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10
Aug 2014
English Press  •  By  •  0 Comments

She’s the smart, considered, Oscar-winning actress who also happens to be our new favourite French style icon. Stylist meets the impossibly elegant Marion Cotillard

Listening to Marion Cotillard makes me want to be French. Looking at her has the same effect, but it’s listening to her that has me dreaming about booking a seat on the next Eurostar. The intonations of her voice rise and fall with the subject matter, lulling me into a relaxed state as she philosophises in English about the economy or being a humanist, every so often forgetting herself and reverting to her native tongue. Even when she becomes truly excited about the Dior dinner she will attend later that evening with her good friend, Dior creative director Raf Simons, and her voice climbs a few octaves, it is still soothing.

Stylist catches up with the 38-year-old actress between Dior’s haute couture a/w 2014 show earlier in the day (Cotillard has been the ‘face’ of Lady Dior handbags since 2008) and the ensuing celebratory dinner. She is surrounded by boxes in the apartment she shares with her partner, actor and director Guillaume Canet and their three-year-old son Marcel. It’s not just her significant other who is in the same industry: Cotillard was born in Paris to a family of actors, growing up in Orléans where she studied at the Conservatoire d’Art Dramatique. Before long she was being cast in French TV dramas but it was Luc Besson’s 1998 film Taxi that took her career up a notch. Now, after working on film sets across the globe, from Pittsburgh (The Dark Knight Rises in 2012) to the Isle of Skye (Macbeth with Michael Fassbender, due for release in 2015), she has settled back in her home country.

Cotillard’s latest film, Two Days, One Night, has critics whispering “Oscar” in relation to her performance. Directed by Belgian brothers Luc and Jean-Pierre Dardenne (who have won the coveted Cannes Film Festival Palme d’Or Award twice), she plays Sandra, a working-class woman struggling with depression who has one weekend to convince her colleagues to give up their 1,000 Euro bonuses to save her job. To be honest, I was wary of seeing a film this emotionally taxing just in its synopsis, but came away oddly uplifted. Marion is exceptional; it’s the most convincing depiction of depression I’ve seen: traumatic, yes, but with chinks of light and hope.

Bringing subtlety and nuance to every performance is Marion’s modus operandi. It’s what won her the Academy Award for best actress for her portrayal of Edith Piaf in La Vie En Rose, the 2007 film that had the world at her impeccably shod feet, and the reason she’s booked up until 2016 with another five films to be releasedafter Two Days, One Night. But before we get to her relentless schedule, I’m dying to know what she picked up from Dior earlier…

Did anything take your fancy at the Dior show?
Oh yeah, a lot of things. I’m very impressed by the way Raf reinvents his world all the time. He’s a very special person. The way he mixes his very modern vision of clothes and the Dior house is really, really impressive.

Watching Two Days, One Night was an intense experience… 
Everything was intense during shooting. The role is intense because Sandra goes through a lot and the experience itself with the Dardenne brothers, the way they wanted to shoot the movie was… oh merde, comment dit ça…? A sequence shot? A scene is just one take that keeps rolling, and sometimes we did 100 takes. I’ve never worked with such demanding directors. But I loved it. That’s what I want when I work with someone; that they will be super-demanding in a creative way.

It’s one of the most realistic portrayals of depression I’ve seen on screen. Has anyone in your life experienced it? 
Not really. But I know what it is to not feel at the right place [in life]. That’s something I experienced myself. My parents taught me how to move on when something is stuck and I have the strength not to fall, but I was very close to depression. So [with Sandra], I knew what it was to be lost and deeply in pain and not know exactly where it comes from, or how to stop or deal with it.

Luc Dardenne said they worked hard to make sure you looked ‘ordinary’ in the film. You certainly look incredibly different to how you look now. 
This is something I always do for every role. I’m very interested in what’s inside and drives a person. What is their heart and soul? Whatyou have inside shows on the outside; the way you talk and breathe. Do you look someone in the eye? Do you breathe from the lungs or your throat? The way you move tells a lot about who you are inside. A shy person walks and talks like a shy person. One of my favourite things is finding the physicality of a character. I find the performance inside and how it impacts the outside and what people can see of you.

