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Nov 2012
Gallery Updates  •  By  •  1 Comment

Remember the lovely pictures used in ‘The Dark Knight Rises‘ articles in international magazines such as Cinemag (Uruguay), Movieweek (South Korea) and Marie Claire (Hungary) this past summer? Did you love them as much as I & wish to see more of them? Then this update is good news. Enjoy!

048 Sessions from 2012 > ‘The Dark Knight Rises’ Promo

Nov 2012
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THR’s Actress Roundtable: 7 Stars on Nightmare Directors, Brutal Auditions and Fights With Paparazzi

Naomi Watts on years of rejection, Sally Field on fighting to play opposite a man 11 years younger and what it feels like to be told you don’t have a “shelf life.”

This story first appeared in the Nov. 30 issue of The Hollywood Reporter magazine.

Before shooting to stardom in 2001’s Mulholland Drive, Naomi Watts toiled for a decade as a barely employed actress. Helen Hunt initially was told she was “too on-a-sitcom” to play the female lead in 1997’s As Good as It Gets, the role that won her an Oscar. Perseverance emerged as a theme of The Hollywood Reporter’s Actress Roundtable, held Oct. 22 at Siren Studios in Hollywood. Awards contenders Watts, 44 (The Impossible); Hunt, 49 (The Sessions); Anne Hathaway, 30 (Les Miserables); Amy Adams, 38 (The Master, Trouble With the Curve); Rachel Weisz, 42 (The Deep Blue Sea); Marion Cotillard, 37 (Rust and Bone); and Sally Field, 66 (Lincoln) sat down for a frank discussion about their biggest fears, their worst auditions, the roles they fought for and the secrets to surviving in Hollywood.

The Hollywood Reporter: What makes you afraid as an actress?

Anne Hathaway: You start with an easy one!

Naomi Watts: I’m not happy unless I’ve got a little bit of fear going. I’m always trying to pull out. I’m always calling the director and saying, “I don’t know if I can do it.” With Mulholland Drive, I was completely terrified working with David Lynch. I was going on years and years of auditions and being told I was too this, too that, not enough of this, not enough of that, to the point where I was so afraid and diluting myself into absolutely nothing — and then he just looked me in the eye and saw something. He just spoke to me and unveiled all those locked masks.

THR: Do you still have those masks?

Watts: Yeah, I keep them in reserve. (Laughter.)

Amy Adams: I was 30 when I got Junebug, so I had the same thing. Whoever was getting the job, I tried to figure out what they did and do the same thing. I remember hearing about Naomi’s experience. That gave me a lot of faith in times where I was going to quit.

THR: How close did you get to quitting acting?

Adams: Pretty close. Not quitting in the sense that I wasn’t going to be an actress, but maybe move to New York, move back to a smaller market. I just wasn’t happy. If I wasn’t going to be happy, then it wasn’t worth it.

THR: Are you happy now?

Adams: Yeah. (Laughter.)

Rachel Weisz: Fear is like the steam that fires the combustion engine. You need fear to get a performance going.

THR: In real life, as opposed to acting, what makes you afraid?

Weisz: What is real life?

Sally Field: The freeway! It’s terrifying. (Laughter.)

THR: Denzel Washington said something interesting at the Actor Roundtable. He said, “You attract what you fear.” Do you agree?

Anne Hathaway: That would explain some relationships! (Laughter.) Actually, Rachel, I have a question for you. Is it true you have a tattoo on your hip of a ladder because of the theater piece that you did?

Weisz: Um, yeah. I started out very avant-garde [at Cambridge] — I’ve sold out very steadily since then! It was more like performance art. It was me and another girl, and we were at university together. We had this stepladder, and we used to basically hurl each other off this ladder, and often we would bleed. We were 18 years old, and we just thought that was really cool and radical. I’m joking about it, but it’s something I’m extremely proud of, and I had a ladder tattooed on my hip to commemorate this theater company — which isn’t, like, a ladder to my nether regions. It’s the avant-garde theater troupe.

THR: Anne, in Les Miserables you’re playing a part your mother played onstage. Did that make you afraid?

