Photos and Information (from Festivals & Movies)

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Re: Photos and Information (from Festivals & Movies)

Postby JV on Sun May 22, 2016 9:19 pm

"Cannes: 'I, Daniel Blake' Wins the Palme d'Or"

"The 69th annual Cannes Film Festival came to a close Sunday night with the main competition awards ceremony at the Palais des Festivals.

Ken Loach's I, Daniel Blake won the top prize, the Palme d'Or.

Twenty-one films competed in the main competition, which has been screening the movies over the past week and a half.

Xavier Dolan's It's Only the End of the World won the Grand Prix prize. Dolan's film, starring Marion Cotillard, Lea Seydoux and Vincent Cassel, centers on a young man who returns home to tell his family he's dying.

The jury prize was given to Andrea Arnold for American Honey. Sasha Lane stars alongside Shia LaBeouf and Riley Keough in Arnold's first U.S. feature about a teen runaway who takes up with a traveling youth crew.

Two filmmakers were given the honor of best director: Cristian Mungiu for Graduation and Olivier Assayas for Personal Shopper.

Mungiu, who won the Palme d'Or for 4 Months, 3 Weeks and 2 Days in 2007, made Graduation centered around an overbearing dad keen to get his daughter into a British university at any price.

Assayas' Personal Shopper stars Kristen Stewart as a woman who is a medium and searching for her dead twin brother.

Jaclyn Jose, the star of Ma' Rosa, won the best actress honor. The film is directed by Filipino auteur Brillante Mendoza.

The best actor honor was given to Shahab Hosseini, the star of Asghar Farhadi's The Salesman. He previously starred in A Separation, also directed by Farhadi.

Farhadi's The Salesman also won the award for best screenplay.

The Camera d'Or, which honors the best first feature film, was awarded to Divines, a film by Houda Benyamina that premiered in Directors' Fortnight. Willem Dafoe presented the award.

Timecode, directed by Juanjo Gimenez, won the short film award, while the short film The Girl Who Danced with the Devil, helmed by Joao Paulo Miranda Maria, received a special distinction.

The honorary Palme d'Or was given to Jean-Pierre Leaud, the French actor who starred in François Truffaut's series of films that began with 1959's The 400 Blows..." ... tml?ref=gs ... n-du-monde ... =3&theater

"How the Assassin’s Creed Movie Brings the Video Games to Life"

"The world of the Assassin’s Creed games spans the entire globe and the entire history of human civilization – from Adam and Eve (it’s complicated) all the way up to the 21st century. For those involved in creating a movie based on the games – producer and star Michael Fassbender, director Justin Kurzel, and screenwriters Michael Lesslie, Adam Cooper and Collage – this left an enormous number of options to choose from when selecting the setting of the film’s historical segments. Ultimately, it was 15th century Spain that won out, and the bloody history of the Spanish Inquisition.

In addition to creating these historical scenes (which constitute approximately one third of the film’s running time), there was also the challenge of bringing to life the video games’ modern world, which includes the warring factions of the Assassins and the Templars, who now hide behind the corporate face of Abstergo Industries. It’s Abstergo that snatches Fassbender’s modern character, Cal, from the jaws of execution and whisks him away to a top secret facility in Spain, where he is forced to relive the memories of his ancestor, Aguilar, by way of a machine called the Animus.

All of this will sound very familiar to fans of the games; barring the character details and historical settings, it’s more or less the plot of the very first Assassin’s Creed game. And with Ubisoft maintaining a strong creative presence in production (the video game developer and publisher recently created a film production branch, Ubisoft Motion Pictures, which co-financed the movie with Regency Pictures), the filmmakers had all the resources they needed to bring the aesthetic and physicality of the film to life.

During our visit to the set of Assassin’s Creed, we got up close to the sets, costumes and weapons that will be featured in the movie, and spoke to the people who made them. What we found out will give fans of the games – and even people who’ve never played them at all – reason to get excited...
One of the biggest challenges of filming historical movies is eliminating all touches of the modern from location shoots. There are a number of ways to get around this; some directors choose to create entirely CGI environments, others build huge sets, and where possible location scouts try to find places that can pass for historical settings. For Assassin’s Creed, production designer Andy Nicholson used a combination of all three.

“One of the most difficult things, actually… is the fact that the period regression was 15th century Spain. There is nowhere, really, where you could shoot a city scale version of that scene… We used Valletta and Malta because it had a great amount of surface texture detail. It’s a small capital city that is stuck on a peninsula in the middle of the sea, so it’s really aged and run down…. I mean it’s not Spanish. It’s not the same city it would have been. It’s sort of a similar road plan from parts of Seville, but not the older parts.”

Using Valletta, Malta’s capital city, essentially got the filmmakers close enough to 15th century Spain that any anachronisms and details that gave away the set as being in Malta could be cleaned up and altered in post-production.

“It was mainly about the texture that gives you so when you are altering, in post… 70% of what you see is fine and we were just creating and refining details to make the period correct. And the space really had a scale it gave us because of the height of the buildings, the narrowness of the streets, and the depth that you can get was really important. So that was the most important thing to take into account.”

Easily the biggest scene filmed on the Malta set was the auto-da-fé, which can be seen in the trailer, where Aguilar and his fellow Assassins are put on display for their crimes (and break free). “We built a huge, dramatic, gothic woodwork black set of bleachers overlooking the stage where the inquisition was happening,” Nicholson explained. “That was with 800 and something extras all in costume, along with the king and the queen and the inquisitor. That was a huge scene.”

Abstergo & The Templars

In stark contrast to the scenes set in 15th century Spain, which use a color palette that costume designer Sammy Sheldon describes as “very warm and fire and earthy and vibrant,” is the modern set that was built for Abstergo Industries – the set that we explored during our visit to Pinewood Studios. The facility is also in Spain, but set into the side of a mountain and built within the ruins of an old Templar church – a clash of old and new. As Nicholson explained, every aspect of the facility’s design is stark and claustrophobic:

“This building has no windows. You could escape from this building, but if you just woke up in it, where the f— would you go? You run down the corridor and it’s like there’s a staircase that doesn’t go anywhere. That kind of stuff; that’s sort of the embodiment of that within this building.”

The architecture of the Abstergo building is reflected in the costumes of the “patients” (we are told that they are not prisoners, though the characters themselves might not agree), who wear plain grey pyjama-like clothes with the Abstergo logo at the nape of the neck, and no other decoration. Perhaps the most interesting thing in Abstergo’s facility, however, is the Animus – the machine that allows people to relive the memories of their ancestors by tapping into their DNA. The Animus, was completely redesigned for the movie, as Nicholson explained:

“The most challenging was coming up with the new Animus machine, the variation of what that was, because that was a radical departure from what’s in the game, a much more visually developed, specifically for the movie, playing with the sort of motifs and ideas that were in the game in terms of what the regression is all about, but taking it to a much more photographically interesting level, a much more performance-based level than currently in the game… When you cut back to someone they can’t just be twitching.”

Nicholson also offered some intriguing hints about how the regression works. We asked if it’s like it is in the games, with the subject experiencing a strange white and blue virtual environment (which serves as a loading screen) where the memories are built. Nicholson says that this does not appear in the movie, and that there is instead a whole new approach to the regression:

“We’re doing a lot of that with the visual effects that lead you into…the transition of that is dealt with in the way that we play the Animus machine and the actual chamber it occurs in. There’s much more of a crossover in the movie than there is in the game. You don’t sort of pass out and then see an effect and then you are back in time… It’s important for the witnesses watching in the regression to be able to see what’s going on around them. So there’s much more of a physical projected crossover whilst you are on the outside watching, which is one of the most interesting things about the way we’re doing the regression.”

