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17
Aug 2012
Fans  •  By  •  0 Comments

Nicole donated some lovely La Vie en Rose icons a while ago and recently Kaci sent in a TON of pretty Marion Cotillard icons. Feel free to use them – but don’t repost them without asking them first 🙂

And talented Heath Ziegenfusz sent in 2 lovely drawings of Marion Cotillard.

Thank you everyone! If you too have created some art featuring Marion Cotillard don’t hesitate to send it in, we love to add it (always with credit, of course).

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17
Aug 2012
Gallery Updates, Movies, News & Rumours  •  By  •  1 Comment

Rust and Bone‘ – which premiered during the Cannes Film Festival under its original title ‘De rouille et d’os‘ – will have its North American premiere during the Toronto International Film Festival which takes place September 6-16. The schedule will be announced on August 21.

On the Variety Weblog The Vote Jon Weisman published an interesting review of ‘Rust and Bone‘ comparing it to its Cannes competitor (and winner) Amour.

I also added another outtake from the ‘Rust and Bone‘-themed shoot for Obsession magazine as well as many more movie stills and replaced some existing ones with HQ versions. (Since I changed some of the filenames to change the order you may need to refresh the gallery to see it properly).

Gallery
010 Movies > De rouille et d’os (Rust and Bone) – 2012 > Stills
001 Portraits > Sessions from 2012 > Obsession

1
Aug 2012
French Press  •  By  •  0 Comments

de Vogue Paris / par Carole Sabas

Actrice Ă  fleur de peau, Marion Cotillard enchaĂ®ne ses rĂ´les avec passion et finesse. D’ingĂ©nue Ă  star internationale, il n’y a eu qu’un Oscar et une poignĂ©e de blockbusters aux cĂ´tĂ©s des plus cool gentlemen d’Hollywood. Sa double vie entre Paris et les États-Unis, Ă  36 ans, est une rĂ©jouissante exception culturelle, une aventure artistique sans limite.

“Excusez-moi, je sais que vous ne vouliez pas dĂ©jeuner, mais oi, je meurs de fai,” dit en riant Marion Cotillard, attablĂ©e dans ce restaurant gourmet de Midtown oĂą elle a ses habitudes. Elle commande un bĹ“uf Ă  la moelle et aux morilles, une tisane verveine-citronelle, et s’attaque Ă  l’interview en grande pro avec la spontanĂ©itĂ© qui a fait sa lĂ©gende chez les journalistes. C’est un mois de juin pluvieux Ă  New York. Elle cavale entre un cours d’italien et une visite de routine chez le pĂ©diatre pour son fils Marcel, 13 mois. Elle tient “un petit rĂ´le” dans le nouveau film de son compagnon, Guillaume Canet, Blood Ties, qui tourne en ce moment entre Brooklyn, le Bronx et Harlem avec Mila Kunis, Zoe Saldana et Clive Owen. Après quatre ans d’un exil au long cours, l’actrice a envie de se rĂ©enraciner quelque temps en France. Sans exclure les projets d’envergure internationale, une fois les vacances d’Ă©tĂ© envolĂ©es.

Dans la presse, l’Ă©cho est unanime sur votre incroyable discipline de travail. Ce printemps, vous avez enchaĂ®nĂ© Ă  New York le projet de James Gray avec celui de votre compagnon Guillaue Canet. Dans le prmier, vous jouez une immigrĂ©e amĂ©ricaine d’origine polonaise, dans le second, une Italo-AmĂ©ricaine. La double prĂ©paration a dĂ» ĂŞtre intense…
Marion Cotillard: J’ai manquĂ© de temps, ça aurait mĂ©ritĂ© plus de travail. Le polonais, c’est comme du japonais, pas un mot n’Ă©voque le français.. Apprendre par cĹ“ur et restituer des textes sans les comprendre, c’est pas Ă©vident. Pour chacune des langues, je travaille Ă  la fois l’original avec un prof, et l’accent en anglais avec une coach de diction-actrice, comme Tanera Marshall qui m’avait prĂ©parĂ©e pour Public Enemies. J’adore sa mĂ©thode, elle fait vraiment rentrer le texte dans le corps, avec des chorĂ©ographies, des sortes de geste-codes associĂ©s aux nouveaux sons. Apprendre un accent c’est comme rĂ©apprendre Ă  parler et, pour chaque langue, c’est une nouvelle Ă©preuve. Les coachs me montrent toutes les possibilitĂ©s d’intonation, Ă  oi de choisir la bonne option.