Hathaway: Yeah. My mom was in the first national tour, and she understudied the character [Fantine] whom I wound up playing. It made me nervous to tell her that I was auditioning for it, just because I knew how much it would mean to her, and I was worried that if I didn’t get it, she would be disappointed, and if I did get it, it would be weird. And she was so cool about it. We talked about the character. And when I got the part, no one was happier for me.

THR: Was there a piece of advice you took from her in preparing for the role?

Hathaway: She gave me an image. My mom and I were talking about the idea that Fantine has lit a match, and she’s just watching it burn down. And she needs to blow it out and let in the darkness. It was amazing to have that conversation not with an acting teacher, not with a director, but with your mother. I’m the only one here who’s not a mother. I hope to join the ranks soon.

THR: Helen, were you nervous about the nudity in The Sessions?

Helen Hunt: Sure. But you read something beautiful rarely.

Field: It’s also — Helen, I realized we’re, um, the only ones sort of a certain age, or my age is more certain than yours. It gets harder and harder, girls.

Hunt: My desire to be in something beautiful was bigger than my nerves. I met this woman whom I play [Cheryl Cohen Greene], and she’s in her 60s, cancer survivor, grandmother, still a working sex surrogate who is as enthusiastic about her granddaughter as she is about the orgasm that the man who maybe was never going to have one is going to have. I heard all of that and thought: “Prostitutes. Let’s not dress it up.” But then you meet her, and you really hear what she does. It’s really something, you know?

THR: Marion, is there a role you’ve played that changed your life?

Marion Cotillard: After La Vie en Rose, I started to feel the need to clean up some relationships, which was really weird. Suddenly, I needed to start fresh. Sometimes you go deep inside yourself, and I think it opens things inside of you. I don’t know if you can really identify what it is, but you just need to heal. Did I answer the question? (Laughter.)

THR: How has fame changed your life?

Adams: I am going to get in an altercation with the paparazzi. It’s going to happen. They keep focusing on my child. You guys are mothers. How do you handle it? Because I need to calm down. I have a really bad temper. I need to learn how to control myself.

Hathaway: I’m thinking about that because I really want to have a baby, and my husband and I are like, “Where are we gonna live?”

Cotillard: Come to France! We have laws!

Field: It’s just such a different world. I’ve been here for 50 years, in the business. They had fan magazines, and they would set up young stars on these dates with people you didn’t know, you didn’t like. Recently, I was going through stuff, and I got horrified. I was doing this at 17, 18, 19, 20.

THR: Can you say no to press? Mila Kunis said recently that a studio chief had told her she had to pose for a men’s magazine if she wanted to work for the studio.

Hathaway: At The Princess Diaries 2 premiere, they wanted me to arrive in a carriage, and I said no.

Field: I was doing a series called The Flying Nun [1967-70]. I didn’t want to do [the show] more than life itself; I was so massively depressed, I weighed 40,000 pounds. Then they asked me to appear at the Golden Globes. “We want you to fly across the Cocoanut Grove, and we want you to present an award.” I did not have the guts to say, “Are you out of your God darn mind?” So I said, “I won’t wear the nun outfit.” Now I find myself flying across the Cocoanut Grove into John Wayne’s arms at about 400 miles per hour, wearing pink taffeta. It made no sense whatsoever. I wasn’t even the flying nun. Now I was little porky Sally Field in a pink taffeta outfit flying across the Cocoanut Grove. (Laughter.)

Weisz: But you stood your ground.

THR: Have you ever really fought for a role?

Weisz: I fought for The Constant Gardener. I hounded the director. I called him a lot, and I wrote him a lot of letters. They were quite bold, basically telling him why I thought I was right to play the part. That’s very un-British. But I dropped my British-ness and at the end of the day [director Fernando Meirelles] said that tenacity was right for the character.

