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Feb 2013
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SHE may have become a fashion icon, but Marion Cotillard’s heart lies in playing roles with soul.

Marion Cotillard is exactly as I expect when I meet her. Clad in an ivory-hued Dior pencil skirt and shirt, with nude Louboutin heels, she’s sophisticated, glamorous and charming. But despite her poise and style, she’s famous for choosing roles that enable her to disappear into a character and mask her good looks.

“I was raised with the idea of beauty in a different way,” the Parisian-born actor says with a shrug. “To me, it’s something that really comes out of you and surrounds you.”

The face of Dior since 2008, Cotillard admits to feeling pressure to uphold her fashion icon status. “The red carpet is tricky,” she says.

“You have to be yourself, otherwise it looks weird, and that’s a very hard thing to do; you’re in front of people who shout your name and take pictures. Photoshoots are different and a lot of fun, but even those took a while to get used to. I always used to think I looked like shit. I wasn’t confident at all. Now I find I can relax a little.”

The 37-year-old finds it amusing that her name has become synonymous with style.

“To be honest, I didn’t consider fashion to be an art until I became involved with Dior. They changed my vision of fashion, whereas I never paid attention to it before. Although I loved to dress up and I liked clothes, now I see it as a special form of art.”

Cotillard earned Golden Globe, BAFTA and SAG Award nominations for her latest French-language film, Rust and Bone (De Rouille et d’Os). In an emotionally gruelling role, she plays a trainer at a marine park whose world is turned upside down when her legs are crushed in a terrible accident during a killer whale show. As she adjusts to life as an amputee and embarks on a journey of self-acceptance, she begins a relationship with a single father (Matthias Schoenaerts) that’s both touching and disturbing.

Despite Cotillard’s performance being heavily tipped to earn her a Best Actress nod at tonight’s Academy Awards, she was snubbed at the nominations, which caused a stir among film critics and bloggers.

“Her Rust and Bone performance was perhaps the strongest of the year, if not her entire career,” wrote one.

“Despite rave reviews, she does not find herself on the Best Actress list,” lamented another.

However, she insists she made the film not for accolades but because she was fascinated by the topic. “It’s about love and flesh, heart and sex,” she explains. “I can imagine that when you’re in that state it’s really difficult to accept your body and accept that someone else will see and touch this body as it is.”

She acknowledges the sex scenes are confronting. “They’re very intimate and not my favourite thing to do, but without them, the movie would have missed something.”

Seeing her onscreen without limbs is a shock, but it taught her to view her body differently. “First of all, I’m very hard on looking at myself in general, but it was kind of amazing to see myself like that,” she recalls. “I was really impressed by the CGI. Actually, I like the last shot, which is my body naked without legs – I thought it was a beautiful image.”

Cotillard was raised in a household heavily influenced by the arts. Her father, Jean-Claude Cotillard, is an actor, award-winning director and a former mime artist. Her mother, Niseema Theillaud, is an actor and drama teacher. Was there any possibility she could have chosen a different career?

Her heavily accented words are expressed slowly and thoughtfully: “I could never have done a profession that wasn’t creative. But, you know, there’s a fighter inside of me. When you have the capacity to fight, when you have the ability to love life and the ability to be happy, it’s easy to be creative. And that’s a treasure my parents gave me.”

After starting out in French television, her breakthrough came in 2003 when she starred in the film Love Me If You Dare. Then, in 2008, she won the Oscar for Best Actress for her role as Edith Piaf in La Vie en Rose, putting her on the fast track to Hollywood. She recalls feeling like a deer caught in headlights at the time.

“It was kind of scary,” she admits. “I didn’t understand how things worked in Hollywood. But I met some people who helped me stay true to who I am and stay myself.”

She’s since landed major roles in high-profile movies, including Public Enemies, Nine, Inception, Midnight in Paris and The Dark Knight Rises. Although many of her French contemporaries – such as Juliette Binoche, Sophie Marceau, Audrey Tautou – are household names, Cotillard has transcended the language barrier in a way none of them have managed – something she attributes to her ability to speak with an American accent.