Votre fils Marcel vous suit partout sur les tournages. Comment conciliez-vous vie familiale et vie professionelle?
Il est sĂ»r que mon entourage subit jusqu’au travail de prĂ©paration. A la maison, en ce moment, je me rĂ©veille, m’endors et mange en polonais : tout le monde doit suivre (rires). Ma vie familiale pèse maintenant dans la balance. Je viens de refuser un très beau rĂ´le dans un superbe projet avec des gens que j’adore. Je devais jouer une de ces grandes dames de l’upper class Ă  l’accent New England annĂ©es 40, genre Katherine Hepburn dans Philadelphia Story. Étais-je capable de jouer une AmĂ©ricaine? J’ai consultĂ© le grand maĂ®tre de la diction Ă  Hollywood, Tim Monich. Il m’a testĂ©e et, Ă  ma grande surprise, a rĂ©pondu oui : “Vous enchaĂ®nez parfois deux longues phrases parfaites, mais il vous faudrait quand mĂŞme au minimum trois mois de travail au quotidien.” J’ai dĂ©clinĂ©. J’avais envie d’un long break de plusieurs mois cet Ă©tĂ©.

La France vous manque?
ÉnormĂ©ment. MĂŞme si j’adore la façon dont l’AmĂ©rique m’a accueillie, c’est une chance immense. Mais j’ai envie d’ĂŞtre en France, d’y ĂŞtre avec ma famille, avec mon fils. Ça fait six mois qu’on est basĂ©s Ă  Chelsea. Je me sens bien Ă  New York, dans ce quartier surtout, avec la High Line, le West Village Ă  proximitĂ©. Mais j’avais envie de belles vacances avec les gens que j’aime, quelque part en France, dans le Sud.

Quels sont les réalisateurs français avec qui vous auriez envie de travailler à la rentrée?
Ah, je n’aime pas trop lances des appels de hare pendant une interview. Je rĂŞvais de travailler avec Jacques Audiard, par exemple, mais je ne lui ai jamais dit. Ça s’est fait Ă  son initiative.

Peut-on nommer les jeunes réalisateurs que vous avez aimés récemment?
Bertrand Bonello. J’ai trouvĂ© L’Apollonide bouleversant. J’ai tout aimĂ© : la rĂ©alisation, les actrices, la musique – qu’il a composĂ©e. On sent que le rĂ©alisateur a une vision extraordinaire, de son histoire et des femmes en gĂ©nĂ©ral. CĂ©line Salette, que j’avais rencontrĂ©e sur le tournage de De rouille et d’os, est sublime, Adèle Haenel est une comĂ©dienne dĂ©mente, Jasmine Trinca est magnifique, tout comme Hafsia Herzi.

Et dans la génération précédente?
J’aurais adorĂ© tourner avec Claude Chabrol. Je le lui avais dit aux JournĂ©es nationales du livre et du vin de Saumur oĂą l’on se croisait rĂ©gulièrement. Il y a deux ans environ, il m’annonce un jour : “Oh, j’ai rĂŞvĂ© que j’Ă©tais en train de tourner un fil avec vous et StĂ©phane Audran.” Je lui demande s’il dit ça pour me torturer, vu que ce serait mon rĂŞve absolu! Il me rĂ©pond : “C’est peut-ĂŞtre ‘prĂ©monitoire’…”

Une comédie vous tente?
J’en ai une Ă  mon actif, un film que j’aime beaucoup, Dikkenek, mais oĂą je me trouve très mauvaise. J’en fais des tonnes, je cabotine, ça m’est insupportable Ă  regarder.

C’Ă©tait en 2006, encore Ă  vos dĂ©buts. Aujourd’hui, vous le travailleriez avec un coach, non? Quelqu’un comme Will Ferrell?
Lui, je l’adore. Je ne l’ai rencontrĂ© qu’une fois : il a dĂ» me trouver dinge. C’Ă©tait dans les bureaux de son website, funnyordie.com. J’Ă©tais venue pour un petit sketch. On m’a dit que le producteur voulait me voir. Je suis allĂ©e dans son bureau. La porte s’est ouverte et lĂ … J’ai eu beau me dire “Marion, tiens-toi bien,” je lui ai littĂ©ralement sautĂ© au cou en hurlant, alors qu’il s’anvançait la main tendue… (soupir).

Vous admirez aussi John Cameron Mitchell. Vous avez tourné avec lui un film promotionnel de la série Lady Bag chez Dior (L.A.dy Dior).
J’avais dĂ©couvert Hedwig and the Angry Inch Ă  Deauville, c’est devenu un de mes films fĂ©tiches. J’ai en effet suggĂ©reĂ© ce rĂ©alisateur Ă  Dior. Ils ne le connaissaient pas, mais depuis, ils ne le lâchent plus!

