Tag: Rust and Bone

RTL.fr – Le journal inattendu

RTL.fr – Le journal inattendu

A Woman Whose Softness Could be Taken for Fragility

A Woman Whose Softness Could be Taken for Fragility

However, one would only need to exchange a few words with her to understand the subtlety of her intelligence. Aware of her professional luck, she is also extremely critical of the state of injustice and absurdity of the world we live in. She is not particularly interested in her big star tag. She runs away from it, fights to protect the small bubble she feels entitled to. Mysterious Marion Cotillard.

Q: Do you feel in any way pressured by the fact you are considered one of the most well-known french actresses worldwide ?
No. (Silence), Because I don’t see myself in that way. Yes, I think I am very lucky to be working with great directors like James Gray. And I’m very happy about what is happening to me today, but I give no thought to how I am perceived. Honestly, I never considered myself as a world icon. There are so many great actors in this world who are not necessarily under the spotlights like I am sometimes. At least, I don’t see myself at the top of something. I think I am an actress who still has a lot to learn and has been lucky enough to meet exceptional people to further her teaching.

Q: You are the lead role in James Gray’s latest film The Immigrant. Was it difficult to learn Polish to play your part ?
Well, first of all, I didn’t have to learn to speak Polish, I learnt 20 pages of a script in Polish !! (laughs) Which means I certainly don’t speak a word of Polish. There isn’t one word that vaguely resembles French or English ! Someone could have told me I was learning Chinese, I would have believed them without a doubt ! But, to be serious, it is really interesting to learn another language, because it helps to immerse yourself in the culture of another country. If you learn a language without doing any research on the local culture, your way of speaking will certainly end up being rather flat. (Silence) It is just the manner in which each language tends to put some words at the beginning or at the end of sentences that says a lot about the culture of a country. It is essential.

Q: What made you agree to work with James Gray ?
I have great admiration for his work, and this experience has been quite special, because James gives absolutely everything to his actors. All his films are highly personal. The way in which he opens his heart and his intelligence to us, actors, is something I had not experienced before. We have shared very personal things, really, that I had not told anybody else. These exchanges have helped to better figure out my character in the script, and how I was going to approach it. It wasn’t so simple for me because I had never before used my personal life to enter a character. What we shared was highly personal, though never indecent.

Q: How was your cooperation with the great director Jacques Audiard for the film De Rouille et d’os ? (Rust and Bones)
I had always dreamed of working with Audiard, though never thought I would one day. He has his own particular way of working. He does a lot of research then waits for the shooting to start so the actors can suggest ideas. He is like a poet, he ruminates ideas, then builds up his film whilst shooting. Generally, I need time before a film to prepare, but with him, it was really fast. We rapidly turned into production. And this tension in creation pushed us to use resources we never imagined. This idea to have the actors participating, that’s just genius !

Q: You don’t like being stared at, being photographed in the street, or everything that might draw attention on you. Are you scared a part of you might get stolen ?
That’s not what it is. It’s always difficult to talk about it because I don’t want to sound like I’m complaining when I am so lucky. But it is a strange thing to have your life disected and see people appropriating your personal life. I felt very strongly about this when I had my child. And it created a kind of fury deep inside, so I stepped back and I tried to get used to the fact that everyone owns a camera these days, and I can’t do anything about it. I have to get used to it, it’s not so bad. I have to ignore it and get going.

Q: You approach the subject of immigration in your latest film, what do you think about the general state of things ?
About Africa, the whole world has a great responsibility towards the fact so many people try to leave the continent which bears so many riches-though we have taken them. Today the world is a small village, if we want to know what is going on, all you need to do is read and understand. This is also our responsability, to know, be aware. We are totally responsible of the actual state of the African continent.

Icon Marion Cotillard

Icon Marion Cotillard

She radiates Old Hollywood grace and of-the-moment international style, but as anyone who’s watched her soul-baring performances can attest, France’s most in-demand export is a true original. Fellow actress Jessica Chastain interviews.

It’s nearly impossible to portray an icon. Film history is littered with failed biopics because even great actors struggle to capture the inexplicable spark that separates the merely great from the eternally unforgettable. But every once in a while, it happens. An actor captures that specific brilliance – and she becomes a legend too. That’s what happened in 2007’s La Vie en Rose, when a transformed Marion Cotillard embodied the grace, madness, and prickly resilience of Edith Piaf, singing “Non, je ne regrette rien” in her final scene with utter confidence, because Cotillard knew that she had left everything she had on the screen. The French star, born in Paris, raised by bohemian actor parents, and in a long-term relationship with French actor-director Guillaume Canet (who is directing her in this fall’s Blood Ties, in which she’ll star opposite Clive Owen), was already a rising star in Europe before her Oscar win captured the world’s attention. Now 37, she is fast becoming her own sort of global icon, a modern-day Catherine Deneuve: drop-dead gorgeous, wildly talented, insanely stylish – only with a kind of throwback, Garbo-esque steeliness. Already she’s gone toe-to-toe with Oscars’ aisle-seat actors Johnny Depp, Daniel Day-Lewis, Leonardo DiCaprio, and Christian Bale. She consistently emerges as that rare actress who needn’t trade her grace for power, who can play the vulnerable patient (Rust and Bone) or the lethal femme fatale (Inception, The Dark Knight Rises) with equal conviction. Next, Cotillard will burnish her fast-building legend with The Immigrant, as a Jass Age woman pressed into prostitution and torn between two men (Joaquin Phoenix and Jeremy Renner). As she moves among European art films, blockbusters, and prestige indies, there are precious few actresses who can keep up with her. Here, she speaks to one who is also a friend and fan, Jessica Chastain.