Hunt: I’ve had to fight for every part — certainly As Good as It Gets. I was too young, too blond, too on-a-sitcom, too utterly uninteresting for this part. I had spent many, many years where the director would want me but the studio wouldn’t. In this case, I had the reverse. I was suddenly on a big TV show [Mad About You] and I had been in a huge blockbuster [Twister]. The studio was saying, “Read her,” but he [director James L. Brooks] didn’t want to see me. My experience of acting is not this kind of lightning-in-a-bottle thing. It’s like elbow grease: work with someone, work with yourself, find the shoes. You said, “What scares you?” What I thought of is the feeling of being bad. There’s no feeling like acting when you know it’s bad.

Hathaway: I always think I’m terrible. So it’s always a relief when I find out that I wasn’t. I’ve had roles where I realized that I was in way over my head — and that is my biggest fear. My biggest fear is overreaching. I have been in situations where I felt swamped, and it’s turned out really well; and I’ve had other situations where I’ve had to walk off the film after five minutes because I realized I was in way over my head.

THR: You’ve done that?

Hathaway: Yeah. I’ve had a couple of films that I just can’t watch. The experience that I’m thinking of — and I will not say which one — I tried to get out of it because I just knew from a technical standpoint I wasn’t going to have enough time to prep and I just talked myself into it. It was just too good of an opportunity to pass up and I thought, “I can get there, I can do this.” And when you don’t feel that you got there, it’s always going to just gnaw at you.

Hollywood Reporter

Marion Cotillard received a nomination for the French version of the Razzies for her role in a film she’d fought for, only to learn too late the director was less than skilled.

“I spent two months in the middle of the desert wanting to kill him [the director] and wanting to beat myself because I fought for him and he was so bad,” she said. “I realized that if I don’t trust the director, if I don’t like him, I’m going to be bad.”

On her dream role: “I would like to play a monster, like Gollum or something totally that you have to create almost everything.”

Nov 2012
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Marion is featured in the Hollywood Reporter’s annual Actress Roundtable this year! The magazine gets together chosen actresses involved in the years Oscar race, and talks to them about all things actress-y. This year they talk to Marion, Naomi Watts, Anne Hathaway, Amy Adams, Sally Field, Rachel Weisz and Helen Hunt.

The Hollywood Reporter’s Actress Roundtable was held October 22nd at Siren Studios in Hollywood.

The full roundtable discussion has been posted online for us to watch, which you can do below. A text version is featured in the November 30th edition of the magazine with the actresses all looking beautiful on the cover in a new group photoshoot. That is posted below for you too. Mia and I have added the cover, photoshoot pictures, and behind the scenes of the photoshoot and discussion to our Gallery. Needless to say, we will be on the lookout for scans, and if you can help us out with this, please get in touch 🙂

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Nov 2012
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from Crave Online / by Fred Topel

The Oscar-winning actress describes her latest unexpected transformation and her earliest appearance in TV’s ‘Highlander.’

Any discussion of Rust and Bone involves a form of spoiler, but if you know anything about the movie you probably already know. We’ll give you this chance to stop reading if you really want to go in blind. Once you even know the premise of the film, you may be intrigued by star Marion Cotillard’s approach to it. She plays a whale trainer at a theme park who loses her legs in a performance accident. In the rest of the film, a womanizing underground fighter (Matthias Schoenarts) helps her adjust and begins an affair with her. We got to spend a few minutes with Cotillard in Los Angeles, where I couldn’t help but notice her legs in real life. She’d kicked off her shoes, curled up on a sofa and played with her toes while we spoke. It’s not a foot fetish, it’s a personal touch in the aftermath of a day of wardrobe changes and photo shoots. Cotillard also attended AFI Fest which showed the film and presented a tribute to her career. Rust and Bone opens in select theaters Friday.

CraveOnline: Obviously the legs transform you quite a bit, but it’s all a special effect that you may not see until later, so does that make it easier or more difficult to feel the transformation?

Marion Cotillard: Well, first of all when we did the first costume fitting, we had to try those pants that were empty of my legs and I had to fold my legs in the wheelchair. That image was so powerful that we kept it throughout the movie. And also we worked with amazing CGI guys, this team was really, really talented but also that’s what we do as an actor. We believe something and if we work hard enough and we’re lucky enough then the audience will believe it too.