Pouvoir solliciter des talents est l’un des plaisirs de la condition d’Ă©gĂ©rie?
Entre autres. L’aventure chez Dior, c’est aussi qu’ils ont fait mon Ă©ducation mode, ils m’ont Ă©veillĂ©e Ă  un monde que j’ignorais, Ă  commencer par une vraie fascination pour Monsieur Christian Dior, lui-mĂŞme, un personnage unique. Je suis très contente de l’arrivĂ©e de Raf Simons qui a dĂ©jĂ  redonnĂ© Ă  toute la maison une Ă©nergie crĂ©atrice, mĂŞme si Bill Gaytten avait fait un super job avec les ateliers entre-temps, comme j’ai pu le constater lors de la crĂ©ation de ma robe pour Cannes.

Vous ĂŞtes l’Ă©gĂ©rie de la marque, pourtant on vous voit rarement aux premiers rangs des dĂ©filĂ©s.
Parce que je ne m’y sens vraiment pas Ă  l’aise. Je ne connais rien Ă  la mode, on me pose des questions et j’ai l’air bĂŞte. Tous ces regards aussie… Franchement, je n’ai pas le temps de chercher mes robes, de regardes des dĂ©filĂ©s, alors j’ai quelqu’un qui m’aide, sans que je puisse dire que j’ai une styliste, aus sens hollywoodien.

Au quotidien, avez-vous un dresscode différent à Paris ou à New York?
En fait, je travaille tellement que je passe du costume de mon personnage Ă  mon jogging! Si j’ai l’occasion de m’habiller un peu comme aujourd’hi, je le fais avec plaisir. J’adore Isabel Marant Ă  laquelle je suis fidèle, mĂŞme si je trouve qu’elle est victime de son succès, car tout le monde la porte maintenant. Je suis une grande fan de Tsumori Chisato, qu’on ne voit pas sur tout le monde pour le coup et je viens de dĂ©couvrir Bouchra Jarrar Ă  Cannes. J’aime bien aussie les crĂ©ations de Forte Forte. Quand je suis aux États-Unis, j’essaie d’acheter des jeans et des T-shirts fabriquĂ©s localement – pas “made in China” – chez J Brand, Splendid ou James Perse, mĂŞme si c’est plus cher. J’aime aussi passionnĂ©ment Sonia Rykiel et Vivienne Westwood.

Que pensez-vous des diffĂ©rents standards de beautĂ© entre les actrices europĂ©ennes et hollywoodiennes? L’exigence de jeunesse, telle qu’on la cultive en AmĂ©rique, spĂ©cialement dans l’industrie du cinĂ©ma, vous frappe?
Ça m’est difficile d’en parler, vu que je suis extĂ©rieure, et que j’ai la chance de n’avoir jamais dĂ» dĂ©marcher pour solliciter un rĂ´le lĂ -bas. Mais oui, je vois combien c’est complexe. J’ai eu une discussion Ă  ce sujet avec un rĂ©alisateur, lors d’un dĂ©jeuner. Il a dit quelque chose comme : “Cette actrice, je l’ai vue, c’est une cata.” Alors, je lui demande ce qu’elle a fait Ă  son visage. Et lĂ , il rĂ©pond : “Rien… Mais elle devrait!” Je n’ai pas pu me retenir : “Mais elle a 50 ans, c’est juste normal qu’elle ait des rides!” Qu’est-ce qu’on devient, nous, si on n’a plus le droit de laisser le temps s’inscrire sur nos visages? C’est horribles ces expressions “elle a pris un coup de vieux”, “elle est tapĂ©e”… Je les entends aussi bien Ă  Paris qu’Ă  Hollywood. Pour l’instant, je m’accroche Ă  mes bons gènes! Et j’ai la chance d’ĂŞtre une phobique des injections.

Mais la toxine botulique arrive en crème…
(Grimace) Je suis tellement Ă  fond dans le bio : vous me dites ça et mon imagination crĂ©e tout de suite un lien entre cette crème et le cancer de la peau. Franchement, j’espère que j’accepterai mes rides plutĂ´t que de les vivre dans la peur. Mais comment savoir? C’est si complexe!

Avez-vous réussi à vous mettre sérieusement à la méditation?
J’adorerais y arriver! J’ai revu David Lynch il y a quelque jours, et sur lui je peux en constater les bienfaits. Quoi qu’il se passe autour de lui, Ă  son heure, il part se mettre dans un coin. Ça se ressent, il a une aura, quelque chose d’extrĂŞmement apaisant. Un ami Ă  moi dit qu’il est “comme un Ă©lĂ©ment”. C’est vrai, il dĂ©gage quelque chose de très organique.

