very famous restaurant in the south of France, in Saint-Paul de Vence. It was a place where painters and writers, actors, singers, musicians would see each other and would share moments together, and I feel that we don’t have this anymore. But that said, Paris is still very inspiring and very creative.
// I wonder how much the Internet has changed how artists collaborate and congregate?
MC: Yeah, maybe they gather in a different way. But I kind of like this old-fashioned table with wine and ideas being thrown around. Yeah, you are probably right, maybe there is this kind of phenomenon on the Internet.
// It’s a little sad.
MC: I don’t know if I would judge it that way. In a way, it could be sad, but in another way, you can have a reunion of a Chinese writer and an American painter and a French singer. I don’t know if that exists, actually, but I think it sounds interesting. It’s really different.
// Speaking of French singers, your most memorable role is Edith Piaf in La Vie en Rose. If you could go back and speak to her, what would you say?
MC: Wow. If I had that chance, I wouldn’t think about what I would tell her, I would just wait and see. I would probably be very intimidated, because even though I’ve never met her, obviously I know that she is strong and she had a very, very strong point of view of people immediately. So I would just hope that she would like me.
// That is a very human response. With your success over the past several years, how do you stay grounded?
MC: With what I do as an actress — a lot of observation of human beings and trying to understand how the human soul works — I think that if you are not grounded then you lose something. I know that I want simple things and I want to stay close to simple things, and what I search for in my life would be bliss and to have a connection with myself and other people.
// What’s a perfect day for you in Paris?
MC: It would be a good lunch, because we have good food here — it’s cliché, but it’s true. I would have lunch in some little restaurant in the Marais — it’s hard to think of just one — and then go to a museum. I love the Musée Rodin, with all the Camille Claudels. And I love the Musée d’Orsay; I used to spend a lot of time there when I was a teenager. I also love the Palais de Tokyo. But it depends on my mood, because the Louvre is fascinating, too. Part of the day would definitely be in a museum. And then a good dinner at night, of course.
// You grew up as the daughter of actors. How has that shaped your approach to acting? Is there any particular advice you’ve taken from your parents?
MC: My parents always told me that acting was a job and it was a lot of work. Sometimes people think that it is just being who you are — but it doesn’t last very long if you think it’s not very, very hard work that you have to achieve to create a character. And the closer the character is to you, the harder you have to work. That is what they taught me at an early age: work, work, work. And I remember when I was in acting class, they would always tell me: “You may have something that is inside of you, this quality that an actor has to have. But if you don’t work, someone who might not have this high quality will be much better than you, because this person will experience and will give so much for that art, that job, and that job will give it back to him or her. If you just think that you have something and you can make a job and a life of this interesting but still small thing, you will have a very, very small career.” And that is true, it’s really true.
// You’ve been photographed wearing some truly stunning clothes. How would you describe your personal style?
MC: That is the hardest question. Each time it’s like the fi rst time I’m answering it, and the first thing that comes to my mind is “Don’t be dumb, please, please don’t be so dumb.” I don’t really know how to describe it, that is my problem when it comes to fashion. It’s hard for me to have a point of view on my style, if I have one. I like to mix things. And I can wear many diff erent things and feel myself, but sometimes I feel like wearing the very fi nest things and sometimes I feel [like] myself in something that is very edgy and sometimes I feel [like] myself in something that is kind of rock and roll.
// You’re not just an actor; you’ve also performed with the French band Yodelice. What’s the draw of being onstage with the band?
MC: I’ve always wanted to sing — music is very important in my life. I have the chance to know many musicians, and it is something I’ve always wanted to take further — the experience of really doing something: writing songs, writing music. I studied piano when I was a kid, but not professionally, and I have great respect for musicians, so I wouldn’t call myself a musician. Then I met Maxim Nucci, the singer of Yodelice, and he is a very important person in my life, because he is the one who always says, “Well, you should do this, you should try at least,” and he pushes me: He took me onstage, he put a bass guitar in my hand, he put a mic in my hand, he put drums, he put keyboards . . . . He really opened this world for me, and he invited me onstage with the band, which is one of the most beautiful presents I’ve ever had. Because he knew that I really wanted to do this, but I was too shy or too scared or maybe too impressed by all the singers that I admire so much. Having created this character in the band, whose name is Simone, allows me in a way to feel that I actually have a place in the world of music.
When I started being an actress, I really needed to feel that I had a place in that world, because I thought, “Wow, I am going out there telling stories and asking people to look at me, to listen to me,” and if you don’t feel that is where you belong, it’s really hard to be — not comfortable, because you never really look for comfort — but at least that you have the right to ask people, “Look at me, I have something to say. Listen to me, I have something to tell you.”
In the music world, it is the same thing for me. Who am I to ask people to listen to me? And . . . step by step, I am finding my place, and little by little, I am realizing that I really have something to share and something to say.
// Do you prefer acting in small intimate films or big Hollywood productions?
MC: Oh, I love both. I’m so grateful that I have the possibility to travel into so many universes, and that is what really makes that job marvelous for me. I love traveling in this world, I love traveling in the human soul, I love traveling in different periods of time and going from Inception to Midnight in Paris to a French movie. It makes my life and my job magical, really. So, I wouldn’t say I prefer one or the other. It is the richness of our job that makes me think I will always have sparkles in my eyes and in my heart.
La Vie de Marion
From film to rock to environmental activism, a taste of Mlle. Cotillard’s varied career:
Stars in Woody Allen’s Midnight in Paris and the thriller Contagion.
Performs with the band Yodelice and travels to the Congo with Greenpeace, an organization with which she has long had an attachment.
Stars in Inception and Little White Lies, directed by her partner, Guillaume Canet, and is made a chevalier of the Ordre des Arts et des Lettres.
Stars in Public Enemies, Nine and the first of four “Lady Dior” short films.
Plays Edith Piaf in La Vie en Rose, a role for which she wins an Oscar, the César, a BAFTA Award and a Golden Globe.
Stars in her first American film, Big Fish, as well as the French film, Love Me if You Dare. Later she would become romantically involved with her costar, Guillaume Canet.
Appears in her first significant film role as Lilly Bertineau in Taxi. Later stars in two sequels.
Studies drama at the Conservatoire d’Art Dramatique in Orléans, France, where she was raised.