Welcome to Magnifique Marion Cotillard - your English online resource for everything about the Oscar winning French actress. She's best known for her award winning performance in La Vie en Rose - but you might also recognize her from movies such as Love Me If You Dare, Big Fish or A Very Long Engagement. Following her Oscar win she starred in Public Enemies, Nine, Inception and the French Little White Lies. In 2011 she became a mother and was seen in Midnight in Paris and Contagion on the big screen while she filmed scenes for The Dark Knight Rises and for Jacques Audiard's Rust & Bone. In 2012 she will play a Polish immigrant in the period drama Low Life. Not stopping at movies, Marion Cotillard is also exploring her musical talents as a member of the French rock band Yodelice. All the while, she is never too busy to lend her time and name to causes she believes in! Enjoy your visit keep checking back for all the latest news!
Out of a lifelong love affair with Paris, the director opens up to THR on the motivation behind the award contending film, why he was smitten with Owen Wilson’s West Coast vibe and his blissful defiance of his sister’s concerns.
If the making of Woody Allen’s Midnight in Paris were itself a Woody Allen movie, it would start something like this: After a tastefully understated title card — simple white lettering on black — and against a jazz arrangement of, say, Cole Porter’s “I Love Paris,” the camera slowly zooms in on a window at the Hotel Ritz Paris, where Allen is looking out over the Place Vendome. In voiceover, we hear his thoughts: “I have a tendency to romanticize Paris,” the writer-director confesses. “When the lights come up and it’s almost midnight, everything looks so pretty.” Somewhere here, he knows, there has to be a movie.
Cut to: Back in New York, Letty Aronson, Allen’s younger sister and his primary producer since 2001, has just finished reading his latest screenplay, the fanciful tale of a modern-day Hollywood screenwriter who finds himself, suddenly, magically, wandering through the Paris of the 1920s, brushing shoulders with Ernest Hemingway and F. Scott Fitzgerald. “Who is going to come to see this film?” she asks her brother. “I don’t think a lot of people even know Gertrude Stein and certainly not Man Ray. I just feel it’s for a real niche audience.”
Cut to a sunny day in Los Angeles: Owen Wilson is closing the script that Allen has sent over for him to read. In an accompanying letter, the director explains the movie he is planning is going to be very romantic, and he wants Wilson for the lead. Wilson is puzzled, though. He isn’t quite sure how all the time-travel stuff works and wonders who Allen is going to find to play iconic figures like Fitzgerald and Hemingway. “It all just seems sort of far-fetched,” he says to himself, yet he’s intrigued.
Cut to: Marion Cotillard at her apartment in Paris as she takes a call from Allen, whom she’s never met. He has a part for her in his new movie, he explains, that of a woman in the Parisian demimonde who’s romanced by both Hemingway and Picasso. They talk for more than an hour, and when the call ends, she turns to some friends who are visiting and exclaims, “Oh, my God, I’ve been talking to Woody Allen — that was Woody Allen’s voice!”
Cut to: Several weeks later. Allen is now back in the City of Lights. Production on the film is due to start in a few days, but first he and his cinematographer Darius Khondji, accompanied by a couple of camera assistants, are wandering the streets, capturing shots of the city that will be used in the opening montage. Allen is delighted by the overcast sky and the wet pavement — it’s just the look he wants. But then a fresh wave of rain pours down. Both men are drenched, but Khondji realizes, “Woody didn’t care at all that we were wet. He was just completely happy because it was the right feeling for the film.”
Serendipitously, so. Allen has perfected an almost clockwork approach to filmmaking — since 1969, when he directed his first feature, Take the Money and Run, he’s completed 41 more films at a remarkably consistent rate of almost one a year. But his latest film has broken out of the pack. Having brought in $56.3 million domestically and $145.2 million worldwide, it’s his top-grossing movie ever. (The 1977 Oscar-winning Annie Hall collected $38.3 million domestically, the equivalent of about $143 million today.) Midnight — an enchanting fantasy in which Wilson finds himself transported back to the movable feast that was Paris in the ’20s, only to learn that nostalgia for the past isn’t all it’s cracked up to be — has given Allen new currency.
Allen fell in love with a title, Midnight in Paris. But for the longest time, he couldn’t decide what exactly would happen at midnight, until he stumbled upon the idea that a car could pull up and whisk him into the past.
“To me, the torture is getting the idea, working the idea out — its general plot, structure and story,” Allen says of his process. “But once I know that, I can write a screenplay in two, three weeks. It’s the difference between writing it and writing it down. It becomes pleasurable for me and flows easily because I’ve done all the spade work beforehand.”