Dans une interview, Nicole Kidman vous avait fait une belle dĂ©claration d’admiration (“vous avez cette qualitĂ© fĂ©erique, comme si vous flottiez entre les arbres et les Ă©toiles, et en mĂŞme temps vous ĂŞtes très terre Ă  terre. C’est hypnotisant.”) Vous trouvez qu’il y aplus de solidaritĂ© entre les actrices aux États-Unis?
J’adore Nicole, elle est tellement gĂ©nĂ©reuse, extraordinairement drĂ´le et très simple. On n’est plus vraiment en contact car on a des vies diffĂ©rentes et Ă©loignĂ©es, mais je l’ai trouvĂ©e Ă  tomber dans le Rabbit Hole de John Cameron Mitchell. Je ne sais pas pour la solidaritĂ©, mais j’aime les actrices passionnĂ©ment. D’une manière gĂ©nĂ©rale, je prĂ©fère les films d’actrices que d’acteurs. A chaque fois qu’une jeune comĂ©dienne apparaĂ®t dans le paysage du cinĂ©ma mondial, c’est une expĂ©rience unique, très jolie.

OĂą en ĂŞtes-vous de votre documentaire sur les forĂŞts?
Au dĂ©part, l’idĂ©e Ă©tait vraiment de partir filmer moi-mĂŞme dans la forĂŞt. C’est devenu impossible avec mon fils. Alors je “marraine” plutĂ´t le nouveau projet de luc Jacquet (La Marche de l’empereur) qu’il dĂ©die au sujet. Il s’est entourĂ© de penseurs, de poètes, de scientifiques. Je lui ai prĂ©sentĂ© mon ami Tristan Lecomte, le fondateur d’Alter Eco, qui est un ange tombĂ© du ciel. Sa nouvelle initiative, Pur Projet (www.purprojet.com), est entièrement dĂ©diĂ©e au dĂ©veloppement durable et la reforestation. Allez voir son site, on peut y acheter des arbres, des hectares de forĂŞts menacĂ©es… Pour l’instant, on travaille sur le film avec des petits bouts de financement, au fur et Ă  mesure, mais j’ai bon espoir.

1
Aug 2012
English Press  •  By  •  0 Comments

from Vogue / by Tom Shone

Starring in Christopher Nolan’s superhero blockbuster The Dark Knight Rises and partner Guillaume Canet’s ensemble piece, Little White Lies, Marion Cotillard proves she’s that rare creature – a French siren with Hollywood appeal.

There are two Marion Cotillards. Talk to those who have worked with her and they will testify to her laserlike determination, her relentless drive in pursuit of a role – the four months of singing lessons she took to get her lip-synching exactly right for her Oscar-winning performance as Edith Piaf in 2007’s La Vie en Rose, or the nights she spent trawling Chicago’s strip clubs to research her role as Billie Frechette, the moll who steals Johnny Depp’s heart in 2009’s Public Enemies. “She’s totally immersed in what she’s doing,” says that film’s director, Michael Mann. He remembers the first time she came to his office: “No makeup, hair kind of messy. If I had put my hand over her eyes and said, ‘Marion, quickly, what are you wearing?’ I don’t think she could have told me. She’s just there. She dives in the deep end of the pool.”

Talk to her friends and they will give you a slightly different Cotillard: the free spirit and nature-lover who campaigns for Greenpeace; the gypsyish performer who plays bass and sings for the band YodĂ©lice; the nomad-artise ho shuttles between New York and an apartment in Paris stuffed with hats and awards. *She’s kind of a bohemian in the best way,” says filmmaker James Gray. “She’ll leave a 25-minute message on your voice mail. Usually I hate that, but for some reason I love it with her. One time she left me this voice mail where she said, ‘I have to keep speaking because now I’m doing the dishes and my hands have all this soap on them and the phone is between my cheek and my shoulder, so I’m just going to talk to you until I can get the soap off…’ It was extremely funny. She’s just a character.”

The Marion Cotillard who turns up for a hike on Shawangunk Ridge in upstate New York – small and pretty in a North Face jacket, jeans, and hiking boots, with big eyes, flawless skin, and features that appear in permanent soft focus – seems a little bashful, or maybe it’s the forty wins she grabbed in the car. “I just woke up,” she says, blinking as she emerges in the late-morning light. Just over a year ago she gave birth to her son with French actor-director boyfriend Guillaume Canet. Now Marcel is almost walking but still keeping her up at nights.

“I haven’t slept in a year,” she says as we start our walk. A forest of chestnut oaks and pines stretches up to Lake Minnewaska, our eventual destination, cloaked in mist. “I basically quit. But I’m lucky, I can sleep anywhere – except maybe in a garbage bin. I can sleep on a chair. I can almost sleep standing.” (It turns out her assistant has an art project in progress consisting of photographs taken of the actress while asleep in various locations: open-mouthed in the back of cars, dozing off in a pile of coats, curled up against a wall.)