“I feel lucky that I can work in Hollywood,” she admits. “When I was a kid, I watched a lot of American movies and I never thought this was something that would happen to me. But once I started acting, I didn’t see any boundaries. I wanted to be an actress; I didn’t want to be a French actress.”

The star now divides her time between France and the US. “I’m a traveller. I spend half the year in America, so I like to be at home in Paris when I can.”

She’s been in a relationship with actor and director Guillaume Canet since 2007, and their son, Marcel, will turn two in May. Cotillard shrugs off suggestions that her life has changed dramatically since becoming a mum.

“Yes, you need to organise yourself differently, but I’m lucky that I can bring him with me to the set,” she says. “The most important thing to give him is love.

“Next up is a collaboration with Canet, who’s directing her in crime thriller Blood Ties opposite Clive Owen and Mila Kunis. He previously directed her in Little White Lies, in 2010. “He’s an amazing director; he knows everything about acting because he’s an actor himself,” she says.

Can working with your partner and having your son onset cause tension at home? She laughs: “It’s complicated. You have to find the right balance, definitely. Otherwise, it’s hell.”

Rust and Bone is in cinemas March 28.

Feb 2013
Awards, Movies  •  By  •  0 Comments

Marion won Best Actress at Etoiles d’Or (Golden Stars) for her performance in ‘De rouille et d’os‘ (‘Rust and Bone‘). The film itself won five awards (Desplat also won Score). A reminder that the Césars are on this Friday.

Credit to Cineuropa for information.

Best Film, Best Actress (Marion Cotillard), Best Screenplay (Jacques Audiard and Thomas Bidegain) and Best Male Newcomer (Matthias Schoenaerts). With four prizes in this 14th edition of the Golden Stars awarded by French cinema journalists and movie critics, Rust&Bone by Jacques Audiard beats Love  by Michael Haneke, which won the Best Director and Best Actor awards (Jean-Louis Trintignant).

It is worth thinking about these results since the Césars will be awarded on February 22nd. Indeed, over the past few years, the 450 members of the Golden Stars’ jury and the 4,200 members of the Academy of Film Arts and Techniques (who vote at the Césars) have very often opted for the same film. Winning prizes around the world, will Love be snubbed in its majority production country (France)? We’ll have the answer on Friday night.


Feb 2013
English Press  •  By  •  0 Comments

from Metro News (UK) / by Lesley O Toole

Marion Cotillard, 37, has won an Oscar, slept with Batman and was Bafta-nominated for playing a killer-whale trainer in her latest film, Rust And Bone

You’ve made huge Hollywood films such as Inception and The Dark Knight Rises. What was it about this smaller French film?
It was one of my dreams to work with the director Jacques Audiard [of A Prophet, Oscar-nominated as Best Foreign Film in 2010]. Then I totally fell in love with the character. You don’t read many interesting powerful female roles like this, especially one with a very unusual story.

There’s a harrowing scene where a little boy falls through the ice. Was that difficult to watch, as a mother of one?
Oh yeah. Unbearable. When I first read the script, I was weeping at the end. But it’s a beautiful tale.

Did you ever play on the ice as a kid?
No. It’s super-dangerous. I remember a scene like that in the film The Four Daughters Of Doctor March, I think. And I’ve always been so scared. I’ve always freaked out. I never did that and I will never allow my children to do that.

Your character, Stephanie, loses her legs. What are your thoughts on that?
This is something unbearable and really hard to imagine how it feels. It’s something we refuse to see because if it was us, how would you do? Nobody likes to confront their fears.

There’s an incredible scene where you communicate with an orca through a glass. How was that?
On the first day, my signs to the orca weren’t very precise and she didn’t get what I was asking her. I asked her again and she got mad at me. She screamed, and that was really weird. Even though it was super-secure and nothing could happen to me, I was in a state of shock. This was the biggest mouth ever, the biggest jaws ever and it was right in front of my face. The teeth were so scary. I was in shock. I cried right away. So we changed the orca for the shot.

There are also some quite explicit sex scenes…
I’ve never liked filming them as I don’t feel comfortable. But this story was different. The sex is a big part of the story. It’s a movie about love but also about flesh, about the body.