Based on this, it sounds like the Templars – particularly Marion Cotillard’s character, Sophia Rikkin, and her father Alan Rikkin (Jeremy Irons) – will be able to observe Aguilar’s surroundings through some kind of holograph projected within the Animus chamber. This is something that hasn’t really been shown in the trailer, so it will be interesting to see it in action.

The Assassins

Of all the things included in the set tour, easily the coolest was the reveal of the modern Assassin wristblade. Though the wristblades in the game grew steadily more ornate and elaborate, modern Assassins require something a little more easily concealed, which cannot be discovered in a basic pat-down search, nor trigger any alarms on metal detectors. The wristblade is assembled from pieces of a pen, a watch, a phone, a shoe, and a belt – all items that will appear innocent when examined individually, but which come apart to form components of the deadly weapon.

Though the modern wristblade design was created for the movie, there are plenty of recognizable weapons from the games (weapons master Tim Wildgoose was already a fan of the series), including Connor Kenway’s bow from Assassin’s Creed III. We know that some of these weapons may end up being used on screen, since at least one Assassin from the video games is confirmed to make an appearance, along with potentially others, but Wildgoose says that many of them are for display purposes only – perhaps part of Abstergo’s collection.

Along with the wristblade, the most iconic component of the Assassin “look” is the classic robe with its beak-like hood. “Everything is hand done…. I’ve got a team of 85, and we have teams working on each assassin,” Sheldon revealed. Just as the brief for the weapons was to make them both functional and beautiful, Sheldon told us that Kurzel wanted the clothing to feel “ancient and beautiful, and very traveled and worldly.” And, of course, it didn’t hurt to have so many games to use as a reference point.

“[The most challenging costume was] probably Michael’s costume, the Aguilar costume, because we had to design that one first in order for us to set our version of the Assassin. So we started with him, pulled all the ideas from the 15th century Spain Moorish influence and then the tribal, nomadic influence, put that all in together. And we also have the kind of guidelines of what the game involves in terms of the iconography of an assassin with particular lines of the body and the shape of some of the clothing.

“We constantly ask Ubisoft for any reference that might help us in order to make our own versions… One of our biggest challenges, I think, was how to work the hoods out. Because if you are dealing with a digital image, you can manipulate the surface of anything from shot to shot. But when you put a hood on somebody, it covers their face, it moves all over the place… We’ve probably been through 20 or 30 version of the hood before we got to a point where we could say, ‘All right. We know where the seams to be in order for it to fit on the head to look like the game.'”

As for where the Assassins themselves live, Nicholson said that the Assassin den was “a fantastic location we’ve got in Spain, a castle,” where audiences will be able to see some of the powerful artifacts left behind from the First Civilization – an ancient race whose secrets were gradually uncovered in the games.

Stunts and Parkour

Probably the worst thing that could have happened to Assassin’s Creed would be a bunch of rubbery CGI creations pulling off the amazing parkour moves from the games, which is why real parkour experts were hired to perform the tricky stunts and fast-paced on-foot chase scenes of the movie. Not only that, but Valletta was chosen for its winding streets and close rooftops, and the practical sets were built in the same way as a video game level – with traversal in mind. Nicholson said:

“It was important to factor that kind of three-dimensional thinking into it. You know, thinking of walls you can climb, spaces you can jump across, not just rooms to set a scene… There’s a certain pace and a certain choreography to the way the fight sequences and running sequences occur in the game. And it was important to have spaces that could accommodate all of that.”

Not only did the locations need to be designed around free-running, Sheldon also had to think practically about what kind of shoes Assassins would wear; after all, they couldn’t have 15th century characters running round in sneakers. Because of this, the footwear was specifically designed with free-running in mind.

“All the boots for all the assassins have been made as a parkour sole inside. I’ve got this amazing guy who makes boots for me. And inside the boots are various supports and things so they can do all the running. And not one of them has said they don’t like their boots. They love them.”

There’s plenty of room for skepticism when it comes to Assassin’s Creed, or any other video game movie. After all, gamers have been burned before (many, many, many times) when it comes to Hollywood’s attempt to tackle their favorite franchises. But our peek behind the scenes of Kurzel and Fassbender’s take on the aesthetics and mythos of the Assassin’s Creed games left us hugely excited to see this movie – and to spot all of its hidden Easter eggs and details – when it arrives in theaters later this year.

Assassin’s Creed is set for release on December 21st, 2016."
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Re: Photos and Information (from Festivals & Movies)

Postby JV on Mon May 23, 2016 4:08 pm

"Cannes: Canada Applauds Xavier Dolan Following Grand Prix Win for 'It's Only the End of the World'"

" Jessica Chastain, who is set to star in the Canadian director's next movie, tweeted: "Forever proud of you baby!!"

Count Jessica Chastain among Xavier Dolan's biggest fans, just as his native Canada on Sunday applauded the young director's Grand Prix win Sunday at the Cannes Film Festival.

"CONGRATS @XDolan on Grand Prix!!!! Forever proud of you baby!!!," Chastain tweeted after Dolan won the second-place trophy in Cannes for his family drama It's Only the End of the World.

"@jes_chastain thank you honey! I am so so so touched! Can't tell you what the Emotion here is like!" Dolan replied on his own Twitter account to Chastain, who is set to co-star along with Natalie Portman in the Canadian director's first English-language movie, The Death and Life of John F. Donovan.

Dolan got into another Twitter exchange with film blogger Jessica Kiang, who wrote: "I think Cannes might just have ruined Dolan forever. No chance he's going to rein it in now." Dolan dismissed Kiang's criticism with his own tweet: "I'll be alright, Jess. As long as I ignore your cheap parallelism between a life you don't know and a play you've never read."

Dolan's defying critics to pick up the Grand Prix, along with the Ecumenical Prize on Saturday, stirred pride back in Canada. "Dolan’s two latest awards at Cannes are renewed recognition of his immense talent, of course, but also of the determined effort and sheer perseverance he has demonstrated from the outset. For all those reasons, he is a source of pride for us and for all Canadians," Carolle Brabant, executive director of Telefilm Canada, the country's biggest film financier, said in a statement following Dolan's wins.

Emily Hampshire (12 Monkeys), who is also set to appear in The Death and Life of John F. Donovan, also applauded the Grand Prix win on her Twitter account: "This. Is. An. Artist!" It's Only the End of the World stars Vincent Cassel, Marion Cotillard and Léa Seydoux and portrays a man who returns home after a long absence to tell his family that he is about to die.

Dolan in 2014 grabbed the third place Jury Prize for Mommy, a prize he shared with French director Jean-Luc Godard. It's Only the End of the World is the director's sixth film, and the fifth to screen in Cannes.
5/22/2016 by Etan Vlessing ... lan-896392

" Canadian director Xavier Dolan scores polarizing Grand Prix win at Cannes"

"Canadian film-maker Xavier Dolan has captured the Grand Prix at the Cannes Film Festival for his controversial film Juste la fin du monde (It’s Only The End of the World).

The movie – about a gay playwright who returns to his hometown in rural France to announce his impending death – took what is considered the second-highest honour at the prestigious film festival despite getting decidedly mixed reviews from critics.

“An award like this one is unexpected and extremely appreciated,” Mr. Dolan said in a teary acceptance speech. “Everything we do in life, we do to be loved, to be accepted. I will make films my whole life, loved or not.”
That is far more diplomatic than what he said earlier in the week when he mocked the movie tastes of some of the critics who dissed him and said “Cannes needs to chill out.”

The New York Times reported that the announcement of Mr. Dolan’s win was booed by the press, who watched the awards ceremony in a live feed from a theatre in the same building.

The top prize at the festival, the Palme d’Or, went to veteran British director Ken Loach for I, Daniel Blake. A film about a widower who suffers a heart attack, it is an open critique of the Britain’s austerity measures and its fraying social safety net.

Mr. Dolan had the best showing by a Canadian at Cannes since 1997, when Atom Egoyan captured the Grand Prix.