Those photographs speak volumes about the kind of “crazy, crazy” year Cotillard has had, starting with the birth of her son in May 2011 and quickly followed by three movies, shot back-to-back, in the course of which she learned how to heal broken superheroes for Christopher Nolan’s The Dark Knight Rises, swim without the use of her legs for Jacques Audiard’s Rust and Bone, and speak Polish with a perfect Upper Silesian accent for Gray’s latest movie, still untitled.

Not that she didn’t take time off. Her Christmas vacation was a fifteen-day cooking marathon during which she prepared turkey, couscous, and chapon for various sittings of friends and family, plus seperate meals for little Marcel “because he only eats what I cook him,” she says. “I spent my vacation in the kitchen, and I loved it. The kitchen is one of the most important places in the house.”

Cotillard seems not just OK but entirely at ease when operating at full stretch like this. “I’ve never been more exhausted,” she tells me. “But I’ve never had so much energy. This is the paradox of being happy. That’s where it comes from.”

She flashes an infectious full-beam smile from under the hood of her jacket and pushes deeper into the forest.

It says a lot about how much Hollywood wants Marion Cotillard that when she called up the director of this year’s biggest summer blockbuster to tell him she would be due to give birth at the same time that shooting started, he was willing to rearrange his $250 million production schedule around her hospital dates. “I said, ‘Well, let’s put the dates on the table and see if we can’t figure it out,'” says Christopher Nolan, who, after working with the actress on the 2010 mind-bender Inception, badly wanted Cotillard for the role of Miranda Tate, the ecologically driven businesswoman who draws a grief-stricken Batman out of his Batcave in The Dark Knight Rises. “She’s perfect because she has this terrific warmth,” he says. So he shunted most of her scenes back a month and made room on set for Canet, Cotillard’s mother, and a nanny. “It was really down to her and how soon she was going to come back to work,” says Nolan. “It was amazing to see. She gave birth and was back on set almost immediately. She’s Superwoman.”

It also tells you a lot about how much Cotillard wants Hollywood tha she made it work. The third French actress, afte Claudette Colbert and Simone Signoret, to win a Best Actress Oscar, Cotillard is the first to have an American career as vibrant as her French one, an achievement that has escaped even Isabelle Adjani and Juliette Binoche. In part, this is generational. Cotillard came of age in the globalized nineties. Her childhood was spent watching American films. Her boyfriend, Canet, is part of the wave of audience-friendly French cinema that is currently pushing westward like a warm front. Out this month is their latest film together, Little White Lies, a Big Chill-style movie that he directed, about friends on a rosé-soaked vacation in Cap Ferret, that took the French box office by storm in 2010. Also featuring Jean Dujardin and François Cluzet, it stars Cotillard as Marie, a footloose bohemian who leaves confusion, both male and female, in her wake as she tries to unknot her heart.

Cotillard always watches her films, to look for adjustments she can make, but watching this one was “incredibly uncomfortable,” she says, because “it was the closest to who I am.” She goes on, “The problem is that Marie is very, very uncomfortable in her life, even though she hides it. On the outside she’s very free, she’s happy and a good friend, she loves life, she has an amazing job. But inside it’s a disaster; she’s totally lonely, she’s totally lost.” When she watched the film, it all came flooding back: the crippling shyness of her teenage years, until she discovered acting as a way of communication with people; then the more unbridled hedonism of her 20s, as she tried to figure out who she was in the hall of mirrors that is young romance.

“I used to be like that for sure,” she says, but now, at 36, “I’m much more connected to myself than I used to be.” At least one clue to the source of this contentment is provided when she stops in front of a large pitch pine that appears to have grown right through a giant boulder, its roots encircling it, like fingers around a stone. “There is a tree just like this on the corner of Twenty-second Street. It looks like it just melted through the railings. We go past it every days on the way to the park, and every time my son stops to touch it. Like this. He loves trees. I remember the first time I took him to Central Park, he went crazy. He screamed with joy for half an hour with all the trees around him. He wants to touch the trunks, he wants to eat the leaves. He’s at the age where he wants to eat everything.”

“My little Zen Master” is what she calls Marcel. She recently bought him a child’s guitar, which they play together; she picks out the chords while he strums. The other day he hummed his first tune. “PenĂ©lope Cruz told me that childbirth is like a revolution,” she says as we resume our path beneath a dense canopy of trees. “It’s totally a revolution. Everything everybody says about it is actually true. Suddenly everything makes sense.”