You won an Oscar as Best Actress for playing Edith Piaf in La Vie En Rose. Do you still get excited when you are nominated for awards?
It’s always exciting but nothing will ever be like my experience on La Vie En Rose because I didn’t expect anything that happened. I’m always happy if people like what we do. With La Vie En Rose, everything was new and I didn’t even know it was possible with a French movie.

You were out in London recently with Bradley Cooper, Ben Affleck and George Clooney. The tough part of awards season?
Yes. That’s the very good side of it. They’re very funny, very smart and very nice.

Is it true though that you have a weakness instead for Will Ferrell and Steve Carell and silly US comedies?
I totally love those guys too but that night was a lot of fun.

What are your top comedies?
Blades Of Glory and Stepbrothers.

How about Wedding Crashers, with pre-famous Bradley Cooper?
That was him? I totally forgot it was him. Oh my God. He’s the one who’s supposed to marry Rachel McAdams. I remember now.

Have you told your agents what they need to find you?
That’s not the way I work. But maybe. Because I’ve done so many dramas. I would love it to work that way. I think I still have a lot of work to do before a good silly comedy comes my way.

What performance has blown you away this year?
Naomi Watts in The Impossible. Oh my God, prepare your tissue box. I didn’t know anything about the movie except it was about the tsunami. She totally killed me. And I’m totally in love with Jennifer Lawrence. She’s a prodigy. She’s 22, it’s insane.

You were named Harvard University’s Woman Of The Year and roasted by the students. How was that?
One of the craziest things. It was a journey with amazing people so in love with their university.

What did they tease you about?
Things they didn’t like. They teased me about my very bad acting in some of the movies I’ve done and it was kind of a relief to be able to laugh about it. They teased me about The Dark Knight Rises. It was amazing because, especially in France, you don’t get to make fun of yourself. But I love to be able to talk about things that you’d like to forget.

Rust And Bone is out February 25 on DVD and Blu-ray

Feb 2013
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Marion is in talks to join the new adaptation of ‘Diary of a Chambermaid’. The following information is courtesy of Variety.

“Rust and Bone” star Marion Cotillard is in negotiations to topline Benoit Jacquot’s “Diary of a Chambermaid” (Le Journal d’une femme de chambre), based on Octave Mirbeau’s classic novel.

“Chambermaid” has been brought twice to the bigscreen: in 1946, Jean Renoir helmed Paulette Goddard in a Hollywood-set English-language makeover; and in 1964, Luis Bunuel directed Jeanne Moreau in a French-Italian adaptation.

Cotillard would star as Celestine, a young and ambitious woman who works as a chambermaid for wealthy families from 1890 to 1900. Through Celestine’s eyes, the film will shed light on the condition of house servants and perversions within France’s upper-class society at the turn of the 20th century.

Novel was published in 1900 amid the infamous Alfred Dreyfus’ political scandal. It was perceived as subversive because it gave a voice to a servant and denounced domestic service as a form of slavery.

As first reported in Variety (Daily Variety, Feb. 11), The Euros6.5 million ($8.7 million) project is penned by Helene Zimmer and Jacquot; and produced by Jean-Pierre Guerin’s new JPG Prods. and Kristina Larsen at Les Films du Lendemain. The pair last teamed on “Farewell My Queen,” which has been nommed for 10 Cesar awards.

Elle Driver is repping “Chambermaid” in international markets.

Guerin told Variety that Cotillard has met with Jacquot and is looking forward to reading the script and working with the French director.

As with “La Vie en Rose” and “Rust and Bone,” “Chambermaid” is likely to be an intense performance-driven film in which Cotillard will play a central part, appearing in virtually every shots. “Chambermaid” could also be another high-profile award-winning vehicle.

Project will bring back some of the “Farewell My Queen” crew including costumers Christian Gasc and Valerie Ranchoux, and set designer Katia Wyszkop.

Lensing is expected to kick off in March 2014.

Cotillard will next be seen in James Gray’s “Lowlife,” which is released by The Weinstein Co.; and Guillaume Canet’s English-language debut “Blood Ties.” CAA handles U.S. distribution rights.

Cotillard is repped by Adequat in Paris and CAA in Los Angeles.


Feb 2013
Awards, Movies  •  By  •  0 Comments

Various Awards news round-up.