The 27-year-old director and actor has been the darling of Cannes since his first film, J’ai tué ma mère (I Killed My Mother), premiered there in 2009.

This year, however, it seemed that the sheen had come off the golden boy as critics labelled It’s Only The End of the World a “frequently excruciating dramatic experience (Variety) and “disappointment, even for the Dolan faithful” (Hollywood Reporter).

The Guardian, however, praised it as a “brilliant, stylized and hallucinatory evocation of a family dysfunction.”

In his acceptance speech, an emotional Mr. Dolan got in his digs at critics by quoting French novelist Anatole France: “I prefer the folly of enthusiasm to the indifference of wisdom.”

As an artist, “you have to remain faithful to yourself no matter what others say about you,” he added.

On his left hand, he had written the words: “I must not tell lies.”

Mr. Dolan has never been lacking in self-confidence. After he won the jury prize for Mommy in 2014, he told French Vogue magazine: “I have to say I’m disappointed not to have won the Palme d’Or.”

Mommy shared the jury prize with French filmmaker Jean-Luc Godard. It went on to win a César (France’s version of the Oscars) as best foreign film and was a smash hit on the art-house film circuit worldwide.

Five of the six films he has made to date in his prolific career have been on the bill on Promenade de la Croisette.

Mr. Dolan’s other films include Les Amours Imaginaires (Heartbeats), Laurence Anyways (which earned an acting prize at Cannes for Suzanne Clément) and Tom à la ferme (Tom At The Farm).

Last year, Mr. Dolan served as a jury member at Cannes.

Mr. Dolan, born in Montreal, is the son of Geneviève Dolan, a teacher, and Manuel Tadros, an Egyptian-born Canadian actor. Mr. Dolan began his acting career as a five-year-old, and continues to act, as well as write scripts, direct and produce movies.

Last year, he also directed the music video for Hello, the hit single by Adele.

It’s Only the End of the World, which features an all-star cast of French actors, including Léa Seydoux, Marion Cotillard and Vincent Cassel, is set to open in Canada in September. It is based on the play Juste la fin du monde, by Jean-Luc Lagarce, a French author who died of AIDS in 1995.

Mr. Dolan is already at work on his next feature, The Death and Life of John F. Donovan, which will be his first English-language Hollywood movie. It stars Kit Harrington, Jessica Chastain and Natalie Portman.

On Sunday, Ms. Chastain tweeted her congratulations to the Quebec director, writing: “Forever proud of you baby … woohoo!!

Mr. Dolan replied almost immediately: “Thank you honey! I am so so so touched! I can’t tell you what the Emotion here is like!”
ANDRÉ PICARD ... cmpid=rss1 ... and-awards

"JUSTE LA FIN DU MONDE - Press Conference - EV - Cannes 2016"
"JUSTE LA FIN DU MONDE - Les Marches - VF - Cannes 2016"

"Behind the Seams: All About Marion Cotillard's Luxe Dior Look at Cannes"

"Marion Cotillard always shines at Cannes — but she rarely does so as literally as she did at the From the Land of the Moon premiere Sunday. She owed her majorly radiant moment in part to her custom Dior gown, and in part to her trusted glam squad, and we loved her look so much, we got behind-the-scenes details about both.

The gold lamé Haute Couture gown was created just for the Dior brand ambassador based on her “wishes and inspirations,” according to a press release. The brand’s petites mains (highly skilled couture tailors) stitched the gown to minimize seams and maximize the appearance of the gown being draped directly onto the body. They also employed tricks including a structured organza foundation beneath the lamé and a chain sewn into the hem to make Cotillard’s walk down the red carpet seem more like a fluid glide. The result? A deceptively understated gown that took dozens of hours to create.

Also deceptively simple? Cotillard’s sleek ponytail, created for her by Adir Abergel. “The look was was about simplicity and chic-ness. It was simple, side-parted, minimal,” he told PeopleStyle. “Because the dress almost has this beautiful, incredible, vintage feel to it, truly kind of from another era, I really wanted to take it and modernize it, almost the dichotomy of it, but at the same time, pay homage to the sleekness of the dress … It was just that beautiful pop of red brick [lipstick] and a super simple chic low ponytail. And I had cut her hair the day before.”

Wait, what? “I would say I took off four inches,” he says. “She’s a true artist and she respects artists, so it’s a beautiful way to collaborate with someone, because there is just that trust of: You’re an artist, do what you think is going to look best. It was totally spur of the moment. I did in maybe 20 minutes!”

For her ponytail, he worked in Living Proof’s “lightweight, easily pliable” mousse with Ouai’s hair oil for “shine and sparkle from mid-shaft to ends.” Then he parted it, blew it dry in that direction and flat-ironed the ends for “crispness.”

The finishing touch for the star stylist, who’s been on a streak lately when it comes to fun hair accessories: a leather cord wrapped around the pony’s base. “I wanted to keep that kind of chicness and effortlessness from that great velvet in front [of the gown],” he explains. “I didn’t want to introduce anything new to the hair … Originally I was thinking of using a sparkly gold thing cause thought it would tie in the gold, but then I didn’t. I loved it, but it took it to a different place.”
Alex Apatoff, reporting by Jackie Fields ... -dior-gown

"Interview: Cotillard inspired by director's "wildness" in Mal de Pierres"

"CANNES, France (Reuters) - Academy Award winning actress Marion Cotillard says the inspiration for her portrayal of the heroine, Gabrielle, in "Mal de Pierres" was the wildness and "fire" of director, Nicole Garcia.

The film - also billed as "From the Land of the Moon" - premieres at the Cannes Film Festival on Sunday and is one of 21 movies in competition for the Palme d'Or prize.

Cotillard, who won an Oscar in 2008 for playing Edith Piaf in "La Vie en Rose", says of Garcia: "I was very inspired by Nicole, she carries in her this fire, this passion, this wildness that Gabrielle carries. That was my first source of inspiration."

"She manages not to be what people would want her to be," the 40-year-old told Reuters in an interview on Sunday.

Cotillard stars as a young woman in post World War Two France, driven by her desire to find love but married off by her parents to Spanish farmer Jose, played by Alex Brendemuehl.

She sees her chance to escape the confines of her life with Jose when she meets Indochinese war veteran, Andre, played by Louis Garrel.

Adapted from Milena Agus's 2006 novel "Mal di Pietre", Cotillard and Garcia had discussed making the book into a film several years ago, but had to wait while Cotillard fulfilled other work committments. She starred in five films last year and will feature at least in four in 2016.

"Marion was just the right person for the role," Garcia told a news conference.

"I don't know who else could have portrayed this character, it's only Marion who conveys this sensuality, my feeling is that her body is so expressive."

Garcia last presented a film - "Charlie Says" - at Cannes in 2006 and her only previous entry was "The Adversary" in 2002."
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Re: Photos and Information (from Festivals & Movies)

Postby JV on Thu Jun 30, 2016 12:14 am

"It's Only the End of the World trailer: Marion Cotillard stars in Xavier Dolan's tense family drama"

"French-Canadian director Xavier Dolan is just 27 years old, but has already helmed six feature films (and one Adele music video) that have garnered international acclaim at film festivals and beyond. Now a new trailer for his latest project, the Cannes Grand Prix-winning It’s Only the End of the World, has premiered online.

The trailer sets the scene for a dysfunctional family drama revolving around a terminally ill young man, Louis (Gaspard Ulliel), returning to his childhood home to inform his kin of his impending death. Tensions arise as Louis makes the emotional journey, butting heads with his mother (Nathalie Baye), a sister he barely knows (Lea Seydoux), and an ominous older brother (Vincent Cassel) — who has a “charming” wife (Marion Cotillard) — along the way.
Dolan is currently in production on his first English-language movie, The Death and Life of John F. Donovan, which features an all-star cast including Natalie Portman, Kit Harington, Jessica Chastain, Nicholas Hoult, Taylor Kitsch, Susan Sarandon, Michael Gambon, Bella Thorne, and Kathy Bates.

