Day: September 6, 2012

La douce Cotillard chez le dur Audiard

de / par Manon Dumais

Bien qu’il soit revenu bredouille de Cannes, De rouille et d’os de Jacques Audiard est un grand film. Et même s’il est humainement impossible de voir tous les films programmés à Toronto, je puis affirmer qu’il s’agit sans doute de l’un des meilleurs films à voir au cours de ce prestigieux festival.

Écrit avec Thomas Bidegain, De rouille et d’os est l’adaptation libre de nouvelles de Craig Davidson, écrivain canadien vivant aux États-Unis; l’une d’elle raconte l’histoire d’un boxeur; l’autre, celle d’un dompteur d’orques. Souhaitant raconter une histoire d’amour après le drame carcéral Un prophète, Audiard et Bidegain ont revampé ces personnages afin de former un couple en devenir.

Ce matin, j’ai eu la chance de rencontrer, très brièvement, Marion Cotillard qui y campe avec un mélange parfait de fougue et de sobriété une jeune dresseuse d’orques victime d’un grave accident qui trouvera réconfort auprès d’un jeune homme (Matthias Shoenaerts) doué pour les sports de combats vivant aux crochets de sa sœur (Corinne Masierro) avec son fils (Armand Verdure).

Dans l’une des plus belles scènes du film, le personnage de Cotillard retourne sur les lieux de l’accident et engage un dialogue silencieux avec l’orque lui ayant arraché les jambes : « Il y a une connexion très forte à cette puissance et à ce silence presque méditatif auxquels elle n’était sûrement pas connectée avant l’accident en fait. C’est un mélange de ce qu’elle est quelque part, ce mélange de force et de douceur. L’amour qu’elle a pour ces animaux est intact parce que c’est fascinant et que c’est plein de surprises, bonnes ou mauvaises. »

L’actrice poursuit :« Il existe une association de survivants à des attaques de requins qui ont développé une espèce de fascination et qui se sont lancés dans la défense de cet animal splendide dont on a une perception totalement faussée par les films. En fait, je pense qu’on ne peut pas en vouloir à l’animal parce qu’il n’est pas responsable à partir du moment où l’on vient dans son milieu. Il n’y a pas de violence ni de méchanceté comme les hommes peuvent avoir envers d’autres hommes. En lui prenant ses jambes, cet orque lui a redonné la vie et elle vient l’en remercier. »

Reconnu pour sa dureté et sa violence, le cinéma d’Audiard semble pourtant l’écrin parfait pour le talent de la délicate actrice :« Je me toujours sentie plutôt à l’aise et à ma place dans un univers masculin. J’ai mis plus de temps à avoir de très bonnes amies filles que de garçons. Je pense que c’est l’expérience de vie qui nous change à un moment donné. J’ai été élevée avec deux frères; adolescente, je me sentais plus à l’aise avec les garçons parce que je ne sentais pas très à l’aise tout court, donc la relation masculine me mettait plus à l’aise. Du coup, je m’adapte très vite à l’univers masculin. »

On the Cover of TIME Style & Design

On the Cover of TIME Style & Design

Marion Cotillard is on the cover of the Fall issue of TIME Style & Design looking strikingly elegant. Order it here. There’s also a really interesting story behind the photo shoot:

news-2012-09-06To prepare for his cover sitting with Marion Cotillard for TIME Style&Design’s fall issue, photographer Peter Hapak hit the archives, collecting pictures of Paris and Parisian fashion during the 1930s, including the work of famed French photographer Jacques Henri Lartigue. Studying images of women in restaurants, chatting with friends or simply roaming the streets of the city, Hapak easily understood why Paris has long been considered a fashion capital of the world. “All of the women looked like they had walked out of a fashion magazine,” he says. “Fashion is such a big part of the culture there, and you can even feel that history when walking through the city today.”

On set in Paris this August, Hapak tried to evoke this era, capturing Cotillard in designs by French fashion houses Chanel, Louis Vuitton and Christian Dior, along with other designers like Andrew Gn and Dries Van Noten. “She’s the representation of the French woman for me—elegant, but not too stylized,” says Hapak of Cotillard, who won the Academy Award for Best Actress in 2007 for her portrayal of French singer Édith Piaf in La Vie en Rose. “With the cover look, it felt like she was pulling a dress out of her own closet. It went so well with her style, and she felt really confident in it, that you would have never known she was dressing up for a shoot.”

And here’s the interview:
Marion Cotillard: La Vie en Rose

001 Portraits > Sessions from 2012 > TIME Style & Design

Marion Cotillard: La Vie en Rose

from TIME Style & Design (US) / by Marcia DeSanctis

Sheathed in fall’s signature mauves, burgundies and dusty pinks, Marion Cotillard is radiant in this season’s commanding yet feminine silhouettes

As a child growing up in the bucolic Loire Valley, Marion Cotillard didn’t covet her mother’s high heels. “I wore a lot of my father’s clothes as a kid, even though most of the time it was a disaster,” she says. She once paired a men’s sky blue thermal bodysuit with an orange polka-dot cardigan, black skirt and flats. “As soon as I put my foot in the school building, I thought, My God, what did I do?”

