‘Taxi‘ was released on Blu-ray in France earlier this year (buy it on Amazon.fr, Amazon.co.uk or Amazon.com) as a 15 year anniversary edition. The film has been completely remastered leading to a stunning picture quality; the disc comes with English subtitles, a new Making Of and Photo Gallery as well as with hard copy photographs and a board journal. Most of it revolves around the cars and the two main stars but Marion Cotillard is also featured. The journal starts in 1983 when Luc Besson became known and ends in Cannes 1998 when ‘Taxi‘ had become a success and they decided to do a sequel. The only thing relating to Marion Cotillard in it is that casting her was a unanimous decision. Enjoy the screencaptures:
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I know I’ve promised it a while ago and it’s long overdue. But I started scanning my pre-2007 Marion Cotillard magazine collection. After 1996 I also added all I had from 1999. ‘Taxi‘ had been a great hit the year before and Marion just received her first César nomination for ‘Most Promising Actress’ (her reaction: “I felt like saying ‘Wait! I haven’t yet shown all I wanted’, Ciné Live) and was promoting her smaller movies ‘Furia‘, ‘La Guerre dans le Haut Pays‘ and ‘Du bleu jusqu’en Amérique‘. Throughout the year her passion for acting dominated each interview.
I’ve always wanted to be an actress but I never really asked myself why. I know now that I have this career for two major reasons: First, because it allows me to take such pleasure in work that I happen to be overwhelmed with happiness while acting. And second, because this job puts me the most in danger in relation to my emotional past.
- from Studio
She was also part of The Class of 2000 by Paris Match. Guillaume Canet was too but he was away filming so he’s not on the picture. Though she did not win the César that year, they were certainly right. At the time she confided the story of auditioning for Taxi. She had been in a floating period, measuring the difficulty of succeeding in cinema but not yet discouraged. She told herself:
I’m 23 years old. If I don’t get the role I’ll consider doing something else. You have nothing to lose, pull out everything you have for the audition.
Although the first audition went well she thought she lost the part after she was nervous when she met producer Luc Besson.
Talking to Elle she said the best thing about the success of ‘Taxi‘ was that she now had a choice which projects she wanted to accept. Saying no however was very difficult so she always read the whole screenplays, waiting for something extraordinary at the end. She was looking for real actor-directors, asking “Why not admit that an actress can choose a director rather than vice versa?” She started taking Danish lessons after having seen ‘Festen‘, planned on meeting Thomas Winterberg during the Cannes Film Festival and also started learning Spanish after having seen ‘Los amantes del círculo polar‘ by Julio Medem. Loving her job she nurtured her need for cinematic culture by going to the Cinematheque.
I take notes anywhere: on the street, in my bed, in the middle of the night. I’m demanding of myself, but also of my co-stars. Acting with a great actor is a dream. With a bad one it’s atrocious.
She was also photographed for Karl Lagerfeld’s portfolio about the dream roles of actresses:
I would like to be offered to play Count Dracula as a consolation for not having been in ‘The Idiots’ by Lars Von Trier.
Talking to Ciné Live she remembered spending a day in a wheelchair in Paris with her co-star Samuel Jouy preparing for ‘De bleu jusqu’en Amérique‘.
Others looking at us, us being dependent on others – we had a unique experience. The movie is a celebration of life and hope.
She reveals about her big screen debut in ‘L’histoire du garçon qui voulait qu’on l’embrasse‘ that she did it without preparation, instinctive and spontaneous, praises Arnaud Desplechin (“It was complete happiness! He takes you by the hand and walks by your side”) and Luc Besson (“He is a killer, like Cukor he reveals in his actors both their masculinity and feminity, the only combination that can universally be touching”). She called Juliette Binoche “Romy Schneider’s heiress”, dreamt of acting along side Elodie Bouchez and Hélène de Fougerolles and was brought to tears when she remembered the magical encounter with Jeanne Moreau during a chaotic shooting (Lisa). And then went straight to laughing:
Actually, acting brings me to non-sexual orgasms! [then resuming, thoughtful and wise] Approaching yourself is the most beautiful and most dangerous thing.
- Gros plan sur la génération 2000, Paris Match, February 18, 1999
- Marion Cotillard, Studio, March 1999
- Marion Cotillard “Y a-t-il un réalisateur pour m’ouvrir le ventre?”, Elle, April 26, 1999
- A quoi rêvent les comédiennes?, Elle, May 17, 1999
- Marion Cotillard, Bleu comme toi…, Ciné Live, December 1999
Kindly do not redistribute the magazine scans at another Marion Cotillard fan site as they were scanned exclusively for ‘Magnifique Marion Cotillard’. Thank you.
001 Scans from 1999 > Studio (France) – February
002 Scans from 1999 > Paris Match (France) – February 18
001 Scans from 1999 > Studio (France) – March
001 Scans from 1999 > Elle (France) – April 26
001 Scans from 1999 > Elle (France) – May 17
001 Scans from 1999 > Premiere (France) – November
001 Scans from 1999 > Ciné Live (France) – December
I’m currently focusing on Marion Cotillard. So here some gallery updates:
Hawksley Workman music video (No Reason To Cry Out Your Eyes)
Fair Play – Stills
A Good Year – Stills
Dikkenek – Stills
Jeux d’Enfants – Screencaptures >Trailer
Taxi – DVD Screencaptures
Photo – May 2006 scanned by Mariana
Premiere 2004 scanned by Mariana