It’s Only the End of the World premieres Sept. 21 in Quebec and France, though the film currently has no domestic distributor or release date. Watch the trailer in the video above, and check out a few clips from the movie, below."
by Joey Nolfi ... ld-trailer

"‘Assassin’s Creed’ International Trailer: Michael Fassbender Prefers Kicking Ass In Slow Motion
Michael Fassbender is brought back from the dead in the latest sneak peek of the video game adaptation."

"Justin Kurzel’s “Assassin’s Creed” is shaping up to be one of the select few video game adaptations that fans and critics will enjoy.

Starring Michael Fassbender and Marion Cotillard, criminal Callum Lynch (Fassbender) was set to be executed. But when the Templars learned of his Assassin ancestry, they faked his death in order to use him for their mission. Now, Callum must relive the memories of his ancestor Aguilar, a Spanish assassin, in order to acquire his skill set. However, once he becomes a trained assassin he will use his deadly skills to battle the powerful organization.

Michael K. Williams, Ariane Labed, Jeremy Irons and Brendan Gleeson also co-star.

The international trailer shares similarities with the first video that was released in May, but focuses more on Fassbender as he is brought back from the dead. The film is based on the action-adventure video game series created by Ubisoft.

“Assassin’s Creed” will be unleashed into theaters on December 21."
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Re: Photos and Information (from Festivals & Movies)

Postby JV on Wed Jul 27, 2016 1:12 am

"Marion Cotillard given France's highest honor
Marion is among the 650 names from politics, culture, sport, and public life given the Legion d'Honneur"

"PARIS, France – Oscar-winning actress Marion Cotillard was among those put forward for the Legion d'Honneur, France's highest honor, as the country celebrates its national day on Thursday, July 14.

The 40-year-old star was among some 650 names from the worlds of politics, culture, sport, and public life published in the government's official journal for Bastille Day.

Cotillard was the first French woman since 1960 to win America's top acting prize for her portrayal of singer Edith Piaf in the 2007 La Vie en rose, and she was nominated again last year for her turn as a depressive mother in Two Days, One Night.

France gave Cotillard its top artistic gong in 2010, but the actress winced when then culture minister Frederic Mitterrand jabbed the pin through her blouse as he made her Chevalier des Arts et des Lettres. []

The Legion d'Honneur is awarded three times annually – at the start of the year, Easter and Bastille Day – with civilians taking two thirds of the places on the list and the military making up the rest.

Among other recipients of the prestigious award announced Thursday were photographers Raymond Depardon and Sebastiao Salgado. –" ... -d-honneur ... tml?ref=gs

"Hollywood comes to Ely as cathedral closes for filming of Assassin’s Creed movie starring Michael Fassbender and Marion Cotillard - so keep your eyes peeled for a touch of star spotting"

"Hollywood is back in Ely today (Tuesday) with the cathedral closed while the cameras roll for filming of what is believed to be action blockbuster Assassins Creed starring Michael Fassbender, Marion Cotillard, and Jeremy Irons.
Crews were setting up ready for filming last week and people living close to the cathedral were warned about what would be happening in letters.

However, the letters did not mention Assassins Creed but referred to the film as Time Out of Mind - which it is understood is the in-production title of the movie which is based on the hugely popular action-adventure video game series created by Ubisoft.

The film is directed by Justin Kurzel who was in the city with Fassbender in 2014 when the pair worked together on MacBeth which was released last year.

This latest film from 20th Century Fox will be set in the same universe as the video games. Filming began in August last year and is due to be released at the end of the year.
Chances are Fassbender and co will be in the city so there is an opportunity of a bit of star spotting if you are in Ely today so let us know if you happen see them by contacting us on 01354 661955 - we’d love to hear your story.

A cathedral spokesman refused to comment on the film because of confidentiality agreements but the cathedral’s website confirms the historic building is close today due to ‘an event taking place’ and there is an apology for any inconvenience caused.

There is a sign on the door to the cathedral asking those working on the filming to ‘respect the religious and historical nature of this building’.

It says food and drink should not be taken into the building other than sealed water containers and the crew must also keep their voices and the volume on their radios down.
Ely is fast becoming a popular venue for filmmakers. Among the first Hollywood stars to hit the city was Al Pacino in the early 1980s when he was making the American fight for independence epic ‘Revolution’.

The city doubled as Philadelphia for that film and the green outside the cathedral was among the sites used for filming.

More recently the cathedral was the backdrop for Netflix 10-parter The Crown which was filmed last year.

In 2014 Fassbender and Kurzel used the cathedral for Macbeth.

Oscar winning Elizabeth the Golden Age starring Cate Blanchett was filmed in 2006 and keeping with the royal theme ‘The Other Boleyn Girl’ (2007) and The King’s Speech (2009) with Colin Firth also made use of the cathedral.

In 2013 it was used for the making of futuristic fantasy Jupiter Ascending which starred Mila Kunis and Channing Tatum.
Sarah Cliss ... _1_4631932

"Ely Cathedral closed today for filming of huge new action blockbuster, Assassin's Creed"

"Scenes for huge new action blockbuster Assassin's Creed are being filmed at Ely Cathedral today (Tuesday) – meaning Hollywood stars Michael Fassbender and Marion Cotillard could be in the city.

Fassbender and Cotillard were in Ely in 2014 when banquet scenes for Macbeth, directed by Justin Kurzel, were shot in the cathedral's stunning Lady Chapel.

Film crews started to set up at the cathedral last week and a letter posted to nearby residents and businesses says the filming is for a new feature film called Time Out Of Mind, which confusingly is the same title as a 2014 Richard Gere movie.

But sources have told the Ely News that the filming is for Assassin's Creed – and a quick Google search finds a lot of online talk about Time Out Of Mind being the on-set name of Assassin's Creed, an upcoming action adventure film based on the video game franchise of the same name.

It is directed by Justin Kurzel and stars Fassbender, Cotillard, Jeremy Irons, Brendan Gleeson and Michael K Williams.

The 20th Century Fox film will be set in the same universe as the video games and feature an original story that expands the series' mythology.

Filming began in late August last year and the movie is scheduled to be released on December 21 in the United States.

A cathedral spokeswoman said they could not speak about the filming as confidentiality agreements had been signed.

However, numerous sources have told the Ely News the filming is for Assassin's Creed – and that filming is due to take place today (Tuesday) and/or tomorrow (Wednesday).

The cathedral is closed all day today (Tuesday) "due to an event taking place".

A statement on the cathedral website says: "The cathedral will be closed to the general public all day due to an event taking place in the cathedral.

"Alternative external tours of the cathedral grounds and buildings will be arranged.

"The Chapter apologise for any inconvenience this may cause."

A sign has gone up at the entrance to the cathedral, asking the crew to be respectful of its religious and historical nature, and for food not to be consumed inside, other than water in sealed containers.

They have also been asked to keep their voices and radio volumes down.

The cathedral is extremely popular with visitors and residents alike, but it's also becoming a favourite with filmmakers.

Scenes for award-winning Netflix drama The Crown were filmed at the Ship of the Fens, as were scenes for Elizabeth: The Golden Age, The King's Speech, Jupiter Ascending, The Other Boleyn Girl and The Other Man.

The cathedral has previously been nominated as the Best Film and TV Location in the East of England. ... story.html ... story.html
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Re: Photos and Information (from Festivals & Movies)

Postby JV on Sun Aug 28, 2016 11:55 pm

"Brad Pitt, Marion Cotillard Are Spies in Love in ‘Allied’ First Trailer"

"Brad Pitt and Marion Cotillard are spies in love in the tense first trailer for Robert Zemeckis’ World War II romantic thriller “Allied.”