You’ve been called “shockingly beautiful”. How does that feel?
I’m never really aware because I’m not very interested in it. I don’tneed it. Sometimes people I work with read blogs, so I see the occasional thing about myself. It makes me laugh because either way you can’t change anything. It’s not the end of the world if you look like sh*t! You know what I mean? 

You’ve said it was hard to find the right emotions to portray Sandra. What makes you feel emotional yourself?
Wow. My god. Almost everything. Kids make me emotional. I’m a very emotional person. That’s a problem for me but I deal with it by being an actress.

Another factor in the film is the economic crisis in France…
The crisis everywhere, you mean!

What’s it like to live in France right now? Does it feel like things are improving?
I only just returned to Paris. It’s funny when you take a step back. I feel there’s a kind of depression now which affects a lot of things like creativity. But I think we’re going to find the way out. You know, French people and this word ‘existentialism’… we question ourselves too much sometimes, circling on our own problems. I’m not saying we shouldn’t pay attention to them, but it wouldn’t hurt to pay attention to what happens in the rest of the world occasionally.

What is it about Paris that has drawn you back? 
I’ve been in Paris two weeks and have finally opened my boxes that were sleeping in my apartment for three years. The last time I lived here, I was pregnant [in 2011]. So I’m in this process of reconnecting with France. There is this energy of all these amazingpeople who created this country and this city. But like I said, I feel we need to open up to the world. We have to stop thinking we’re the best at everything; it’s not true first of all. I mean, it’s good to have confidence but at a certain point, you also need to learn from others. But Paris is so beautiful.

You’ve appeared in a mix of blockbuster films and low-key projects – which do you prefer?
Both. Otherwise I wouldn’t do both. I always choose a project because I feel it’s my place to be there and I love the project, even with the blockbusters. My dream when I was a kid was to be Peter Sellers; to jump from comedy to something totally different. I haven’t jumped yet into comedy but that’s one of my dreams. I find joy in opposites.

What is your favourite Peter Sellers film?
The Party. Or Docteur Folamour… I mean Dr Strangelove. The guy was a genius.

Who makes you laugh now?
Will Ferrell! My friends. I have very, very funny friends. They make me cry because I laugh so hard. Oh, and Jennifer Lawrence. Yeah, that’s a good list! 

You filmed Macbeth on the Isle of Skye in February. Was it cold?
Yes! That was crazy cold. There were hailstones, which made it harder. But hard is good.

If hard is good when you’re working, do you take it easy when you’re not?
Time off is super, super tiny in my world. But now I am off, I read and watch documentaries. I try to play music and become a good musician, which is far away but I’m getting closer. I’m going to have to be just a musician before being a good one [laughs]. Being in Paris after all those years, I’m seeing friends. It’s a marvellous thing to be able to reconnect and share everything they know and talk about the world. That’s something I missed a lot; it’s one of the things I enjoy most.

What do you talk about? The environment? Your work with Greenpeace is well-documented.
Not only Greenpeace. I support all people who want to… I wouldn’t say change the world, but to push it to a more human evolution.

Who inspires you in this way?
There are so many – it’s really reassuring to have a very long list. A lot of French people, like Pierre Rabhi or Edgar Morin. [Canadian astrophysicist] Hubert Reeves. Wangari Maathai and Aung San Suu Kyi. All people who fight for people.

Are you happy? 
Yes, I am. I have an amazing experience of life. It makes me understand more and more about the weird animal we are and it makes me happy to be connected to people and to learn.

One of Edith Piaf’s most famous songs was about not having regrets – do you have any?
Non. I know that things I didn’t do were simply things I was not meant to do. Or I wasn’t the right person or it wasn’t the right moment. Maybe I had some but then I realised regret is not a good thing to feel. I am sure you do what you need to.