The scene where you wake up in the hospital and realize what’s happened to your legs, what were your thoughts on how to play that moment?

We didn’t know. It’s something that’s really hard to imagine so we tried many versions of it and then in the editing room Jacques [Audiard] decided for this version because also, there is not only one reaction. You take four people and in that situation they will have four different reactions. So we experienced and we explored different ways to find the authenticity of this moment.

What other ways did you play?

Well, we played shocked, silent shocked like you cannot even scream, you shook almost. And we tried a very violent reaction. We tried many things and the only one that stays actually stays.

Were the love scenes in this film like no other you’ve ever filmed?

Yes. I usually hate doing love scenes. I’m very uncomfortable but this one was very different because the sexuality of those two people is really part of the movie and also I happened to be so happy for her. That was almost something that I was giving to my character and I had to enjoy it because it’s something so powerful that happens in her life at that moment.

And she would continue this arrangement as long as it’s exclusive right? She’s not pushing for a relationship, she just wants “this” to be exclusive.

I don’t know if it’s about exclusivity. I think it’s about being respectful and the relationship with Alain starts with Alain looking at her as a human being in the most simple way and without pity, without anything but simplicity. That’s what creates a very strong connection between both of them, but he looks at her as a human being but not as a woman yet. That’s what she can teach him.

I first saw you in the movie Love Me If You Dare before I knew anything about you. I understand that became an important film for you personally, was it an important film for you professionally?

Yeah, I had always wanted to do a romantic comedy and that was a very special romantic comedy, crazy, crazy romantic comedy and I loved the screenplay and so wanted to do this movie. It took forever for the director to tell me that I was the one he had chosen and it was kind of hell to wait that long but yeah, I loved doing it.

It goes quite dark too, for a romantic comedy, doesn’t it?

Yeah, that’s why I loved it. It was not like a sweet romantic comedy. It was really dark.

One of your first jobs was an episode of “Highlander: The Series.” Was that a good experience?

That was an amazing experience. All the first experiences that I had, even sometimes [when] it was not exactly what I wanted to do, but it still was an experience as an actress and I was living from my passion.

Here we see actors like Brad Pitt and other really big stars on American shows like “21 Jump Street” before they were famous. Was “Highlander” like that where they were looking for European actors?

Well, yeah, because they were shooting in France so that’s why I ended up doing this episode.

How were your experiences on the Taxi films?

That was totally different. That was comedy and I didn’t feel very comfortable because I had no experience at that time. I would do it totally differently now but that’s an amazing experience for me because that allowed me to meet a huge audience and we had a lot of fun doing it too.

What did you think of the American remake?

I haven’t seen it.

How does that feel to have an AFI retrospective at this point?

I don’t really know. I’m just really happy to share this movie with the American audience because I’m very proud of it and I love French cinema. I’m always very happy to share the cinema of my country which is full of diversity and creativity.

Did winning the Oscar have different impacts in Europe and Hollywood?

I don’t know. It was different because I was known for my work in France before the Oscar and I was not known for my work here. It opened doors of the American cinema and I would have never thought that I would work here one day, but it makes me very happy.

Nov 2012
English Press  •  By  •  0 Comments

from NBC / by Scott Huver

The actress turns in another award-attracting performance, this time in her native language.

No matter what language she’s speaking, Marion Cotillard is utterly fluent in fine acting.

The 37-year-old French stunner took home an Academy Award as Best Actress for her immersive performance as singer Edith Piaf in 2007’s “La Vie en Rose” and has crafted an impressive list of Hollywood credentials in the aftermath, most notably working with director Christopher Nolan in “Inception” and “The Dark Knight Rises.”

Cotillard returns to performing in her native language with the unpredictable drama “Rust and Bone,” playing a whale trainer whose life is upended after a shocking accident, placing her on a journey of redefinition alongside an unlikely potential soul mate (Matthias Schoenarts).

Already topping many critics’ lists as a leading contender to take home another Oscar trophy, Cotillard provides a look into how she crafted her performance.

