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With 96,000 + photos and still counting! More Photos
25
Jun 2013
Gallery Updates, Movies, TV  •  By  •  0 Comments

I finally started keeping my promise to add missing older stuff to the site. For now I replaced all the movie & television stills where I had untagged HQ versions. Also I added the odd additional still, some artwork posters and on set pictures. Enjoy!

Gallery Updates
001 L’Histoire du garçon qui voulait qu’on l’embrasse – 1994 > Stills
001 La Belle Verte – 1996 > Stills
003 Taxi 2 – 2000 > Stills
002 Taxi 2 – 2000 > Artwork
002 Lisa – 2001 > Stills
003 Les Jolies choses (Pretty Things) – 2001 > On Set
001 Les Jolies choses (Pretty Things) – 2001 > Artwork
005 Jeux d’enfants (Love Me If You Dare) – 2003 > Stills
002 Innocence – 2004 > Stills
005 Cavalcade – 2005 > Stills
003 Edy – 2005 > Stills
008 Ma vie en l’air (Love is in the Air) – 2005 > Stills
004 Mary – 2005 > Stills
005 Mary – 2005 > Artwork
002 Sauf le respect que je vous dois (Burnt Out) – 2005 > Stills
004 La Boîte noire (The Black Box) – 2005 > Stills
003 La Boîte noire (The Black Box) – 2005 > Artwork
005 Toi et moi (You and Me) – 2006 > Stills
001 Toi et moi (You and Me) – 2006 > Artwork
010 Dikkenek – 2006 > Stills
001 Dikkenek – 2006 > Artwork
020 Fair Play – 2006 > Stills
007 A Good Year – 2006 > Stills
029 La Môme (La Vie en Rose) – 2007 > Stills
007 Public Enemies – 2009 > Stills
002 Nine – 2009 > Stills
325 The Immigrant – 2013 > On Set
001 Television > Chloé – 1996 > Artwork
006 Television > Une femme piégée (A Woman in Trouble) – 2001 > Stills
007 Television > Une femme piégée (A Woman in Trouble) – 2001 > On Set

6
Jun 2013
Movies, News & Rumours  •  By  •  0 Comments

James Franco, Rachel McAdams, Jeff Bridges Among Voice Stars for ‘Little Prince’

James Franco, Rachel McAdams, Jeff Bridges, Marion Cotillard, Benicio Del Toro and Paul Giamatti are on board to voice characters in a big-screen take on The Little Prince, the classic French novella by Antoine de Saint-Exupery.

The adaptation is shaping up to have a stacked voice cast, including three recent Oscar winners in Bridges, Cotillard and Del Toro.

Mark Osborne, who directed Kung Fu Panda, is helming the project, which is being produced by Onyx Films’ Aton Soumache — who produced the stylish 2006 animated film Renaissance — and Dimitri Rassam.

The story centers on a pilot who crash-lands in the Sahara desert and comes across a little boy who says he is a prince fallen to Earth from his home on an asteroid. As the pilot repairs his plane, the little prince regales him with stories about his home and the foolish inhabitants of nearby asteroids.

Bridges will voice the pilot. It was not revealed which roles the other actors were taking on.

The book, published Le Petit Prince in 1943 and translated from French into dozens of languages, proved to be a hit due to its philosophical nature, appealing to both adults and children.

– The Hollywood Reporter

1
Jun 2013
Gallery Updates, Movies, Press Updates  •  By  •  2 Comments

   

The Cannes Film Festival is now over and Marion’s last appearance took place on Friday, May 24 as she stepped out to promote James Gray’s The Immigrant. Marion attended both the photocall and the premiere of the movie alongside James Gray and co-star Jeremy Renner. She wore white to both events, an Alexander McQueen short dress for the photocall and press conference and a Dior evening gown for the premiere.

You can watch the press conference on the Official Festival site with English voice over. Hundreds of photos have been added to the gallery from the entire promotion at Cannes.

Two interviews from Cannes have also been added as well as screen captures for Marion’s interview on The Immigrant aired in May 24 on France 2 as well as a new photoshoot taken at the Festival by Fabrice Dall’Anese.

Although the reviews for The Immigrant have been mixed, Marion’s performance has been praised in all of them.