What’s next? More unpacking? 
I’m very fast! I opened my boxes in 10 days. I still have a few more but they can wait. Tonight, I have a Dior dinner, which I’m looking forward to because they’re amazing, funny people. And Jennifer Lawrence will be there so I’m going to have a lot of fun! 

Will the food be good? 
But of course! We’re in Paris. The food will be magnifique!

10
Aug 2014
English Press  •  By  •  0 Comments

When Marion Cotillard took on Edith Piaf she lived the part, willing herself into the role of a tortured genius. Such commitment is harder now that she has a toddler. But, as Stephanie Rafanelli discovers, that doesn’t stop her trying

In a hotel suite in Paris, Marion Cotillard is behaving like a monster. We are about to start our interview when her three-year-old sprints in with his nanny, and before I have a chance to ask my first question, Cotillard has leapt on all fours and is skidding across the carpet letting out strangled roars. There’s a chase in which she plays Godzilla (upright, with claws), and Marcel, her son with French actor and director Guillaume Canet, squeals with delight. Finally she resumes her position on the sofa with Marcel still chuckling impishly under one arm. “He’ll get bored soon,” she reassures me.

Cross-legged and clad in tweed hot pants, she looks like a particularly soignée teenaged mother: her face has never lost its adolescent curves and her body barely looks 20 years old (she’s in fact 38). When Cotillard bent herself into the prematurely aged Edith Piaf in La Vie En Rose, a morphine-addicted, cancer-ridden husk of a woman, Trevor Nunn called it “one of the greatest performances on film ever”. Meeting her, you appreciate why.

In the seven years since winning the Best Actress Oscar for her role, Cotillard has shown herself to be consistently drawn to complex, tortured women. Her recent work, if less transformative, has been just as unflinching: a double-leg amputee in visceral love story Rust and Bone; a young Polish refugee in New York manipulated into prostitution in The Immigrant. In her latest film Two Days, One Night by Belgian auteurs the Dardenne brothers, she plays Sandra, a factory worker who, after a period of sick leave due to depression, is forced to petition her colleagues to vote for her in a work ballot. They’re faced with a cruel moral dilemma: her job or their annual bonus. It’s a raw, empathic portrait of mental illness.

She seems to relate to outsiders, I say. “I’ve always felt an outcast,” Cotillard replies. “There is something strange about me. I don’t ever feel at ease in a group of people. I have to fight hard to overcome my fears.” What are these fears? She smiles. Her eyes are alert, glassy, and look as if they could brim with tears at any moment. I’m left to find meaning in her gaze. It’s all very Mona Lisa.

It is this mysterious quality that seems to appeal to directors, from La Vie En Rose’s Olivier Dahan (who wrote the screenplay with Cotillard in mind because he saw something tragic in her eyes) to an imposing list of American filmmakers: Christopher Nolan (Inception and The Dark Knight Rises), Michael Mann (Public Enemies) and Woody Allen (Midnight in Paris). Today she is one of the highest paid non-American actresses in Hollywood, although she has never turned her back on low-budget French-language film. For the Dardenne brothers, who have only worked with unknown actors throughout their 40-year-long career, casting Cotillard in Two Days, One Night was a risky move, not just because of the Hollywood baggage but because of her fashion status as one of the faces of Christian Dior. The underdog-loving jury at the Cannes Film Festival has already overlooked Cotillard for the Best Actress prize three years in a row. But this year the Dardennes – three-time Palme d’Or winners – also walked away empty-handed. “For me? I really don’t care,” she says, waving a hand in the air. “But the film? Yes. The Dardennes get an award every time they go to Cannes, so I got a little paranoid and thought: ‘Oh my God, maybe it’s my fault.’”

Cotillard is a fanatical researcher, so when I ask how she constructed her performance I’m expecting a tale about observing patients in Belgian institutions. “The preparation was very light this time,” she says, shifting into a half-lotus position. “Medical information on panic attacks and the side-effects of Xanax. I understand depression. I was never super-depressed, but at one point I thought it was coming.” At this point she dispatches Marcel, fidgety and bored, to his nanny. “I’ve had many turning points in my life like that. I’m able to tell when I’m in a bad place or super-sad and move on. When you’re stuck somewhere you need to change something, to shift the energy.”