On delving into her complicated character:

What was different from the other thing I did before was that when I read the script, even at the end of it, Stephanie was still a mystery. And that was a mystery that [director] Jacques Audiard and I needed to solve. But I also found out that, usually when I work, I need to explore every bit of a character. I need to know who this person is entirely, and I realize that that mystery that she was not to be solved entirely because it was part of who she is. When we started working, before we started shooting, and even when we started shooting, Stephanie was a big mystery and we tried many things. And that one day, Jacques told me, ‘Yeah, I know now: she’s a cowboy.’ I thought it was kind of genius, and from there everything found its place. At the end of it, I didn’t expect to be so moved by her. She turned anger into power. That’s a cowboy thing, right?

On playing scenes in which her character’s lost limbs are exposed:

The physicality was never an issue. First of all, the CGI guys were really talented. They went really fast. They were very discrete on set when they were with us every day. But the fact that I actually have legs never got in our way. It was never an issue. Basically, it’s very technical: I wore green socks and they [digitally] erased my legs, so we had funny moments because I had to put my legs in this certain position so I would not cast some shadows on Matthias’ back, for example, in some scenes. So we actually had fun doing it.

On the most challenging physical demand of the role:

I had to swim in the sea – it was freezing, it was late October and I got bit by a jellyfish. The camera was not working and I knew that if I would go back on the boat, it would take longer, so I stayed in the water with the jellyfish biting me. And man, it burns! And I didn’t allow anyone to pee on myself.

On the most challenging mental demand:

What was the most difficult for me was to go to Marineland, because I don’t feel comfortable in a place like this. And I needed to consider the animals as an actual animal and not as something that was turned from an animal into a clown or something, an animal who does a flip-flop when you ask the Orca to do it.

And the first day, I thought it was kind of horrifying, when I would ask them to do something and they would actually do it. And I thought the connection was easy to have because I would give them some fish, and they would do whatever I wanted them to do, if I did the correct gesture. But then on the second day, I had this rehearsal for the scene behind the glass, and that was not choreographed like the show is. And that was basically improvisation with the gesture that I knew, and that day, I had a real communication with the whale, and that changed everything for me.

On facing her own strong personal feelings about aquatic theme parks:

On my first day, I arrived five minutes before the show and I watched it. And I thought it was horrifying. And my trainer turned to me after the show and said, ‘Did you like it?’ And I thought, ‘Okay – What am I going to answer? Am I going to lie? Am I going to tell the truth?’ I couldn’t lie, and I said, ‘Well, no – I hated it. But I don’t want you to think I’m disrespectful.’ Those people, they have a passion. They’re passionate about what they do. They love the animals, so they made my job easy because passion is contagious.

I will never go back to Marineland. This is an open question because some people’s children won’t ever have the possibility, because of money, to go and see the whales in their environment, and sometimes it can raise an awareness and the desire to save those animals. But then again, I have this example and maybe it’s silly, but I remember when ‘Finding Nemo’ came out. This is a story about not taking those fish out of their environment, and there was an explosion of sales of clownfish after this movie. And that was something that I really couldn’t understand because the story of that movie is telling the opposite: DON’T take them out to put them in an aquarium. And that’s exactly what happened. So sometimes, I don’t know – I’m really wondering if those Sea World, Marineland, however you call them, really make a difference.

On tackling the role after just becoming a new mother:

I usually never talk about my personal life, but my personal life was totally stuck to this project because, yes, I had my baby with me. And he was very, very young, and all the crew was really amazing with me because it was not easy – neither for me nor for everybody!

On moving between smaller-scale films and big-budget blockbusters:

I feel very lucky that I can travel from one very special universe to another very special universe. My experience in Hollywood with the big blockbuster, though, is very special too, because it’s a blockbuster directed, written, produced by Christopher Nolan, who’s not a studio director. I had some propositions of big movies, and I met the director, and I thought, ‘This guy is just here because they need a director, but it’s not the most important thing in his life to tell this story.’ I need to work with directors who have the need to tell a story – and Christopher Nolan is definitely a director who needs to tell stories.