Even though, in this particular story, his protagonist would be encountering some of the artistic giants of the 20th century, Allen didn’t need to research the period. “I didn’t have to. I did read them when I was younger,” he says. “Characters like Hemingway, Picasso, Salvador Dali. They are so vivid and have such pronounced styles, I didn’t have to do any research at all. I could write it off the top of my head.”
As for his sister’s doubts that there was an audience ready to make their acquaintance, Allen wasn’t concerned. “I knew that I knew Gertrude Stein, and I’m not the most literate person,” he says. “The movie would be for those people who do know her. I never think about the audience. If Letty had been correct and only a minuscule amount of people would have been interested in Paris in the ’20s, that would have been fine with me too.”
But first there was another problem. Since the movie was, in part, a period piece, Aronson couldn’t see how it could be filmed under the modest budgets with which Allen comfortably works. And so the script was set aside for several years, until France introduced a tax rebate for international productions in 2009. That allowed Aronson to bring the budget down to $18 million, and with funding from Spain’s MediaPro, which had struck a deal to finance three of Allen’s pictures, beginning with 2010′s You Will Meet a Tall Dark Stranger, the movie was ready to move forward as the filmmaker’s summer 2010 project.
As it took shape, Allen’s longtime casting director Juliet Taylor suggested offering the Texas-born Wilson the lead role. Although he would be a departure from the director’s usual choice of onscreen alter ego — typically an actor playing an East Coast neurotic — Allen liked the idea and even reworked the character of Gil for a better fit. “Owen’s persona, his sound, is so much more rooted out West or in California. He looks like he’d be at home surfing. So I had to change it,” Allen says. “But I think that was a help to me because I made him a successful California character, a guy with a house and swimming pool. It sharpened the poignancy of wanting, in the face of all that commercial success, to really do something that was comparable to what those bohemians in Paris had accomplished.”
Wilson himself was somewhat bemused by Allen’s fascination with his West Coast lifestyle. “He talks about me always being at the beach. I think he thinks I live at SeaWorld,” Wilson cracks.
For Gil’s difficult and demanding fiancee, Inez, Allen says he had Rachel McAdams in mind as he was writing. And when he pitched her the part, he told her, “It would be much more interesting for you to play this kind of character. You don’t want to go your whole life playing these beautiful girls. You want to play some bitchy parts. It’s much more interesting for you.” When it came time to cast Adriana, the muse who bewitches Hemingway, Picasso and Gil, he says, “I did need a French actress, and Marion came to mind very quickly. With great good luck, she was willing to do it.”
While at the theater in New York, where he’d gone to see his friend and sometimes leading lady Scarlett Johansson in A View From the Bridge, Allen discovered Corey Stoll, who was also appearing in that play, and invited him to read for Hemingway. The actor, who has since gone on to be nominated for a Spirit Award for his performance, relates, “He handed me a couple of pages of Hemingway dialogue. It burned through my fingers, I was so excited to see Hemingway on the page. I had no idea what it was for, but he gave me some direction and that was easy.”
By now, the project was moving forward in the efficient, businesslike way that characterizes Allen’s productions.
Even though half the movie takes place in the past and includes added forays into the Belle Epoque and Versailles, production designer Anne Seibel knew she was operating under tight limits. “The challenge was to find locations and transform them,” she says. Since the famous Moulin Rouge has been extensively modernized, she found an old ballroom that could be retrofitted with a minimum of effort. And for Stein’s salon, she copied the original, down to the famous paintings on the walls, but notes, “It was more creating the mood of the period than reproducing the exact chair.”
Meanwhile, Khondji had discussions with Allen about shooting the 1920s sequences in black-and-white, but they eventually decided to go with color, giving the past a warmer, richer glow than the contemporary scenes. “Normally, Woody likes images that are very, very red, on the warm side,” he says. “And I like gold very much. So I colored it during the shooting, I gelled the lights and used old lenses for the period pieces.”
Allen, who doesn’t indulge in long rehearsal periods, called his actors together for the first time just a few days before filming began. (Wilson, who’d just recorded some of his voice work for Pixar’s Cars 2, arrived in Paris with restaurant recommendations from the Pixar staff who had worked on Ratatouille.) They all brought along a certain set of expectations about what it would be like to work on a Woody Allen movie.