The more time that you spend with Cotillard, the more you realize that the two Marions are in fact two sides of the same coin. The same energy that propels her to spend four months perfecting an accent is the same thing that drives her to produce three Christmas dinners for her family. Whatever is in front of her commands her undivided attention, her eyes filling with wonder. She speaks in a soft, certain voice that seems unbothered by the task of persuasion or argument – it’s just for her. And it is this exact quality, a mixture of fine-anntennae receptivity to her immediate environment and straight, plumb-line anchorage to something deep inside of her, that makes her so riveting to watch on-screen. There’s a scene in the 2009 musical Nine in which Daniel Day-Lewis tends to Cotillard’s hair for a screen test and then disappears out of frame, leaving Cotillard alone in front of the movie camera, and the flicker of emotion on her face – like sunlight disappearing behind clouds – tells you two things: (1) that she loves him, and (2) that she will have her heart broken by him. Two entirely contrary emotions, at the same time, all without saying a word.

“Marion can mine something that most actresses can’t these days – that quiet vulnerability, that quiet truth,” says director Rob Marshall. “She really has almost see-through skin. You feel what she’s feeling. It’s those big, beautiful eyes; they’re so hypnotic. There’s truth in them. That comes not just from craft but who she is.” She was, he says, the first to audition for the part of Day-Lewis’s wife in Nine, right in the middle of all the hoopla for La Vie en Rose: endless interviews, Oscar speculation, flights back and forth from Paris. Someone asked if she wanted a glass of water. “I said something like, ‘This must be really difficult for you,'” remembers Marshall. “She said, ‘Are you kidding? Do you know how lucky I am that I can sit here and have someone fetch me a glass of water? Nobody try and tell me I have a hard life; I know what a hard life is.’ She comes from the Life Is Too Short school, no question.”

In the tower block in suburban Paris where Cotillard grew up, the elevators would often break down. She remembers having to trudge the eighteen flights of staris up to her family’s apartment with her two younger brothers, avoiding the discarded heroin needles as they went. “We were not poor, but we were not wealthy,” she says. Her mother Monique Theillaud, was an actress and her father, Jean-Claude, a mime. Their teater friends used to fascinate the young Cotillard. “All my friends, their parents had jobs that were very repetitive – they would do every day the same thing. But my parents’ friends would go to a little town in France, the next day they would be in Peru, the next day they could be in Hong Kong. They were artists. They had freedom.”

Her head was filled with American movies. She and her brothers would sit glued to videotapes of Poltergeist, The Exorcist, and Jaws, but also the films of Judy Garland, the Marx Brothers, and Charlie Chaplin. She would replay Singin’ in the Rain “over and over, trying to lear the songs, the choreography.” Later, when they moved to the region of La Beauce, near OrlĂ©ans, and her father found success as a director with his own theater company, Cotillard woud enroll at the Conservatoire d’Art Dramatique, but her most important teacher was always her father. “He was, still is, a teacher of mime and expression corporelle – bodily expression. The body was something very important from the beginning. I’m one of the biggest fans of comedy, especially ‘dumb movies,’ as we call them in Franc. Will Ferrell is my hero: I would put Step Brothers in my top ten. Jonah Hill, I want to marry you!”

Everything that would make her a global star was there from the beginning: the love affair with Hollywood; the discipline; the physicality; the intensity of the teacher-pupil relationship with her father, which Cotillard has essentially replicated with her directors. “The first person for me in a movie, the person I will give everything to, is the director,” she says. “If I work with someone I don’t respect, or I don’t like, then I am very, very bad. The director is everything.”

To a large extent her career as depended on her ability to play muse to the world’s foremost directors: Along with Mann and Nolan, there’s Woody Allen, Steven Soderbergh, Tim Burton. “I found myself looking at Marion at dinner, watching her, thinking of what I could do with her,” says James Gray, who wrote his forthcoming film as a vehicle for the actress. She plays a Polish immigrant at sea in 1920s New York who first falls under the spell of a shady, Fagin-like figure played by Joaquin Phoenix and then finds a potential white knight in the form of a magician played by Jeremy Renner. A surprising number of her roles have been tailor-make for her this way, including those in La Vie en Rose and The Dark Knight Rises. “The word challenging is thrown around as some kind of pejorative to mean an actor who’s difficult,” says Nolan. “But Marion is challenging in the true sense of the word. She’s so good you don’t want to waste that talent. You want to hold up your end.”

“Oh, wow,” says Cotillard as we reach the summit of our hike: the top of Shawangunk Ridge, 2,000 feet above sea leel, Lake Minnewaska stretching out below us. We are standing on one of the oldest rock faces in North America. Cotillard kneels down and touches the rock with her hand. “I went to Machu Picchu for my birthday,” she says. “And there’s this sacred stone that is supposed to be very powerful. I went there with my best friend very early in the morning. You have to put your hand, not on the stone but close enough to feel it.” She raises her hand an inch above the rock. “It’s one of the strongest things I’ve ever felt. We stayed there for an hour.”