Jessica Chastain: Your parents were actors. When did you decide to become one?
Marion Cotillard:
There’s not one moment, but I really feld this creativity around me from my parents.

JC: What was the first role that made you dig very deep within yourself?
One of my first movies, Pretty Things. I was playing twin sisters. One of them would die, and the other would take her place. That was one of my first roles as a lead, the first time I had to explore the human soul. And actually, they were two souls! That was the first time I told myself that I could find the strength.

JC: Did it scare you when you realized that you actually had to go to those dark places?
I was never scared – well, in Public Enemies, the Michael Mann movie, I thought it was impossible to lose entirely my French accent. And actually that was impossible!

JC: You were wonderful in that movie!
Fortunately, she was half French.

JC: When you leave a character, like Edith Piaf, how long does it take you to lose her?
Well, it depends. Before doing La Vie en Rose, I never thought I would have trouble leaving a character. I even had weird, bad judgment about actors who could not get out of a role. This was something that I didn’t understand, but this was because I had never experienced the depth that I experienced with Piaf. I’m a little ashamed to say it, but it took me long, long time to separate myself from her.

JC: How long?
Eight months. Which is ridiculous, because I’m a really sane person, and everything I lived for those eight months sounded totally crazy. And I hated it.

JC: I understand. When you open your heart, mind, and soul, how can it not affect you?
Her biggest fear was to be alone. One day, I realized that I was scared to leave her alone. Which sounds totally crazy.

JC: No, it doesn’t!
But I just wrapped a movie, and the character took three days to go away. I guess when you explore someone else’s soul like we do, you always keep something. It’s like love, I guess.

JC: We can’t help but be changed and grow and evolve from the women that we play.
I guess that’s what we’re looking for, too. When I was a kid, I started to have a lot of questions about human beings, and I was a troubled child because of all these questions. I guess that’s why I became an actress. Not only because my parents were actors and, yeah, it’s a beautiful thing to tell stories, but I think I became an actress because I wanted to explore this – to explore what a human being is. Ina way, it really helped me.

JC: When I watched you in Rust and Bone last year, I just burst into tears. I immediately felt this connection to this woman.
The more I learn about acting, the more I get connected with my characters – but through my character, I connect with people who could be like the character – with women.

Watch List

The Dark Knight Rises, 2012
“Director Chris Nolan is irresistible. I knew this film would be a hard one for me. I was a new mum and had only had my son one month prior.”

Rust and Bone, 2012
“Working with director Jacques Audiard was my dream. The character of Stéphanie is one I was lucky to portray. She touched my heart.”

Inception, 2010
“This is one of my favourite movies in my filmography.”

Nine, 2009
“This was a wonderful experience. Director Rob Marshall, and working with Daniel Day-Lewis, Penélope Cruz, Nicole Kidman, Kate Hudson, and Judi Dench. No further comment.”

La Vie en Rose, 2007
“Changed my life.”

Big Fish, 2003
“I was very close to quitting acting – my dreams seemed bigger than my reality. It made me sad. Then suddenly, right at that time Tim Burton came my way.”

Marion Cotillard règne sur la Croisette

Marion Cotillard règne sur la Croisette

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.

2013 Events Up-to-Date

Over the past few weeks I updated the gallery with all the recent pictures of Marion Cotillard at various events. Notably, she visited Japan to promote ‘Rust & Bone‘ (De rouille et d’os) at the end of March and around the movie’s theatrical release there in April many additional stills and promotional pictures were released. If you live in Japan and have additional pictures and/or videos, please don’t hesitate to send them in!

I know, the Cannes Film Festival is around the corner and I’m beyond excited for Marion Cotillard’s new movies but I will not – or only sparingly – be updating this site with new things. There’s never a good time to quit but I still feel the way I posted back in December 2011 and will thus focus on updating this site with all the missing pictures, scans and videos from the past before leaving the site as an open archive.

116 Events in 2013 > 38th César Awards, February 22, 2013
077 Events in 2013 > Paris Fashion Week – Christian Dior Ready-to-Wear Fall/Winter, March 1, 2013
048 Events in 2013 > ‘Rust and Bone’ Premiere – Tokyo, March 26, 2013
050 Events in 2013 > Maud Fontenoy Foundation – Annual Gala, April 9, 2013
004 Events in 2013 > Grand Prix Hermes, April 14, 2013
004 Events in 2013 > Jumping de Chantilly, April 19-21, 2013
055 Events in 2013 > Costume Institute Gala “Punk: Chaos to Couture”, May 6, 2013
007 TV Shows > Sukkiri – 2013, aired April 9, 2013 on NTV (Japan)
002 Sessions from 2012 > ‘Rust and Bone’ Promo
037 Sessions from 2013 > ‘De Rouille et d’os’ Promotion in Japan – Session 001
011 Sessions from 2013 > ‘De Rouille et d’os’ Promotion in Japan – Session 002
030 Movies > De rouille et d’os (Rust and Bone) – 2012 > Stills
004 Movies > De rouille et d’os (Rust and Bone) – 2012 > Artwork

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