It’s hard to imagine Cotillard, the face of Christian Dior and an Academy Award–winning actress, feeling the same doubts today. She has been a red-carpet darling since collecting her Oscar for the Edith Piaf biopic La Vie en Rose in a mermaid-like Jean-Paul Gaultier dress—scales and all—back in 2008. Since then, she has racked up credits with Woody Allen, Steven Soderbergh and Christopher Nolan, who cast her in linchpin supporting roles for both Inception and The Dark Knight Rises, while her lead performance in Rust and Bone, in theaters later this fall, generated awards buzz after its Cannes premiere. And even under constant surveillance by the world’s fashion mandarins, Cotillard hasn’t tamped down her playfulness or originality. (Case in point: the ballet-inspired Dior dress, spiky Louboutin Mad Max sandals and shock of tangerine shadowing her blue eyes at the New York City Dark Knight Rises premiere.)

Cotillard grew up shy and awkward, she says, but with a strong sense of adventure and a stronger safety net. “We lived in an amazing, creative, free and loving world,” she says of her family: father Jean-Claude, a mime and director; mother Niseema Theillaud, an actress and drama teacher; and twin younger brothers. She inherited a talent for the family business, and today, Cotillard never stops working. She arrived on the set of Rust and Bone just four months after giving birth to the now 16-month-old Marcel, her son with French actor and director Guillaume Canet. Since June, she has wrapped Canet’s 1970s Brooklyn crime yarn Blood Ties and James Gray’s as-yet-untitled Ellis Island drama, also starring Joaquin Phoenix and Jeremy Renner.

“By the time I got to the set, Joaquin and everyone had a running joke that Marion was a cyborg, that she never messed up, never faltered, she was always brilliant, every time, every take, every day,” Renner says with a laugh. “She makes everything look easy. Nothing gets under her skin.”

“It’s strange, because I had the feeling sometimes that I was directing Marion like I would direct a man,” says Rust and Bone director Jacques Audiard. “I don’t know how to describe it except to say that she’s very rational and direct and not fussy in a girly sort of way. This was incredibly surprising.” In Rust and Bone, Cotillard plays Stephanie, a marine-park trainer who suffers a critical injury and then—against a backdrop of sea and summer sky on the Côte D’Azur—claws her way back to humanity and love. “I was baffled by the character at first,” Cotillard says. “But the amazing thing about this job is the chance to search for and hopefully find this new person.”

In her fashion choices, however, Cotillard does not seek out reinvention. “If I don’t feel like myself in an outfit—if it makes me feel like a different person—I won’t wear it,” she says. Dries Van Noten appeals to her for combining simplicity and edginess, as do the bright sculptural prints of Tsumori Chisato. “I always find something that’s kind of crazy but at the same time is wearable and really looks like me,” she says about the Paris-based designer. Whenever she’s in Los Angeles, she likes to stock up on James Perse Tshirts and real cowboy boots—she has three pairs—at her favorite emporium on Sunset.

Cotillard also has something of a hat obsession, one that dates back to the making of La Vie en Rose, for which she had to shave her eyebrows and hairline. “I looked terrible, so my hat collection increased dramatically,” she says. She favors the masculine shapes of the trilby and fedora, in which she’s often photographed while strolling with Marcel on the streets of Manhattan and which reveal that Cotillard’s most enduring fashion influence may date back to her idyllic childhood. “I love men’s hats,” she says, “because my father wears them.”

Dior Magazine

After launching their online magazine earlier this year, Dior are now launching a print magazine – and Marion Cotillard is on the cover of its first issue. WWD reports it but since I can’t access it here a few quotes courtesy of Fashion Copious:

– Available September 10th.
– The 110 page debut issue was designed by Fabien Baron.
– Marion Cotillard is “wearing the house’s original Bar jacket and flaring skirt from 1947”

Dior chief executive officer Sidney Toledano said such communication efforts nourish the brand, feed its narrative and help articulate “the values of Dior, which are different from our competitors.…It’s important today to differentiate ourselves.”

“It’s another way to communicate luxury,” said Toledano, flipping through the heavy, velvety pages and stressing, “This is not a catalogue. It’s fresh and modern. It’s how we see ourselves; our own maison. I think it translates perfectly the mood of the company right now.”

Vogue Germany reports that it will be published twice a year (September and March) in 9 different languages (among them English, French, Chinese and German).

001 Magazine Scans > Scans from 2012 > Dior Magazine (France) – No.1