One such time came after filming La Vie En Rose, when Cotillard had let herself be swallowed up by Piaf, shaving her eyebrows and hairline, willing her body to shrink nine inches (Piaf was 4ft 11in) and sitting for five hours a day in make-up. It was less of a performance, more a demonic possession. After the shoot wrapped, Cotillard says she continued to be haunted by Piaf, sometimes speaking in her gravelly voice. Piaf stayed with her for a total of eight months. “I tried everything,” Cotillard tells me. “I did exorcisms with salt and fire. I travelled to Bora Bora to escape her. I went to Peru to Machu Picchu and did ancient shamanic ceremonies to cleanse myself after I eventually realised why I couldn’t let her go. She had been abandoned as a child. Her greatest fear was to be alone.”

Now that she has Marcel, she says she is unwilling to plunge so deeply into a role, to lose herself in what she calls the “total darkness”. She recently filmed Justin Kurzel’s new adaptation of Macbeth, playing Lady Macbeth opposite Michael Fassbender. “Before my family, everything in my life was dedicated to the character. The more deeply affected I was by her, the closer I felt to her. But I cannot lock myself away in another world any more. I don’t want it to affect my son when I’m in a weird state because I’m ‘depressed’ or ‘killing a king’.”

Cotillard says she’s always been “sensitive”. As a child she was a shy, melancholic loner riddled with very early-onset teenage angst. “I had existential dilemmas as young as seven, obsessive questions about my place in the world. Where did we come from? Why am I here?” She grew up in Alfortville, a suburb of Paris to French “bobo” parents – bourgeois bohemians. Her mother Monique Theillaud was a mid-level theatre actress, her father Jean-Claude Cotillard a Breton mime artist and theatre director. Together with Cotillard’s younger identical twin brothers, Guillaume and Quentin (a writer and a sculptor), they lived in a flat on the 18th floor of a tower block where they were allowed to draw freely on the walls. But excluded by her brothers’ symbiotic relationship, Cotillard didn’t talk much: “I couldn’t identify with anyone. At school I was considered very strange. I didn’t understand the relationships between people.”

From an early age she was drawn to imaginary stories. When she saw ET, aged seven, she was so distraught she had to be removed from the cinema. Her father also introduced her to silent films. “I used to pretend I was Louise Brooks or Greta Garbo in my bedroom,” she says mimicking her younger self. “I absorbed a lot from my father. He taught us how to mime at home with games.” When he set up his own theatre company, the family moved to La Beauce, near Orléans. Theillaud began teaching at the Conservatoire d’Art Dramatique d’Orléans, where the teenage Cotillard enrolled to study acting. “I saw it as a way to escape myself,” she tells me. “But it was through acting that I met myself.” On graduation she moved to a rundown flat near Gare du Nord station and appeared in the TV series of Highlander at 18, after which she was never unemployed.

In 1998 Cotillard got her first big film break in Luc Besson’s Taxi. She met Canet, then married to Diane Kruger, on the set of Love Me If You Dare six years later, and the friends reconnected after Canet’s divorce from Kruger in 2006. In France the couple are equivalent to Brangelina, but photographs of Cotillard with Canet in public together are rare. Little is known about their life together, although they both separately admit to being guitar geeks (their flat in the Marais is crammed with various models, and until recently Cotillard played bass for Parisian singer Yodelice as her butch alter-ego Simone). Cotillard agrees that the country’s strict privacy laws allow them breathing space. “Having your picture taken in the street and put in a magazine won’t change your life. But what happened to people in England, hacking phones. It’s vomit. It’s sick. This fucking changes your life.” She almost retches with disgust. “If someone is cheating on their wife in the street and pictures are taken, fine, that’s their risk. I’m not talking about some people… who currently run this country.”