“I thought he would be different, but he was actually very talkative on the set,” Cotillard says. By contrast, Wilson found that “maybe I was a little shy myself. And he’s a reserved person, so for the first couple of weeks we didn’t talk a great deal, but as I got more comfortable, we started to kid around more.” He was particularly amused watching Allen play with his iPhone. “His daughter told me all he knows how to do is check the weather,” the actor relates. “And he’d been saying stuff like, ‘It’s 100 degrees in Cairo today.’ ”
When it came time to work, Allen didn’t stand on ceremony. Moving briskly along — the shoot took just 35 days over seven weeks — he’d frequently tell the actors to use their own words, to “make it more natural.” And, says Stoll, “for the big group scenes, he’d figure out the traffic patterns, but then he’d want it to be messy. That was his most common direction: ‘Make it messier, make it more like life.’ ”
Through it all, Wilson was just about the only actor on the set who knew everything about how the two halves of the movie — the period scenes that were shot first, followed by the contemporary section — fit together.
Allen and Wilson may have made for unlikely collaborators, but, says Cotillard, “Woody Allen in a way found in Owen his kind of spiritual son. It was like it was meant to be. Owen fits so perfectly in Woody’s universe, it was really organic and made total sense.”
And any doubts that audiences wouldn’t get the movie’s conceits began to melt away as soon as Midnight was unveiled as the opening-night film of the Cannes Film Festival in May. By then, Sony Pictures Classics already had acquired North American rights and quickly moved to open the film to take advantage of the momentum. It’s been playing in theaters, entertaining audiences, ever since.
Cut to the present: “It’s always nice,” Allen, who resolutely maintains his distance from all the awards hoopla that now surrounds the film, says of its rapturous reception. “I make them for the fun of making them. I work at a comparatively low budget and make the films for my own enjoyment and hope that other people like them, and so it’s always nice when they do. And in this case, people have embraced the movie. I must say, I’m now well beyond it. I’ve finished another movie already, and I’m preparing a movie for next summer. So for me, Midnight in Paris was something I did a few years ago. But nothing pleases me more than knowing people have gotten pleasure out of it. That’s always a nice bonus.”
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ECHOES OF EARLIER ALLEN FILMS: Having directed 43 movies, the prolific filmmaker can be forgiven if he sometimes repeats himself.
Vicky Cristina Barcelona (2008) The tempestuous relationship between artists and their muses — Javier Bardem and Penelope Cruz are a recent example — is a subject to which Allen has repeatedly returned.
Everyone Says I Love You (1996) Allen and Goldie Hawn dance together along the banks of the Seine in this casual musical — the first time the director shot part of one of his features in Paris.
The Purple Rose of Cairo (1985) Blending fantasy and comedy has resulted in some of Allen’s most heartfelt work. Here, Jeff Daniels plays a matinee idol who steps out of the screen and into the arms of Mia Farrow.
Annie Hall (1977) Allen loves targeting insufferable know-it-alls, like the guy he and Diane Keaton encounter in a movie line. Michael Sheen’s character gets the same treatment in Midnight.
What’s New Pussycat? (1965) On his first visit to Paris, Allen wrote and c0-starred in this sex comedy. Unhappy with directors Clive Donner and Richard Talmadge, he vowed to direct his future scripts.
In recent times I have not found as much joy in maintaining websites as I used to. Also I have many other important things I don’t want to neglect in real life. So after careful & long consideration I realized that saying goodbye to the world of fansites is the only way forward. Sadly, this means that I will also say goodbye to this website here. However, I am still a great admirer of Marion Cotillard. She’s an exceptional actress and I love her career and her choices. It’s really rare that you get talents, beauty and humanity all in one person – and that the person then also gets the opportunity to showcase this to the world like Marion. This together with the fact that I’ve invested a lot of time and energy into Magnifique Marion Cotillard means that I’d hate to see it deleted, merged or continued in a different spirit.
So I’m happy to tell you that Jess is the new owner of the site and while she too is very busy she’ll make sure that the site stays active and that the important news regarding Marion Cotillard’s career will be posted – as she has done already this month. In addition, Luise who has looked after the site in the past when I was away will also help out from time to time with posting the important news.
And once I have some more free time – but hopefully not in the too distant future – I will add the missing portrait sessions & magazine scans.
While the release of the US ‘Midnight in Paris‘ Blu-ray is still more than a week away the French one has been available since October. Finally, I added some gorgeous Blu-ray screencaptures to the gallery. Enjoy!