Gray clearly sees something in Cotillard that no other helmer — not even her husband, Guillaume Canet — has brought out in her before. Recognizing the deep, haunted quality of Cotillard’s gaze, he features her eyes as the soul of his story, counting on their mournful quality to play to the back of the house, even as he resists unnecessary closeups in favor of broad-canvas widescreen as much as possible.
Peter Debruge – Variety

Cotillard herself is incapable of giving a bad performance and she certainly carries the movie’s opening act
Peter Bradshaw – The Guardian

the intimately focused work is anchored by another superior performance by Marion Cotillard
Todd McCarthy – The Hollywood Reporter

Gallery:
197 Events in 2013 > ‘The Immigrant’ Photocall – 66th Annual Cannes Film Festival, May 24, 2013
061 Events in 2013 > ‘The Immigrant’ Press Conference – 66th Annual Cannes Film Festival, May 24, 2013
483 Events in 2013 > ‘The Immigrant’ Premiere – 66th Annual Cannes Film Festival, May 24, 2013
016 Events in 2013 > ‘The Immigrant’ After Party – 66th Annual Cannes Film Festival, May 24, 2013
001 Sessions from 2013 > Cannes Film Festival
002 Events in 2013 > Dior Cruise Collection, May 18, 2013
002 Scans from 2013 > Le Soir, May 24, 2013
105 TV Appearances > News Segments > JT20H, May 24, 2013
159 TV Appearances > News Segments > JT13H, July 10, 2010
001 Events in 2013 > EE British Academy Film Awards 2013 Nominees Party, February 9, 2013

Video:
001 News Segments > JT20H
001 News Segments > JT13H
001 Talk Shows > Rencontres de Cinéma

Press:
001 French Press > Marion Cotillard règne sur la Croisette

24
May 2013
French Press  •  By  •  0 Comments

Ce soir, elle monte les marches pour « The Immigrant », de James Gray. Et elle est très excitée de retrouver les frères à Seraing pour « Deux jours, une nuit ».

Entretien de notre envoyée spéciale à Cannes

Marion Cotillard, reine de la Croisette. Pour sa beauté et deux films en sélection officielle. Dans Blood Ties, film US de son compagnon Guillaume Canet, elle est italienne et fait la pute par fatalité. Dans The Immigrant, de James Gray, elle est polonaise et se prostitue pour survivre. Son côté glam, elle le réserve pour le tapis rouge. A l’écran, elle aime malmener son image. C’est sans doute pour cela que les frères Dardenne lui ont demandé de jouer Sandra, jeune femme virée de son boulot et qui va se battre pour le conserver, héroïne de leur nouveau film, Deux jours, une nuit ? Avant de débarquer à Seraing fin mai, la star française sera à nouveau l’objet de désir de tous les photographes du tapis rouge ce soir aux côtés de James Gray. Depuis La môme, qui lui valut un Oscar et lui ouvre les portes de Hollywood, elle a tourné avec Michael Mann, Christopher Nolan, Woody Allen, Soderbergh et Rob Marshall…

Vous êtes prête à tourner avec les frères Dardenne ?
Je suis très excitée. J’adore votre pays. J’y ai mon acteur préféré (Matthias Schoenaerts), mes réalisateurs préférés (les Dardenne) et mon premier amour… Avec les frères, ce sera la première fois que je tourne un film dans l’ordre chronologique. Je commence le 30 mai. Un mois de répétition, deux mois de tournage.

Qu’aimez-vous dans leur ciné ?
La manière si vraie dont ils traitent des émotions des gens, dont ils filment leurs personnages, dont ils prennent le temps d’exprimer les sentiments d’un personnage.

Comment vous ont-ils approchée ?
Je les ai rencontrés une première fois alors qu’ils coproduisaient De rouille et d’os. J’étais fort impressionnée. C’est là qu’ils m’ont demandé de participer à leur nouveau projet qui sera pour moi, je crois, une expérience unique. On répétera un mois entier avant le tournage, ce que je n’ai jamais fait auparavant. Ce sera nouveau pour moi.

On a l’impression que votre vie est un rêve…
Non, ma vie est très réelle, vous savez !