This, you presume, is a reference to François Hollande’s extramarital dalliance with actor Julie Gayet. Despite appearing to prefer life on the spiritual plane, she is surprisingly engaged with politics, and when I bring up the Front National’s landslide majority at the European elections, she makes a “Quelle horreur!” expression: “French politics is a circus. The French people like to shake things up a bit, but Marine Le Pen getting into government? This will never happen. Never.”

Her real passion, however, is the environment. She’s a locavore (where possible, she eats locally produced food) and has been recycling since the 80s, a habit learned from her Breton grandmother. She’s also an ambassador for Greenpeace: in 2010 she went to the Congo to make a series of films about the destruction of the rainforests by logging companies. The following year she supported Amazonian Indian Chief Raoni in his fight against the construction of the Belo Monte hydroelectric dam in Para, Brazil. Then last year she caged herself, literally, with other demonstrators outside Paris’s Palais Royal in protest over the detainment of the Arctic 30 in Russia. Her current cause is the endangered Sumatran tiger.

“I’m a nature lover, but I’m a human being lover, too. Nature will survive us. The thing we’re going to fuck up is us – and animals,” she says. “Destroying what makes us live is sick. More people are waking up but it’s super-slow. Why don’t we listen to the wise men in our world?” She reels off a list: Al Gore, French-Canadian astrophysicist Hubert Reeves and Algerian writer and farmer Pierre Rabhi. She is aware of the paradox of being both an environmentalist and a frequent long-haul-flying actor, plus the muse of Dior, part of the haute-fashion conglomerate LVMH. This is the one chink in the Cotillard matrix. “Campaigning and acting aren’t compatible,” she admits. “That’s why Audrey Hepburn gave up acting. That’s why Angelina Jolie will give up. I’m not ready to stop yet.”

Still, some things are changing. You get the sense that after Lady Macbeth she is growing a little weary of tragic antiheroines. “The dream,” she says, “is to do comedy.” Her first foray in the genre was a cameo in Anchorman 2 last year. “Comedians I know, like Will Ferrell, Jonah Hill, Jean Dujardin, are some of the best human observers. Comedy has deep insights into our human defects that somehow affect the audience more deeply than tragedy.” She pauses while I absorb this, then she shrieks: “Oh! And I’d like to play a man.”

Inevitably my mind leaps to Hamlet – the ultimate tortured soul. “Oui! C’est ça!” she cries, slapping her leg when I suggest it. “But on the stage in London, unannounced. So no one knows it’s me… I could totally disappear.”

Two Days, One Night is released in cinemas nationwide on 22 August

10
Jun 2014
Movies, News & Rumours  •  By  •  0 Comments

Variety just reported that Marion Cotillard has a new project:

Marion Cotillard is set to topline “Mal de Pierres,” a period romance drama directed by critically-acclaimed auteur Nicole Garcia and produced by Alain Attal’s Les Productions du Tresor, one of France’s top independent film companies.

An adaptation of Milena Agus’ eponymous novel, “Mal de Pierres” (“Mal di pietre”) spans 20 years, following the destiny of a passionate, free-spirited woman who is in a loveless marriage and falls for another man.

A bestseller, the book has been translated in more than 15 languages.

Cotillard will play the leading role, Garcia co-wrote the script with her regular co-scribe, Jacques Fieschi.

“It’s a passion project for both Nicole and us,” Attal told Variety.” It’s a very romantic and intense story about a woman whose quest for absolute love is the essence of life, her ‘raison d’etre.’” Attal added that Cotillard was taken by the script, the strong character it portrays and is highly committed to the project.

“Pierre” will start shooting in Spring 2015.

After Marion Cotillard dropped out of Benoit Jacquot’s ‘Diary of a Chambermaid‘ because she wanted to focus solely on ‘Macbeth‘ without worrying about portraying another character afterwards, I’m very excited that she’s taken on a new Project. Also, it’s a promising role and she’ll be working with a female director – just seems we’ll have to wait a long time to see it happen.

23
May 2014
Specials  •  By  •  0 Comments