Over the last few weeks as well as today I added some scans and interview transcripts with Marion Cotillard from recent 2011 publications. I also added proper scans of the feature in last May’s L’Express Styles – many thanks melfan from Jemima West Fan for sending me the magazine! Here’s an overview:
Kindly do not redistribute the magazine scans at another Marion Cotillard fan site as they were scanned exclusively for ‘Magnifique Marion Cotillard’. Thank you.
Dior have also uploaded the actual Making Of both the print campaign by Steven Klein and the short film by John Cameron Mitchell. We learn that it is the first comedy in the series of Dior short films and that it is inspired by this 1973 short film by Richard Avedon and starring Lauren Hutton. I can’t wait to see the full L.A.dy Dior short film on December 13!
Sony Pictures Classics have revealed that they will release on Blu-ray Woody Allen’s love letter to the French capital Midnight in Paris (2011), starring Owen Wilson (The Darjeeling Limited), Rachel McAdams (Sherlock Holmes), and Kurt Fuller (The Pursuit of Happyness). Earlier this year, the film had its premiere at the Cannes Film Festival.
Midnight in Paris is a romantic comedy set in Paris about a family that goes there because of business, and two young people who are engaged to be married in the Fall have experiences there that change their lives. It’s about a young man’s great love for a city, Paris, and the illusion people have that a life different from theirs would be much better.
Sony’s Blu-ray presents the film in its original aspect ratio of 1.85:1. Sony’s official press release notes that the disc will have a 3.0 LCR audio track and the following bonus supplements:
• Midnight in Cannes featurette
• Photo gallery
Midnight in Paris – which was financed by Mediapro, the Spanish company that also funded Woody Allen’s last two films, Vicky Cristina Barcelona and You Will Meet a Tall Dark Stranger – is set to arrive on December 20th. Amazon pre-orders are now available.
Dior just uploaded a teaser of the forthcoming John Cameron Mitchel-directed short film starring Marion Cotillard that is taking place in Los Angeles. Interestingly, this seems to be for Lady Dior again, not Miss Dior.
“Michelle Williams’ portrayal of Marilyn is not an impersonation, she eloquently depicts the all-encompassing layers of the woman who has captivated the world even 50 years after her death. Michelle embodies this challenge with a mysterious attraction all her own and yet still so Marilyn in complexity and depth. Rather than further push Marilyn’s sexual aura, Michelle captures the very essence of the life we missed — the life we can’t see in pictures. Michelle’s representation of Marilyn’s vulnerability, allure, humor and often childish demeanor reveals the inner struggles and the reality of the icon’s multi-layers as Marilyn Monroe and Norma Jean. I admire Michelle’s ability to give life to each aspect of this faceted character, while embracing the confidence and whimsy of an actress who left such an indelible impression in cinema.”
L’actrice sera à l’affiche de “Contagion” de Steven Soderbergh, le 9 novembre
Elle joue dans Contagion, le film choral de Steven Soderbergh, a fini Batman 3, tourne dans les prochains Jacques Audiard et James Gray… Depuis Hollywood, où elle réside, la superbe égérie de Dior nous confie ses doutes, ses projets et ses bonheurs de nouvelle maman.
Il fait chaud, ce soir-là, dans la chambre d’hôtel de Marion Cotillard (elle n’aime pas la clim) et son fils, Marcel, 5 mois, bébé souriant, peine à s’endormir. L’actrice, radieuse, le serre dans ses bras, et fait les présentations. L’enfant s’endort enfin et celle qui, depuis son oscar pour La Môme d’Olivier Dahan, kidnappe tous les grands longs-métrages américains (demain avec Joaquin Phoenix pour le prochain James Gray) et tourne bientôt avec Jacques Audiard, s’assied devant un poisson-ratatouille. Dans Contagion, récit prenant de l’offensive fulgurante d’un virus mortel, elle joue un médecin de l’OMS (Organisation mondiale de la santé) chargée de traquer en Asie le « patient zéro », c’est-à-dire celui qui est à l’origine de la contamination. Une cheville ouvrière du film au même titre que Kate Winslet ou Matt Damon.
Madame Figaro. – Pourquoi avoir choisi Contagion ?
Marion Cotillard. – Pour Steven Soderbergh. Quand mon agent m’a demandé si je voulais le rencontrer, j’ai tout de suite accepté. C’était à ce moment-là un rendez-vous informel. Une pratique très courante aux États-Unis. J’ai, par exemple, fait la connaissance de Walter Salles de cette manière. Il m’a ensuite proposé un rôle dans un de ses films. Notre collaboration n’a à l’époque pas été possible mais nous gardons depuis l’envie de travailler ensemble.