Connaissez-vous une face sombre à ce métier ?
Il y a toujours une face noire aux rêves. Ce serait…

Quand une critique vous démolit ?
Oh non ! car je reste en dehors de tout ça. Des gens me parlent parfois de ce qu’on dit sur internet, mais j’évite. Ça peut constituer un piège. Je n’ai pas besoin de savoir, et même je m’en fiche. Parfois on fait de bonnes choses, parfois de moins bonnes et les gens ont souvent tendance à sauter sur le plus mauvais. De toute façon, c’est moi mon meilleur juge. Personne n’est plus dur envers moi que moi. Si je devais écrire sur moi-même, là, ça serait une démolition en règle. Non, la face sombre est plutôt dans la vie, je ne comprends pas pourquoi l’homme met tant de temps à changer les choses. Mais dans mon métier, je ne peux pas me plaindre. Et je ne regrette jamais de ne pas avoir pu faire tel ou tel film.

Vous présentez deux films américains à Cannes. Or, dans l’un, vous parlez avec l’accent italien, dans l’autre, c’est l’accent polonais. Vous aimez ce genre de défi ?
C’est mon plus grand défi dans les films américains. De pouvoir m’imprégner de l’accent italien, polonais et, bien sûr, américain. Plus encore que l’accent, c’est la langue. Je me suis essayé à l’italien, ça a été une catastrophe. J’ai tenté pour Nine, de Rob Marshall, mais ça ne passait pas. Faire croire que je parle italien, ça, c’est vraiment l’angoisse. Alors, quand en conférence de presse, un journaliste italien m’a complimenté pour ça, j’ai failli lui sauter au cou, vous pensez ! J’ai déjà peur de ce que des Polonais vont dire de ma prestation dans le James Gray.

Entre les rêves d’enfance et la carrière que vous menez maintenant, y a-t-il un pont ?
Non, rien de comparable. Mes rêves étaient petits comparés à la vie de folie que je mène maintenant. Quand je pense à la petite fille que j’étais, jamais elle n’aurait rêvé pouvoir accéder à ce cinéma qu’elle adorait. En plus, je ne parlais pas anglais. C’est au-delà de mes rêves les plus fous.

Vous avez connu le succès dès « Taxi », en 1998. On n’imagine pas que vous ayez attendu devant le téléphone ?
Bien sûr que j’ai attendu ! Mais si je devais refaire la même chose, je le referais. J’ai énormément appris dans ces moments d’attente, de désespoir et de douleur. J’ai répondu à ces moments en travaillant plus, et plus encore. Je sais que quand j’ai commencé à recevoir des propositions inespérées, cela faisait partie de ce travail accompli. Ça prend parfois du temps pour accepter le fait qu’on a droit à sa place dans ce métier, qu’il n’est pas présomptueux de demander aux gens de venir vous voir, parce que vous avez cette folle envie de raconter des histoires et le besoin de communiquer vos émotions.

Vous souvenez-vous qu’un peu avant l’époque de « La môme », vous vous disiez prête à tout arrêter ?
Oui. Pas prête à balancer mes rêves, ça non, mais je me souviens que je vivais une réalité bien plus pauvre que mes rêves. Et je ne voulais pas foutre en l’air ma passion à cause de frustrations. Je voulais garder mes rêves intacts et pour y arriver, peut-être devais-je expérimenter autre chose. C’était une période où j’étais assez frustrée. Je voulais arrêter le cinéma, un temps. Je ne voulais plus que la tristesse m’envahisse. Je voulais travailler pour Greenpeace. J’ai toujours été impliquée dans des projets environnementaux. J’avais l’impression que mon énergie pouvait leur servir. Puis mon agent m’a dit de rencontrer Tim Burton avant de prendre ma décision. Il a bien fait !

Vous êtes aussi devenu maman…
Ça a tout changé. C’est une révolution. Sans ça, j’aurais joué Monica, le personnage dans Blood Ties différemment. Maintenant, je peux donner ma vie pour quelqu’un, pour mon fils, sans aucune hésitation. Dans le film de James Gray, je joue une immigrante qui se prostitue pour survivre. Des journalistes m’ont demandé ce que je pensais de la prostitution. Je n’ai pas de jugement. Mais je sais qu’en tant que mère, je serais capable de tout pour mon fils.

