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Sep 2012
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from The Globe and Mail

A small room in the Intercontinental Hotel feels for a moment as far away from Toronto as possible. Marion Cotillard is sitting on the sofa, playing with the strap on her red sandals. She moves continually as she speaks, her lips apart as she gazes across the room, searching for an English word.

It’s odd being suddenly alone in a room with an Oscar-winning, Dior-modeling, international star. I start checking my audio recorder and writing more furiously than need be. She’s in the middle of a day of interviews for her new film, the French drama Rust and Bone by director Jacques Audiard, in which she plays a severely injured orca trainer (Marion Cotillard, killer-whale trainer, give it a minute) who falls for a brute of a man who fights illegal bare-knuckle bouts (Marion Cotillard, bare-knuckle fights, give it another minute).

Too much eye contact is also awkward. The fallback is always to be serious yet gracious, and glance toward the unspectacular downtown Toronto view, a stone covered rooftop and vents. Her thoughts quickly go elsewhere. She had last come to TIFF in 2010 with the 30-something comedy-drama Little White Lies, directed by husband Guillaume Canet, but only for a brief day or two. Her stopover in Toronto this time is just as fleeting, leaving the barest impression of Toronto, she indicates. The Cannes film festival for her was different.

“I have to say I didn’t think I would enjoy Cannes that much. But suddenly I was on the red carpet. And I thought, I’m in this festival, which is like one of the biggest festivals. So many people came here before with amazing movies, with masterpieces. All of those actors. It was a moment of joy that was really strong, and I didn’t expect it to be so strong.

“And it felt like it was the first time for me at Cannes. I had come to the festival many times before. I had climbed the [theatre] steps many times before. But it really felt like it was the first time, because it was the first time I went to Cannes with a movie in the official selection.

“And then going to an international festival with a French movie, I find it always very…” she pauses. “I mean, I’m really enjoying sharing French cinema.”

Her voice trails off. Marion Cotillard; dull Toronto hotel room. Yes, I found it hard to believe too.

Sep 2012
Gallery Updates, Movies, Press Updates  •  By  •  1 Comment

After doing some press interviews earlier in the day, Marion Cotillard attended first the ‘Rust and Bone‘ dinner hosted by Moet & Chandon at Michael’s on Simcoe before heading to the actual premiere of the movie held at The Elgin yesterday. More about the dinner over at Toronto Star. And there’s a new poster for the movie – to be used for promotion in the UK.

[edit:] It seems that right now Marion Cotillard is on stage after today’s screening for a Q&A together with Jacques Audiard & Matthias Schoenaerts. And Movieline has posted a spot-on review, they found words to express what I was feeling after seeing it.

Some articles have already surfaced:
La douce Cotillard chez le dur Audiard,, Septeber 6 (read with Google Translator)
Q & A with Marion Cotillard for Rust and Bone, Toronto Star, September 7
TIFF interview: Marion Cotillard, NOW Magazine, September 7
Alone with Marion Cotillard, orca-trainer, The Globe and Mail, September 7
Toronto Film Festival: ‘Rust And Bone’ Doesn’t Disappoint, CBS, September 7

015 Toronto International Film Festival – ‘Rust and Bone’ Dinner
054 Toronto International Film Festival – ‘Rust and Bone’ Premiere
001 Movies > De rouille et d’os (Rust and Bone) – 2012 > Artwork

Sep 2012
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from NOW Magazine (Toronto) / by Radheyan Simonpillai

Oscar winning star of Rust And Bone discusses her previous directors, glamour and the secret behind her enigmatic smile

Marion Cotillard amplified TIFF’s glam factor last night, gracing the Visa Screening Room’s red carpet for the Rust And Bone premiere.

I spoke to the enchanting actor hours before the gala, where she sang the praises of her co-star Matthias Schoenaerts (“Finally cinema has found him!”) and all the directors (from Michael Mann to Rust And Bone’s Jacques Audiard) who helped her create her memorable performances.

Sporting an off-white, sleeveless blouse and a long white skirt with black embroidery, the Oscar winner (for La Vie En Rose) moves around the room with the kind of delicacy reserved for royalty.

In Rust And Bone, a gritty Cote-d’Azur romance, Cotillard plays a beautiful orca trainer who loves being the centre of attention; the character is frequently dolled up and sporting short skirts… until a workplace accident changes her life forever.

Cotillard herself is no stranger to maintaining such appearances and holding people’s attention; she is the face of Dior, after all. However, she admits that staying paparazzi-ready can be an “annoying” job at times.

“My publicist asked me to go and take a plane with make-up on because I looked like shit,” says Cotillard. “That seemed really weird to me.”

Despite being annoyed by the demanding attention, especially when she wants to spend time to herself or with her family, Cotillard understands that such First World problems come with the territory.

“It’s not difficult,” she says. “Difficult is having no money to feed your kids. Difficult is something totally different. My life is amazing. I shouldn’t complain.”

Relishing the opportunity to take time away from the movies to spend with her son, Cotillard whispers these final words to me: “Nothing is hard if you do it with a smile.”