Connaissant votre passion pour l’environnement, on imagine aisément que le sujet vous ait lui aussi attiré…
Il préoccupe tout le monde, je crois. Contagion montre l’origine, les effets et l’extinction d’une épidémie qui se propage à une rapidité folle. C’est un film catastrophe tourné avec un réalisme presque documentaire.
Comment avez-vous ressenti la crise de la vache folle ou la menace de la grippe aviaire ?
Comme quelque chose de parfaitement flippant. Donner des farines animales à une vache témoigne de la folie de l’homme. Il s’agit en plus d’un danger invisible.
Que diriez-vous de Soderbergh ?
Je le vois comme un parfait mélange entre l’artiste et l’artisan. Il écrit, il filme, il fait aussi la lumière sur le plateau. Cela peut paraître abstrait pour quelqu’un qui ne sait pas comment le cinéma fonctionne, mais imaginez une cuisine ou une entreprise où un seul homme occuperait tous les postes.
Depuis votre oscar, vous avez accès aux plus grands réalisateurs mondiaux. Vous déterminez-vous sur leur nom ou sur le rôle qu’ils vous offrent ?
Sur la combinaison des deux. Mais il faut tout de même en premier lieu que le scénario me touche. Et, généralement, si je doute de mes capacités à interpréter un personnage, j’y vais. C’est excitant de songer qu’on n’est peut-être pas la bonne personne, qu’on n’y arrivera jamais, puis de finir par trouver une authenticité et, par conséquent, du plaisir à jouer.
Doutez-vous souvent ?
À peu près tout le temps. Dans la vie, même si cela s’améliore, je ne suis pas quelqu’un à l’aise avec la parole ni en toutes circonstances. L’appréhension d’un rôle peut me rendre malade physiquement. Tina Lombardi, dans Un long dimanche de fiançailles, de Jean-Pierre Jeunet, m’a expédiée à l’hôpital. Jean-Pierre, lui, diagnostiquait en riant : « Tu es juste morte de peur. » Et il avait raison !
Un premier césar pour Tina Lombardi a pourtant tout déclenché…
Ce rôle m’a effectivement ouvert des portes qui restaient jusque-là fermées. Mais je ne parvenais pas à me projeter dans l’énergie, la liberté et l’incandescence du personnage. La veille, j’ai appelé un ami qui m’a rassurée : « Jeunet t’a choisie, tu vas rentrer dans le travail et tout ira bien. » Audrey (Tautou) a, elle aussi, été si généreuse. La scène que nous partageons reste d’ailleurs un de mes plus beaux souvenirs d’échange avec un acteur.
Le trac vous rattrape-t-il de la même façon sur les plateaux américains ?
Lors de mon premier jour sur Inception (de Christopher Nolan), je tremblais tellement que Ken Watanabe m’a demandé si j’avais froid. J’ai songé une seconde à lui mentir. Et puis, sans me laisser répondre, il m’a souri et m’a avoué que ça lui arrivait souvent à lui aussi. Mais dès qu’on plonge dans le jeu, on cesse de se regarder. La peur laisse place au travail.
Vous évoquez votre difficulté avec la parole. Détestez-vous la promotion ?
Je ne suis pas la championne du monde de la discipline mais ça me plaît de défendre les films que je fais. Du moins, lorsque je les aime, c’est alors plus simple.
À vos débuts, vous contrôliez moins… Vous surveillez-vous davantage ?
Absolument. Quand j’ai commencé à donner des interviews, j’étais très jeune et très naïve. Je pensais qu’il fallait se livrer, confier des choses de soi, se situer dans le don absolu. Mon entourage me conseillait : « Protège-toi. » Mais je ne comprenais pas ce que ça signifiait. Chaque fois que je rencontrais un journaliste, je faisais une mini-dépression après. Je regrettais d’avoir dit trop de choses. Mon métier, c’est d’être actrice et de raconter des histoires. Pas de raconter ma vie. (Elle sourit.)
Le film de Jacques Audiard à la fin de l’année, celui de James Gray, vous n’arrêtez pas…
J’ai du mal à résister. Daniel Day Lewis m’a un jour donné un conseil que je n’ai pas suivi : ne pas trop tourner pour pouvoir trouver le temps de se plonger corps et âme dans un personnage. J’ai accepté Batman 3 (de Christopher Nolan) parce que j’y avais un petit rôle. Et que cela me permettait de passer du temps avec mon fils.