23
May 2013
English Press  •  By  •  0 Comments

Before you met him, what did you think of James Gray as a filmmaker?
I had seen Little Odessa because of the wonderful Tim Roth. I immediately responded to the visceral relationship that James has with his characters and the stories he tells. It’s very important to me to feel that telling that particular story is a matter of life or death for a director, and I could immediately tell that that was the case with James. Later, I saw and loved all his movies, particularly We Own the Night. And he films women wonderfully.

How did The Immigrant come to you?
James and Guillaume Canet became great friends as soon as they met. They wrote a first draft of Blood Ties together, Guillaume’s new film, in Paris. We met several times, shared good food and long talks about films. There were even some heated discussions when we disagreed about an actor… Some time after that, James sent me an email. He wanted to know if I would let him write a picture for me. It didn’t make any sense! I have a list of all the filmmakers I’d dream of working with, and I can assure you James Gray is on that list. I should have been asking him. I can’t express how I felt when I read his email.

What did you like about the story?
It’s a very personal movie for James. And what’s beautiful is that it’s a costume drama built on the scale of this little lady. It could be a big epic about a Polish immigrant coming to New York. But it’s an intimate work, a portrait, a character study.

The big challenge for you, who didn’t speak Polish, was obviously the language?
When I want to make a movie, I focus on the beauty of the story and the character, that’s why I didn’t panic immediately! Then I had to start working, and it got tough. There is not a single word that sounds like English or French in Polish. And yet I had no choice. I had to do everything I could to speak Polish without the hint of an accent. I had very little time, just over a month between Rust and Bone (Jacques Audiard, 2012) and The Immigrant. I worked with different coaches, one of whom was the actress who plays my aunt in the film. Mid-shoot, James came to me, startled, and said: “You sure have a lot of Polish dialogue!” He had just realized that he had written me twenty pages of Polish dialogue. Whenever I had a free minute on the set, I buried myself in my notebook. “I dreamed of it being perfect.”

Ewa sounds very different from you in real life. Did you find her voice thanks to the language?
I always try to disappear into the character as much as possible, and to find a specific way for her to speak, even in French. Polish brings a different vocal pitch, which helps to give a specific identity to the character. Speaking English in a Polish accent was difficult, but it allowed me to use a different voice. I went through a lot of books at the Polish bookstore in Paris, and saw as many Polish films as I could to listen to the language. I knew where my character was from, and I needed to understand her social background and to know more about her life. Ewa is an educated woman who trained as a nurse. She went through horrendous things that gave her great resilience. What she wants is to make a life for herself in this new country, but not without her sister. She shows amazing strength to find her.

What was shooting on Ellis Island like?
Everyone in the crew was emotional, you could sense it, because their families had arrived there at some point. It was so inspiring: the technical crew, the extras, everyone had a moving story to tell. James himself shared a lot of memories of his family. There’s a scene where Ewa doesn’t know how to eat a banana. That’s directly from his grandmother. In another scene, which is not in the final cut, she mistakes pasta for worms.

James Gray and Joaquin Phoenix have made four movies together. How did you find your place?
I certainly got mixed up with an old couple! They’re both very generous and endearing. Sometimes, when I saw that they were going to keep talking for five hours, I’d tell them: “See you tomorrow! It sounds fascinating, but I have a kid and I have to get home.” Their working relationship is wonderful to observe. And Joaquin is an impressive actor. We met every day before the shoot started, to discuss our characters. That’s when I met him for the first time. He has impeccable instincts, like a wild animal. The character of Bruno was difficult for him, he struggled a lot, and it was very moving to see him fighting with himself. Sometimes, at the end of the scene, he would come up to me and ask me to forgive him for what his character was doing to mine. I had never met someone quite as touching.

What about Jeremy Renner?
He joined quite late, but immediately felt part of the family. The four of us were like brothers and sister. I realize now that we all share an extreme sensitivity and that we all have to struggle with it. It made us closer. For Ewa, who is drowning, Orlando looks like a lifeboat that could save her. Each time she sees him, she wants to believe that she will escape, and she’s full of hope.

What memories do you keep today of The Immigrant?
It was a beautiful experience, with blessed times and others that were more difficult, because we didn’t have all the necessary funds. I loved Ewa and her spirit. And I formed a bond with James Gray that goes deeper than any other I have had with a director.