“Is this a game?” Pitt asks in the 60-second teaser, released by Paramount Pictures on Friday. “A test,” he’s told.

Pitt stars as a U.S. intelligence officer Max Vatan who encounters French Resistance fighter Marianne Beausejour (Cotillard) during a mission behind enemy lines in Casablanca in 1942 to kill a German ambassador. They’re forced into a pretend marriage that develops into a real love eventually tested, when they reunite in London, by the pressures of war and the secrets of their past.
Pitt returns to WWII after his recent turn as American tank commander Sgt. Don “Wardaddy” Collier in David Ayer’s drama “Fury” and Lt. Aldo Raine in Quentin Tarantino’s 2009 alternate history movie “Inglourious Basterds.”

Academy Award winner Zemeckis, who last teamed with Paramount on Denzel Washington’s “Flight,” could be back in the Oscar game with this spy thriller after last year’s Joseph Gordon-Levitt-starrer “The Walk” couldn’t go the extra mile.

Steven Knight wrote the screenplay based on a true story he was once told. Knight is also an executive producer, along with Patrick McCormick, Denis O’Sullivan, and Jack Rapke. Zemeckis and Graham King produce.

The film, which also stars Lizzy Caplan, Matthew Goode, Raffey Cassidy, Charlotte Hope, and Jared Harris, hits theaters on Nov. 23."
Maane Khatchatourian ... 201836384/

"In Robert Zemeckis' romantic wartime thriller Allied, set in 1942 Casablanca and London, Brad Pitt and Marion Cotillard are anything but the usual suspects. In fact, they're undercover operatives — he's from Canada, she's from France — with secrets to uphold and romance to pursue. It's impossible to see them together and not think of Humphrey Bogart and Ingrid Bergman. Costume designer Joanna Johnston (Lincoln), who's worked with Zemeckis eight times, pitched the director on upping the glamour quotient for his two leads. Zemeckis agreed. "These magnificent costumes evoke the romantic feel of the era," he says.

With Casablanca and the Bette Davis starrer Now, Voyager (both from 1942) as guides, Johnston's aesthetic for the era focused on simplicity and beauty. Cotillard's gown when the two attend a formal reception for the Nazi ambassador to Morocco was an exercise in fluidity. "I wanted to do something that was quite languid but also structural," Johnston says. "I wanted her to be watery." Johnston added a three-dimensional embellishment of bugle beads to the left shoulder and right peplum to give the outfit both an asymmetry and a chicness."
For Pitt, Johnston stuck to a classic 1940s tuxedo, featuring front-pleated pants and a slightly longer jacket and wider leg than men wear today. She was careful not to stray too far from the current style. "I always take into consideration how it will be for the contemporary audience," she says. "If anything is too period, people turn away." ... 00454.html ... 0s-finery/
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Re: Photos and Information (from Festivals & Movies)

Postby JV on Thu Sep 22, 2016 2:00 pm :!: ... 06525.html

"Allied (2016) - 60 Spot - Paramount Pictures"

"Brad Pitt and Marion Cotillard star in #Allied. In theatres November 23rd.

ALLIED is the story of intelligence officer Max Vatan (Pitt), who in 1942 North Africa encounters French Resistance fighter Marianne Beausejour (Cotillard) on a deadly mission behind enemy lines. Reunited in London, their relationship is threatened by the extreme pressures of the war."
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Re: Photos and Information (from Festivals & Movies)

Postby JV on Sun Dec 04, 2016 7:03 pm

"France’s Marion Cotillard, one of Oscar’s rare winners with a French language performance as Edith Piaf in LA VIE EN ROSE (2007), is speaking French – and English! – in Robert Zemeckis’ ALLIED. Cotillard’s Marianne is a WWII Resistance fighter, a spy whoose deadly mission in 1942 Casablanca pairs her with Brad Pitt’s Max, a Canadian working for the British forces. It’s hardly coincidence that that French Moroccan city or that year connect to Hollywood's justly beloved classic, 1942’s Oscar winning Best Picture CASABLANCA. Like that tale of wartime intrigue ALLIED is primarily a romance set against the cruelties and horrors of war. Strangers, Cotillard and Pitt must convincingly construct from their first very public meeting a long-time still amorous couple for the city’s Nazi rulers. Their very lives depend upon it. While determined not to get involved, the day before their mission they drive (in a very small car) to the nearby desert. As they sit, tension builds and once Cotillard says, “Tomorrow we may be dead,” reason and restraint are abandoned as they give way to passion. What follows, as directed by Zemeckis with style and stunning control, is a scene of sexual intimacy, bodies contorted and straining as a sandstorm rages. The camera circles and twirls inside the small space as the lovers kiss, disrobe, constantly changing positions in an erotic dance of desire.

“Because of the complexity of the feelings, of the story, we talked a lot about it before we started filming,” Cotillard began in her perfectly realized English. “That was a great time to share and decide what we really wanted to tell, which is a love story basically. When you go on set after you’ve gone thru this process and with Brad get to know each other thru rehearsals, it’s easy then when you come on set because you’ve explored who she is, who they are and which story are we telling.

“We got the chance to share for almost three weeks every day. We were together talking about the script and who these people really are. The biggest challenge for me is always technique. For this movie I had to have a British accent but that I could keep my French accent was a great thing. Actually,” she added, “speaking French, even with Bob who doesn’t speak French, sometimes I wasn’t confident I was doing a good job with my French because on set it’s hard to step back when you’re into the character. I would say I freaked out when it came time for our French scenes.”

As for that first intimacy – soon they marry, have a child and settle outside London -- “That’s the kind of scene that is not very easy,” Cotillard admitted. “We rehearsed and had very predetermined choreography which allows you freedom. When you know exactly what your body will do, then you can act and be free to give the emotion, give the feelings, because you won’t be thinking, ‘What will I do next? Am I going to get on top of him?’ It’s an awkward situation. So yeah, just the three of us” – Cotillard, Pitt, Zemeckis – “got together and discussed the situation. For rehearsals it was a fake car with just two seats. And we laughed! Because you need to need to get it out because this is so weird. You get this time looking at each other saying ‘This is so weird. And I’m going to kiss and get on top of you.’ And then when it’s decided it’s easy.”

Added Zemeckis, “It’s so crucial you choreograph everything ahead of time. It’s exactly like doing a dance number: it’s all just movement and rhythm. There is no dialogue so it’s just a dance.”
Stephen Schaefer Friday, December 02, 2016 ... _with_pitt ... 43625.html ... 19156.html

„Sollte Le Pen gewinnen, leiste ich Widerstand“

"Die in Paris geborene Oscar-Preisträgerin Marion Cotillard spricht über die Angst nach den Terroranschlägen in ihrer Heimat. Sie ist überzeugt, dass Frankreich den Aufstieg einer Populistin verhindert.
Die französische Oscar-Preisträgerin Marion Cotillard („La Vie En Rose“, „Midnight in Paris“, „The Dark Knight Rises“) glaubt nicht an einen Sieg von Marine Le Pen bei den französischen Präsidentschaftswahlen im kommenden Jahr.

„Natürlich weiß ich nicht, was passiert, sollte sie wirklich gewinnen. Aber ich bin zutiefst davon überzeugt, dass wir letztlich, wenn es zur Wahl geht, viel klüger sind und dass uns etwas wachrüttelt und sagt, das können wir Frankreich nicht antun. Aber sollte sie gewinnen, werde ich mich auflehnen und Widerstand leisten“, sagte Cotillard der „Welt am Sonntag“, „ich könnte Frankreich nicht im Stich lassen. Niemals. Ich lebe seit 40 Jahren hier und werde das sinkende Schiff nicht verlassen.“

Die 41-jährige Französin äußerte sich auch zu den Traumata, unter denen ihr Land nach den Terroranschlägen des vergangenen Jahres leide.