Je n’avais jamais imaginé travailler un jour avec Jacques Audiard. Je ne croyais même pas qu’il puisse en avoir l’envie. Il m’était donc impossible de refuser une telle aventure. J’ai accepté même si cette période-là devait être réservée à la personne qui partage ma vie. Nous avons maintenant des choix à faire pour ne pas travailler en même temps. Je ne pouvais pas non plus refuser James Gray.
Pourquoi ne nommez-vous jamais l’homme qui partage votre vie ?
Parler de cette intimité est quelque chose que je ne sais pas faire.
La maternité vous a-t-elle changée ?
Elle a modifié mes priorités. C’est compliqué de faire subir son rythme à son enfant sans culpabiliser. Mais je le vois heureux, c’est tout ce qui compte. L’emmener sur un plateau peut être complexe. J’ai passé trois journées sans lui depuis qu’il est né et ça a été… difficile. (Elle sourit à nouveau.) Ce métier permet de plonger dans l’âme humaine et il y a tant de choses à découvrir de soi-même. Mais certains états demandent une telle immersion que l’on s’éloigne de sa propre nature. Alors, dans ces cas-là, je m’éloigne de mon fils pour qu’il ne soit pas atteint par cet étrange voyage.
Les journaux ont beaucoup glosé sur votre perte de poids spectaculaire après sa naissance…
Je ne sais pas l’expliquer, cela s’est fait d’un coup. Mais c’est assez violent pour le corps. Je me suis beaucoup bougée pendant les premiers mois de ma grossesse, j’ai nagé presque tous les jours. Mais j’ai aussi souvent mangé pour deux, alors qu’on me l’avait fortement déconseillé.
Vous avez reçu une éducation assez particulière et fantasque…
Mes parents m’ont donné une éducation sublime, pleine de liberté et de fantaisie. Ils ont développé mon imaginaire. C’est l’une des choses les plus précieuses que je possède et j’aimerais mettre à la disposition de mon enfant tout ce qui peut l’alimenter chez lui.
Est-il amusant d’être une égérie Dior ?
Oui, sinon, je ne le ferais pas. La maison Dior me permet de vivre des aventures cinématographiques hors du commun. Grâce à elle, j’ai rencontré quelques-unes de mes idoles, comme David Lynch ou John Cameron Mitchell. John a signé l’un de mes films préférés, Hedwig and the Angry Inch. Nous venons de tourner un nouveau film Dior ensemble à Los Angeles. Nous avions, avec un ami, voulu monter Hedwig en France. Mais c’était juste après La Môme et je n’avais pas le courage de me replonger immédiatement dans une composition aussi énorme. Hedwig est un homme qui devient une femme.
Incarner un homme vous tenterait-il vraiment?
Réussir à faire croire à cela est sans doute l’ultime défi.
Le luxe selon Marion
Quel était votre luxe d’enfance ?
Avoir le droit de dessiner sur les murs de notre appartement. Votre luxe quotidien ?
Ce serait sans doute d’avoir du temps. Votre luxe secret ?
La gastronomie et les grands restaurants. La quintessence du luxe ?
M’offrir celui de ne pas répondre à votre question.
Low Life (2012) Character: Sonya Cybulski Director: James Gray Filming Starts January 24, 2012 Info •
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Official Site
Un goût de rouille et d'os (2012) Rust & Bone Character: Stéphanie Director: Jacques Audiard Filming until December 2011 Info •
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Official Site
The Dark Knight Rises (2012) Character: Miranda Tate Director: Christopher Nolan In Post-Production In theatres July 20, 2012 (US) Info •
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Official Site
Contagion (2011) Character: Leonora Orantes Director: Steven Soderbergh On DVD & Blu-ray January 3, 2012 (US) Info •
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Official Site
Midnight in Paris (2011) Character: Adriana Director: Woody Allen On DVD & Blu-ray December 20, 2011 (US) Info •
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Official Site
Les petits mouchoirs (2010) Little White Lies Character: Marie Director: Guillaume Canet Available on DVD & Blu-ray Info •
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Official Site
In development / Rumoured
- une (R)évolution (info)
- Vivre c'est mieux que mourir (info)
- Blood Ties (info)
- Arthur And Lancelot (info)
Other Projects
Lady Dior - L.A.dy Dior (since 2008) Print Campaign: Steven Klein Short Movie: John Cameron Mitchell Released in December 2011 Info •
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Official Site
Yodelice (since 2010) Pseudonym: Simone Album: Cardioid Joining the 2010/11 Tour sporadically Info •
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Official Site
January 7, 2012
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