Sep 2012
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from Toronto Star (Canada) / by Peter Howell

Paris-born actor Marion Cotillard, 36, best known for her Academy Award-winning portrayal of Edith Piaf in 2007’s La Vie en Rose, has been perfecting her acting chops since she began making films in the mid-1990s. She came to the attention of North American audiences with her roles in Public Enemies, Big Fish, Inception, Contagion and this year’s The Dark Knight Rises.

Cotillard comes to the Toronto International Film Festival with French director Jacques Audiard’s Rust and Bone, which premiered to positive reviews at the 2012 Cannes Film Festival. Her powerful performance as Stéphanie, a killer whale trainer who suffers a horrible accident, is an early contender for major hardware come awards season.

Q: It’s a different film for Audiard, especially after A Prophet. I was surprised it was so emotional. Were you surprised?

A: Well, not surprised, because I think his subjects are very strong each time and very different from his next movie. I was very excited because I really wanted to see how he would … which vision he would give of a love story.

Q: One of the things that impressed me was there was no makeup, no glamour. It seemed very physically demanding. Was it daunting?

A: Yeah, but I am not looking for glamour when I fell in love with the character and the story. I’m totally in love with the fact that I would only spend two minutes in hair and makeup in the morning. It’s — I like different things. I like when things are different, so going from a very glamorous character to no glamour at all, but something else, something very strong, because she has her own way to be sexy. When she surrenders to the love story, to the life again, there’s something very sexy about it.

Q: I found those scenes very sexy — they were very sexual.

A: Yeah, well the sex and the flesh is really part of the story and it had to be in the movie. You know when you rediscover your body, love, life … there’s something very deep and strong and both characters are, I think, very sexy.

Q: Had you met (co-star) Matthias Schoenaerts before?

A: No, it was the first time. I hadn’t seen his work before we worked together. I didn’t have time to watch Bullhead before we started the movie, so I watched it after. But there was no need to see his work to see how good he was, because when I first met him it was at Jacques’ house to do a reading and I saw this charismatic tall, beautiful guy. I was surprised by how tall he was.

Q: When you saw yourself in the film with no legs what was the reaction?

A: The first thing I saw was the trailer. And it’s weird. I mean, it’s so well done. It’s so good that I . . . I was happy that it was so good. But I dunno, it’s kind of weird because it’s not me. I’m not like, oh my god I have no legs. It’s not me on screen. But that’s really really strong. I thought it was really strong when I saw the trailer for the first time. And in the trailer there’s this image of her naked, so it’s even stronger, because it’s just a piece of woman.

Q: Do you consider it a spoiler that she has no legs?

A: I dunno. For me, having any information about a movie I’m about to see is horrible. I want to enter the theatre . . . sometimes I don’t even know who’s in the movie. That’s how I love to discover a movie. But then when we started promoting the movie, right away they said well, she has an accident and she has no legs. So, I was like, so if everybody knows, I can talk about it. I’d rather not talk about anything and let the people discover. That’s how I like it.

Q: You’ve had a lot of experience between Europe and Hollywood. Is it hard to move back and forth?

A: I really enjoy it. It’s more than an enjoyment, I feel so happy and lucky that I can work in France where I love French cinema, and I love American cinema because I was raised with American movies, so. About the difference between French cinema and American cinema, of course there are some technical differences that are not very interesting to talk about but.

Q: They’re interesting to me.

A: Well, it’s kind of hard to describe, because there is a difference between two French movies. There’s a difference between Olivia Darone and Jacques Audiard. It’s not a difference, it’s a world between them. There’s a world between Woody Allen and Michael Mann. That’s what I love about this job — it’s always different. Each project. American movies will be different from another American movie. There will be a difference from a French movie and a French movie will be different from another French movie.

Q: Did the Oscar open more doors?

A: Oh yeah. I don’t think I would have had the opportunities to work in the U.S. without the Oscar, and I think because it’s not only the Oscar, it’s the role. It’s the movie.

Q: What leaps out in a script that entices you?

A: Well, when I moved and when I know it’s going to be a dive into the unknown.

Q: Do you like being scared?

A: I don’t know if it’s scared, I like, I like when I don’t know if I’m able to do something.

Q: Speaking into diving in the unknown — did you go into the water with the killer whales?

A: No, we’re not allowed to. It was a big change. When they wrote the script, trainers were still allowed to go in the water. That was the whole accident, it happened in the water originally. Another trainer died . . .

And so they didn’t allow the trainer to go in the water anymore. So Jacques faced this problem. They had to rewrite.

Q: So it’s been a while since you were in Toronto.

A: I was here two years ago. I think it’s my third TIFF. I would love to have more time. It’s always the same story. You work somewhere so you don’t get to enjoy it, but two years ago I had some friends here and we had a good time.

Q: Is there any famous person you’d love to have a crack at?

A: My dream is to play Aung San Suu Kyi but I mean it’s too . . . and it shouldn’t be a European actress. I haven’t seen the movie yet, it’s Michelle Yeoh. But that kind of role or Wangari Maathai (the Kenyan environmentalist), I cannot do it. I would love to portray both of them. Both of them are my heroes. That’s the kind of role that I’d love to experience.

Sep 2012
French Press  •  By  •  0 Comments

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. »