„Das angstfreie Leben ist vorbei. Selbst diejenigen, die behaupten, keine zu haben, haben Angst. Sie ist allgegenwärtig. Wenn wir unsere Kinder in die Schule schicken, denken wir daran. Wenn ich die Metro, einen Bus oder einen Zug nehme, denke ich daran. Wenn ich in Südfrankreich bin, wenn ich die Namen der Städte höre, die getroffen wurden, denke ich daran“, sagte sie der Zeitung.

Cotillard weiter: „Aber ich lasse mich nicht von Angst auffressen. Um mich herum sehe ich Menschen, auch enge Freunde, denen das nicht gelingt. Das ist furchtbar. Ich schaffe das nur, weil ich immer im gegenwärtigen Augenblick lebe und mich nicht mehr so einfach mental manipulieren lasse. Das führt dazu, dass meine Vorstellungswelt nicht so morbide ist wie die anderer. So gesagt, habe ich keine Angst. Aber das gibt es nicht umsonst. Dafür muss man etwas tun, an sich arbeiten.“

Cotillard ist ab 22. Dezember in dem Spionage-Thriller „Allied – vertraute Fremde“ in den deutschen Kinos zu sehen – als Filmpartnerin von Brad Pitt. Gerüchte, sie hätte während der Dreharbeiten eine Affäre mit Pitt gehabt und sei für die Scheidung zwischen ihm und seiner Frau Angelina Jolie verantwortlich, hat die 41-Jährige im Gespräch mit der „Welt am Sonntag“ scharf kritisiert.

„Was uns unterstellt wurde, ist so absurd, dass ich nicht weiß, wer überhaupt noch an diesen Bullshit glaubt“, sagte Cotillard der Zeitung, „so ist das eben, wenn man mit einem Kollegen wie Brad Pitt zusammenarbeitet: Brad wird so was 20-mal am Tag unterstellt, und zwar seit Jahren. Das ist so offensichtlich erlogen, dass man sich keine Sekunde ernsthaft damit beschäftigen muss.“
Von Martina Meister ... stand.html
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Re: Photos and Information (from Festivals & Movies)

Postby JV on Fri Jan 20, 2017 3:24 pm

"Marion Cotillard and Michael Fassbender Explain ‘Assassin’s Creed’" ... -60669042/

"'Assassin's Creed' review: A rank video game spinoff"

"You be soft, all right. As a gaming phenomenon, the Ubisoft video game series "Assassin's Creed" has been piling up bodies worldwide since 2007. Now we have the stupendously pretentious film version, starring Michael Fassbender (also producer) and Marion Cotillard, one frequently topless, the other not.

Fassbender and Cotillard first worked with director Justin Kurzel on an adaptation, released last year, of Shakespeare's "Macbeth," which Kurzel treated as a frantically kinetic warm-up for this new and larger project. Now, with karmic inevitability, Kurzel's "Assassin's Creed" comes at us with all the harrumphing tedium of second-rate Shakespeare. I wonder if the gamers who owe much of their last few years to the game series will go for it.

The convicted killer played by Fassbender, Cal Lynch by name, is new to this universe. Just as he's about to be executed in prison, he's whisked off to a schmantzy super secret overseas laboratory run by Jeremy Irons and Cotillard, playing brilliant and driven and vaguely bored father and daughter.

Then Lynch is whisked (there's a lot of whisking in this movie) centuries back into his genetic memories of 1492 Spain, where most of the film takes place. Cal's distant relative, whose spirit he embodies via a sophisticated, memory-tapping "Avatar"-like apparatus, fights with blade and fist and arrow and throbbing vein alongside his fellow good-guy assassins in Old World hoodies. They wish to gain control of the Apple of Eden, which contains the seed of human free will and all earthly powers plus, presumably, trace elements of vitamin B.

As Cal regresses, and learns more and more about his fighting potential and his family tree and the creed of the assassins, the tone of the movie becomes practically biblical in its solemnity. Let's be clear. It's just a mediocre action movie, poorly edited and larded with a terrible musical score, based on a video game. Nothing new there.

The wrinkle is the crushing hypocrisy in the so-called meaning of "Assassin's Creed." The sleekly outfitted masterminds played by Cotillard and Irons intend to cure violence and rid humankind of deadly aggression. Yet as millions of gamers can attest, the entire "Assassin's Creed" series spits in the eye of that notion. In addition to the leads, other fine actors picking up a check include Charlotte Rampling and Brendan Gleeson. The memory-travel machine, for the record, is called the Animus. The movie itself: anonymous."
Michael Phillips is a Tribune critic ... n,amp.html ... -1.2913411? ... ange-ride/

"Review: In 'Allied,' Love In The Fog Of War"

Deeply nostalgic moviemaking is rendered with digital precision in Robert Zemeckis’ highly manicured World War II romance “Allied.”

Zemeckis’ control of his camera is absolute, if self-consciously so. In “Allied,” with Brad Pitt and Marion Cotillard, he has resurrected the espionage thriller in all its classical glamour with a knowingness that’s both impressively grand and stiffly hollow. The crisp period images of “Allied” never feel far removed from their storyboards. “Allied,” despite its high-wattage stars, feels a bit like an R-rated “Tintin.”

For Zemeckis, the director of “Back to the Future” and “Cast Away,” the distance between animation and live-action is little to none, and beside the point, anyway. He has lately, with “The Walk,” ‘’Flight” and now “Allied,” been on a laudable mission to re-empower the big-screen drama with well-crafted, special effects-assisted spectacles that project human-sized stories onto widescreen canvases.

“Allied,” big and sturdy, always fills the screen. But its gleaming surfaces are missing something underneath.

The film begins with a lone parachutist drifting as softly as a leaf onto the Moroccan desert in 1942. He is Max Vatan (Pitt), a Canadian spy working for the British, so handsomely outfitted that he could have fallen not from the sky but out of another firmament: “Lawrence of Arabia.”

He’s promptly picked up by his contact and handed a case full of guns, a wad of cash and — most lethal of all — a wedding ring. He rendezvous with a French agent in Casablanca, a location chosen as if to summon the spirits of old-fashioned cinema. From his first encounter in a nightclub with Marianne Beausejour (Cotillard), they are already in their roles. While secretly plotting to assassinate a Nazi official, they pose as a married couple.

Under Marianne’s guidance, they go to great lengths to put up appearances. Once at home, she sends him to smoke on the roof since that’s where, she says, husbands go after having sex with their wives. She’s thorough, he notes. “That’s how I’ve survived,” she says. His facade is less impervious. Max’s supposedly Parisian French is “pure Quebec,” she teases.

Their mission unfolds briskly, with curiously little suspense. But the more important drama is in the cracks to their elaborate pretense, the hints to their true selves. As a pair, they are an undeniably alluring couple, but their connection feels slight. Pitt, particularly, comes off too flat in the film’s first half. Those who come to “Allied,” intrigued by the swirl of gossip around the stars, will inevitably leave disappointed.

But Zemeckis is, if nothing else, a master of the set piece. In “Allied,” he arranges them like bookends, staging a sumptuous sex scene in a sand storm and the birth, nine months later, amid bombs. The latter comes because, despite forging a relationship on falsehoods, Max and Marianne fall in love, return to London and settle into married life in a flat in Hampstead Heath.

The twist in Steven Knight’s script, however, is that once they are living happily with their baby, Max’s superiors inform him that his wife is not who she says she is, but is a German spy. He has 72 hours to test her, during which he employs their espionage tricks against Marianne, a duplicity that is its own kind of betrayal.