On the walk back down, I ask her whether she’s ever felt that connected to a role and she responds immediately: Piaf. “I was in a very, very special state the whole shoot and even after,” she says, describing an immersion so great that it affected her relationship at the time, with French directror StĂ©phan GuĂ©rin-TilliĂ©. “I was not inside my life, so I couldn’t entirely be with my boyfriend,” she says. “My friends, they understood, but a boyfriend is different. And it really affected the relationship.”

Figuring out how to combine her pedal-to-metal devotion to her work with romantic happiness has taken time. She and Canet were friends before appearing together in the 2003 French romantic drama Love Me If You Dare. He was married to Diane Kruger at the time, but after their divorce in 2006, he and Cotillard started dating, much to the joy of the Parisian press, which reports on their every kiss and hand-squeeze with an ardor befitting their status as French cinema’s leading couple – a kind of Gallic Brangelina.

“Don’t make me talk about him,” pleads Cotillard when I bring up Canet, as we are walking beneath the shade of some pine trees. But there is a squeak of excitement in her voice, and when I ask her what made her feel ready for motherhood, she answers in that calm, unshakable way of hers, “Love tells you that you’re ready. The right person tells you that you’re ready.”

Two weeks later, at lunch at Manhattan’s NoMad Hotel, Cotillard is in a more expansive mood. Recently returned from Cannes, where she braved a couple of red carpets (“Why I don’t know, it was hooorrrr-ibble,” she says, drawing out the words like a spilled drink), she is wearing a summery, candy-striped House of Holland dress. She apologizes for being a little late: First she had to drop Marcel off at the park with friends – “He would not be carried” – and before that an Italian lesson for her role in Canet’s new film, the 1970s Brooklyn crime drama Blood Ties. “He is one of the best directors I have ever worked with,” says Cotillard, “and I am not just saying that because I am madly in love with him and because he is the father of my child.”

She orders a bone-marrow-crusted fillet of beef with parsnips and some herbal tea. “I wanted to learn Italian for Nine,” she says, “but I didn’t have any words besides ‘buon giorno.’ This time I have lines in Italian. So I work every day.” She still gets the bite of anxietey in her stomach that tells her she is going to fall flat on her face in a role: “Most of the time, I don’t know if I’m going to be able to do it,” she says, pausing. “At the same time, there is a part of me that knows I can.” These days, acting is less a sublimation of self, and more like traveling in a foreign country: “You are still yourself, but you can discover something about yourself that you didn’t know. I’ve always been fascinated by people who discover the world. One of my dreams would be to take a year when my son is older and go around the world with my family. I hope I’ll do it.”

Her next project is with director Asghar Farhadi, who won the Oscar for Best Foreign Language Film for A Separation. But first, some Breton cake. “My country!” she says when she spots it on the dessert cart. And afterward: an afternoon with friends. “I need to rest. I really do need it. I shot three movies in a year, that’s crazy. With a baby. That is too much.” She spoons some Breton cake into her mouth. “But all the things I did were irresistible.”

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Aug 2012
English Press  •  By  •  0 Comments

from Elle (South Africa) / by Anne Diatkine

Marion Cotillard shines in an unusual new cinematic love story – and in a life filled with a calm contentment

A fresh breeze blows through the streets of New York. Hats are bought and blown away, scarves are tied and sweaters layered to perfection as we drive through Broadway in Manhattan to meet Oscar-winning actress [as Edith Piaf in 2007’s La Vie en Rose], Marion Cotillard.

The famous actress is barely visible behind the small crowd fussing around her in the makeshift make-up room, walked off by a rail of Dior dresses, of course. ‘No, no, no,’ sings Amy Winehouse. I wait with a copy of Craig Davidson’s Rust and Bone on my lap. Some of the short stories in this book served as the guiding principle for Jacques Audiard’s new work that was a strong contended for the Palme d’Or at Cannes this year and is one of the year’s most moving and absorbing love stories.

In Rust and Bone Marion stars opposite the exceptional Belgian actor Matthias Schoenaerts, and plays a woman who lost her legs but remains sensual and in touch with her emotions, even though she’s wheelchair-bound. The role is also in stark contrast with that of Piaf: the actress’s skin is nude, her face is as bare as possible… in other words, we see her.

The success of her performance as Stephanie, a killer whale trainer, further ties in Marion’s ability not toportray her character as a victim. Playing an ordinary beauty in the beginning, sh increasingly shines as the story develops.