Here, “Allied” amounts to something more than great costumes (courtesy of Joanna Johnston) and excellent production design (Gary Freeman). The most convincing emotion in the thoroughly choreographed “Allied” is its melancholy sense of mortality. Marianne and Max, as a couple, are forged in an unguarded moment amid war; they don’t expect to live past the next day. We feel the war rampaging through in faces like the rookie pilot, frightful before his first mission, not to return, we later hear.
The fog of war is so thick in “Allied” that it blows even into the bedroom of two people in love.
By JAKE COYLE ... mode=story

"Marion Cotillard knows a thing or two about classic beauty. Just look at her red carpet moments — she never fails to look timeless. The 41-year-old French actress showed us exactly how it’s done when it comes to minimal beauty on Wednesday at a press call for Rock ’n’ Roll.

Cotillard’s look is simple and elegant, with a perfectly imperfect side part and pinky-red lip. She added a subtle edge with cream shadow in a halo shape around her upper and lower lids. A copper shade contrasted beautifully with her baby blues, and a dash of brown mascara made the shadow natural and easy.

To complete this standout beauty moment, Cotillard went with minimal brow makeup, perfect skin (though she does have a pregnant glow on her side), and a hint of soft, pink blush on the apples of her cheeks."
Devon Kelley ... 39419.html

"The Graham Norton Show S20E13 - Michael Fassbender, Marion Cotillard, James McAvoy, Paul O'Donovan" ...

"Thierry Fremaux, Marion Cotillard to Be Honored at Lumieres Awards"

"PARIS – Thierry Fremaux, the artistic director and general delegate of the Cannes Film Festival, and Oscar-winning actress Marion Cotillard will be honored at the Lumieres Awards, France’s equivalent to the Golden Globes.

The academy of the Lumieres Awards, which is composed of Paris-based members of the foreign press, will pay tribute and hand out honorary awards to Cotillard and Fremaux during the 22nd edition of the ceremony Jan. 30.

Since winning an Oscar, a Golden Globe, a Cesar and a Bafta for her role as Edith Piaf in “La vie en rose,” Cotillard has worked with some of the world’s most talented and acclaimed directors, from Michael Mann (“Public Enemies”) to Woody Allen (“Midnight in Paris”), Christopher Nolan (“Inception,” “Dark Night Rises”), Steven Soderbergh (“Contagion”), James Gray (“The Immigrant”) and Robert Zemeckis (“Allied”). Cotillard also starred in the Dardenne brothers’s “Two Days, One Night” and Xavier Dolan’s “It’s Only the End of World.”

In France, Cotillard has worked with Jacques Audiard (“Rust and Bones”); Guillaume Canet, whose next film “Rock & Roll” will soon come out in France; and, most recently, with Arnaud Desplechin for his upcoming film “Ismael’s Ghosts.”

On top of receiving the honorary prize, Cotillard is also selected for a best actress Lumiere award for her performance in Nicole Garcia’s “From the Land of the Moon.”

Meanwhile, Fremaux, who became the artistic director of the Cannes Film Festival in 2000 and was promoted to general delegate and head of Cannes in 2007, has stamped the festival with his “eclectic tastes which range from pure auteur cinema to quality mainstream, to genre and animation, without forgetting documentaries,” the Lumieres academy said in its release.

The Lumieres prize will be given to Fremaux in association with Variety.

Fremaux is also dedicated to perpetuating the heritage of classic films in Cannes, where he launched the section Cannes Classics, and in his hometown, Lyon, where he heads up the Lumiere festival in Lyon.

Fremaux recently directed the documentary “Lumière!” which comes out in theaters Jan. 25, and wrote the book “Selection Officielle,” which was just published."
Elsa Keslassy ... 201961215/ ... 06922.html
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Re: Photos and Information (from Festivals & Movies)

Postby JV on Sun Feb 19, 2017 5:49 pm

"Marion Cotillard et Thierry Frémaux, invités d'honneur des 22èmes Lumières de la presse internationale"

"L'Académie des Lumières rendra un hommage spécial à la grande comédienne Marion Cotillard et à Thierry Frémaux, délégué général du Festival de Cannes, les deux invités d'honneur de la 22ème édition des Lumières de la presse internationale, qui aura lieu le lundi 30 janvier 2017 au Théâtre de la Madeleine.
Fille de comédiens (père breton et mère kabyle), Marion Cotillard est révélée au grand public par la saga Taxi produite par Luc Besson, avant de recevoir le César de la meilleure actrice dans un second rôle en 2004 pour Un long dimanche de fiançailles, de Jean-Pierre Jeunet.
Avec La Môme, d’Olivier Dahan, elle devient en 2008 la première Française à gagner l'Oscar de la meilleure actrice pour un film tourné en langue française. Elle s’impose aussi avec sa superbe interprétation d’Edith Piaf aux Golden Globes, aux Bafta britanniques et aux César.
Actrice prolifique, elle est sollicitée par les plus grands cinéastes mondiaux, Tim Burton (Big fish) Ridley Scott (A Good Year), Michael Mann (Public enemies), Woody Allen (Midnight in Paris), Abel Ferrara (Mary), Christopher Nolan (Inception, Dark Night Rises), Steven Soderbergh (Contagion), Rob Marshall (Nine), James Gray (The Immigrant), les frères Dardenne (Deux jours, une nuit), Justin Kurzel (Assassin’s Creed), Xavier Dolan (Juste la fin du monde) ou encore Robert Zemeckis (Allied).
Marion Cotillard n’a pas cessé pour autant de tourner en France, dirigée notamment par Jacques Audiard, Arnaud Desplechin, Guillaume Nicloux, Lucile Hadzihalilovic, Rémi Besançon et Guillaume Canet. Elle est nommée aux 22èmes Lumières de la presse internationale pour Mal de pierres, de Nicole Garcia.
Elle alterne le cinéma avec la télévision, le théâtre, le chant et son engagement écologiste auprès de Greenpeace. ... res#pave_3 ... /00-51.jpg ... /00-15.jpg ... ieres.html

"The Cast And Crew Of "Assassin's Creed" Talk About The Movie"
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Re: Photos and Information (from Festivals & Movies)

Postby JV on Wed Apr 26, 2017 11:51 pm

"‘Ismael’s Ghosts’ Trailer: Marion Cotillard Brings Arnaud Desplechin’s Otherwordly Cannes Drama to the Land of the Living"

"For his return to the Cannes Film Festival, Arnaud Desplechin is getting pride of place. “Ismael’s Ghosts” is set to open the festivities next month, as well as provide another opportunity for the French auteur to win the coveted Palme d’Or. Desplechin has been in Competition several times before — “My Sex Life… or How I Got into an Argument,” “A Christmas Tale” and “Jimmy P.” all debuted on the Croisette — and premiered 2015’s “My Golden Days” in the Directors’ Fortnight section. (...)

Here’s the synopsis: “Ismaël Vuillard makes films. He is in the middle of one about Ivan, an atypical diplomat inspired by his brother. Along with Bloom, his master and father-in-law, Ismaël still mourns the death of Carlotta, twenty years earlier. Yet he has started his life over again with Sylvia. Sylvia is his light. Then Carlotta returns from the dead. Sylvia runs away. Ismaël rejects Carlotta. Driven mad by these ordeals, he abandons the shoot for his family home in Roubaix. There, he lives as a recluse, besieged by his ghosts.”

Marion Cottilard, Mathieu Amalric, Charlotte Gainsbourg and Louis Garrel star in the film, which Magnolia Pictures acquired the rights to last year. “Ismael’s Ghosts” doesn’t have a release date as of yet." ... 07532/amp/ ... 201762889/ ... -film.html ... rence-2017
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Re: Photos and Information (from Festivals & Movies)

Postby JV on Thu May 18, 2017 2:53 pm

"Cannes Film Review: ‘Ismael’s Ghosts’"

"By far the most important ingredient for any artist is life experience: When storytellers try to tackle anything more realistic than a by-the-numbers superhero movie, it helps to have had your heart broken, perhaps to have lost a parent, to have been forced to choose between two lovers, to have fathered a child. With “Ismael’s Ghosts,” Arnaud Desplechin attempts to cram all this and more into a single film. A self-absorbed, nightmare-besotted director (played by Mathieu Amalric) is literally haunted by his past when his wife, presumed dead for 21 years, unexpectedly reappears midway through his latest production — but even though much seems to be informed by autobiography (or at least narcissism), precious little rings true.