Back in the studio we are interrupted when the most beautifuly baby in the world makes his way towards his mother’s arms. Everyone drops their books, cellphones, pens, laptops and Marion stands up to dance with her boy. He laughs. He’s adorable and this is a role in which Marion does not have to act; she is truly herself, deeply fascinated by her one-ear-old (with director Guillaume Canet), Marcel. ‘He has inparted me with his peacefulness,’ she says. ‘Whith him, I am finally calm and happy.’

Pierre Perret, the French cabaret maestro, takes over from Amy Winhouse with his hit La Cage Aux Oiseaux as the shoot gets underway. ‘If you see some little birds imprisoned in cages, open the door and let them be free,’ he sings, a line that is very apt when it comes to Marion. For the shoot she is dressed in skinny jeans, stilettos and a fuchsia blouse but in real life, Marion, despite being at home on the red carpet and despite having several big awards to her name – in addition to her Oscar she has received a BAFTA, CĂ©sar (the French Oscars) and a Golden Globe – is more at home in something more comfortable, ballerina shoes and no make-up.

ELLE: What does Stephanie, your character in Rust and Bone, represent?
MC: She’s a woman who has allowed herself to become hard, dealing with her situation alone; until an unexpected encounter helps her to discover, and reveal, her emotions. At the beginning of the film, she has surrounded herself with boundaries but then she meets the unsophisticated Ali. At first glance he is not made for her, but they prove to be the perfect match for each other. Ultimately, the film is about the strength of love.

ELLE: Some of your costars in the film, are killer whales. What was it like working with them?
MD: Their power is incredible. However, playing the role of their trainer was difficult, since I do not tolerate the practice of keeping animals in captivity. I never to to a zoo or visit an aquarium. Although I knew that I’d be working with them and that I would have to face up to it, I did have to go against my beliefs in the beginning.

ELLE: was it very difficult for you then?
MC: We had very little time to practice before we began shooting. I had just finished shooting an American movie and was completely jet-lagged and in a fragile state of mind, so I was afraid that I would not meet expectations. I arrived at the shoot at Marineland right on show-time. Seeing these creatures being so disciplined and performing made me burst into tears. As Katia, their trainer, turned to me, I could not refrain from telling her how horrifying I found the animal’s immprisonement.

ELLE: Have you changed your opinion?
MC: My main concern was that Katia might think that I was disrespecting her job. By the time we finished filming we had become good friends although we both recently admitted that, looking back at the first day, neither of us thought it would happen.

ELLE: Stephanie loses her legs in the film. How did you go about playing a disabled woman?
MC: First of all, I couldn’t move. That helped! But the absence of limbs is not only physical. Before the accident, Stephanie was going through a stage where she was not conscious of much. The accident enables her to love, to be admired and to generate desire, something that touches her deeply and profoundly. To have or not to have a pair of legs at that point becomes almost anecdotal.

ELLE: In one of her books the novelist Olivia Rosenthal asked various people which movie changed their lives. What yould you have said?
MC: Beyond Rangoon, directed by John Boorman, that deals with the Burnese democratic movement led by pacifist Aung San Suu Jyi and the country’s fate. I watched it when it was first released back in 1995 and it made me understand that we who live in a democracy don’t have the right not to inform and educate ourselves. To ignore the facts when one has all the means of getting information is like supporting a dictatorship. That was when I began to read newspapers daily.

ELLE: You recently filmed Low Life, in which you play a Polish prostitute, whith director James Gray in New York. You are also about to act in [your partner] Guillaume Canet’s next movie, Blood Ties, which is also set in New York. Would you like to settle in the city with Guillaume and Marcel?
MC: I love the city; it has been of extreme importance in my professional life. It is there that I filmed [the 2010 hit musical] Nine, it is there that I started my race to the Oscars and it is also where I came when I was younger to learn English. But I have no doubts whatsoever: I [would] miss France.

ELLE: Is it ture that by speaking a foreign language you feel more free?
MC: Yes, in a way I feel more free to express myself. I am much more straightforward because my vocabulary is more limited. Oddly, some castings do not stress me out if they are in English. While I am still scared of French television, being interviewed in English by an American channel is almost amusing.

ELLE: Do you read on set?
MC: No, unfortunately I can’t concentrate on any other history but my own. But at night, in my hotel room, I do read. I always read more than one book at a time. Right now, I am busy with No Et Moi (No and Me) by [best-selling French novelist] Delphine de Vigan and a book on meditation. And Christian Dior’s biography. Beyond the pride that comes with working for this fashion house, I have discovered a man who stands out for his incredible kindness.

ELLE: Do you practice meditation?
MC: I would love to, but I haven’t managed to start just yet. Even yoga bores me.

ELLE: So is there a form of exercise that does not bore you?
MC: Ballet. It is the most playful type of movement and for someone like me, who has an aversion to talking, it represents a delightful form of communication.