As phony emotional showcases go, this one’s full of unintentionally comedic melodrama, rivaling cult favorite “The Room” at times as Amalric (reprising his role as the chronicallly unstable Ismael Vuillard from “Kings and Queen”) overturns furniture and heatedly berates Marion Cotillard (as the wife who walked out on him) before making sweaty love to her. Meanwhile, in another storyline, Ismael courts, then abandons, then ultimately impregnates his new flame, Sylvia (Charlotte Gainsbourg), described as an astrophysicist with her “head in the stars,” all while struggling to make what comes across as world’s least interesting spy movie.

How much of this cinematic pseudo-selfie is informed by life experience? Hard to say — and even harder to swallow. If “Ismael’s Ghosts” were a meal, it would be a massive slab of off-tasting meat alternative, wrapped in fake bacon, cooked in margarine, then covered in dairy-free imitation cheese.

Even Desplechin, whose supreme indulgence this project was in the first place, has confused matters by preparing two different versions of the film, the 114-minute cut selected to open the Cannes film festival, and another, 20 minutes longer, to be screened at the Cinéma du Panthéon in Paris. Though both are ostensibly “director’s cuts,” it’s a curious choice on Cannes’ part to favor this potentially compromised shorter version, especially after the festival took a stand three years earlier by showing the widely derided director’s cut of “Grace of Monaco” — a movie that at least had the advantage of being coherent.

“Ismael’s Ghosts,” by contrast, is something of a muddle in its current form, but its inclusion makes a different sort of statement, bringing Desplechin back into the fold of “official selection” after his 2015 feature “My Golden Days” was rejected, only to open rival section Director’s Fortnight instead. That movie was so well received by critics (wildly over-praised in this one’s estimation) that some slammed Cannes for not putting it in competition. So now the fest scoops up a lesser film — lesser, but not uninteresting, as Desplechin continues to expand his semi-autobiographical constellation of characters.

Amalric has played Ismael Vuillard before, but the details here are inconsistent (at one point, he acknowledges a photo of the son he’d adopted in 2004’s “Kings and Queen,” although the ghosts of that marriage and Ismael’s subsequent mental breakdown have been scrubbed from his biography). This time around, Ismael is a director making a movie inspired by his brother, a diplomat whom he believes to be a spy. The film opens with and repeatedly returns to scenes from this production, in which a blank-looking Louis Garrel stars as secret agent Ivan Dedalus (who shares a surname with Paul Dedalus, a character Amalric has played in three other Desplechin pictures: “My Golden Days,” “A Christmas Tale” and the sprawling “My Sex Life… or How I Got Into an Argument”).

To make matters even stranger, Cotillard appeared in “My Sex Life” 21 years ago, playing one of Paul Dedalus’ young conquests. Here, she once again bares all, this time as entirely different character: namely, Ismael’s ex-wife Carlotta — no doubt an homage to Alfred Hitchcock’s own reincarnation fantasy, “Vertigo.” As in that film, Carlotta seems to have come back from the dead, two decades after disappearing from Ismael’s life. After much anguish (including the potentially terminal diagnosis of an unspecified medical condition), Ismael has managed to spark a tentative new romance with Sylvia, until one day, while smoking/boozing/pill-popping his way through rewrites of his spy-movie script, Carlotta reappears to ruin their lives.

Ismael insists that he’s over her, but clearly isn’t. Sylvia insists that she prefers married men, but clearly doesn’t — or else, why abandon Ismael the moment his wife comes back from the dead? And Desplechin insists on inserting scenes from the fictional Ivan Dedalus story into the midst of things, confusing the film’s already fragmented structure with distracting vignettes from this half-baked movie-within-a-movie (which supplies exotic digressions to Tajikistan, Tel Aviv and Prague).

Without the benefit of having seen the director’s longer 134-minute cut, a charitable reading suggests that Desplechin is determined to challenge the conventional language of cinema, serving up an almost cubist take on the central dynamic — though he himself prefers comparisons to the abstract work of Jackson Pollock! In its own weird way, “Ismael’s Ghosts” has something profound to say about the lingering pain of past relationships and the threat they still pose to the present, but it does so in such a needlessly complicated fashion, we can’t help but be overwhelmed. It wants to be “Vertigo,” “Providence” (the Alain Resnais tale of a delirious late-career writer lapsing between memory and fiction as he plumbs his family tree for inspiration) and half a dozen prismatic self-portraits in which a runaway production threatens to kill its creator (“8½,” “All That Jazz,” “The Last Movie”).

At one point, with the Ivan Dedalus movie still unfinished (but no reason for us to care about its outcome), Ismael’s line producer (Hippolyte Girardot) tracks him down, drunkenly ranting about the idea of artistic “perspective.” The producer threatens to kidnap Ismael and force him to complete the project, at which point Ismael pulls a gun and shoots the poor fellow.

People do things like that in Desplechin movies, which are either over-the-top or particle-board bland (see “Jimmy P.”), but seldom in between. Sure enough, there’s boldness to spare in “Ismael’s Ghosts” as Desplechin operates in cinematic overdrive: The music swoons, the camera sweeps, he cuts/dissolves between angles seemingly at random within a scene. But to what end? And are we really meant to believe that some longer version exists where all this malarkey suddenly makes sense?"
Peter Debruge ... 29992/amp/

"Marion Cotillard Wore a Casual Pair of Blue Jeans on the Cannes Red Carpet Instead of a Gown"

"Awards shows mean red carpets and red carpets generally mean a deluge of designer gowns and finery. But at the Cannes Film Festival this year, Marion Cotillard made a case for going casual on the red carpet when she opted for an edgy pair of blue jeans instead of the typical dress on the first day of the festival.

The French actor showed up to a photo call for her upcoming film Ismael's Ghosts in an oversized and voluminous white t-shirt dress with lacing detailing and a high slit that revealed a pair of Y/Project jeans that featured a decorative triple cuff. Cotillard dressed up the relaxed look with a pair of strappy stiletto sandals and a pair of mirrored sunglasses.

Are jeans the latest trend for the red carpet? With a week of Cannes festivities ahead, only time will tell. See Cotillard's casual look below.
Cady Lang ... ed-carpet/

" The tiff that may have led Cannes to choose Marion Cotillard's 'Ghosts' to open the festival"

"After a spell of opening-night selections from major studios — “Up,” “Robin Hood,” “The Great Gatsby” — the Cannes Film Festival over the past few years has gone for a more Francophile feel with its kickoff movie.

With Arnaud Desplechin's French-language "Ismael's Ghosts" set to open the festival Wednesday night, this marks the third year in four that the opener contains Gallic themes, after 2014’s “Grace of Monaco” and 2015’s "Standing Tall."

Desplechin nabbed the choice spot after a reported tiff with fest programmers saw his "My Golden Days" passed over for the prestigious competition lineup two years ago, ending up instead in the sidebar Directors' For‎tnight section.

The French auteur’s new film is itself about the world of filmmakers: Mathieu Amalric stars as Desplechin's surrogate‎, Ismael, a director working on a spy movie when his long-missing wife Carlotta (Marion Cotillard) abruptly turns up.

A story of haunted love with a dusting of "Adaptation," "Ismael's Ghosts" received a solid if not overwhelming reaction after it debuted for media Wednesday morning. Desplechin ("A Christmas Tale") has long been interested in the entanglements of family over time; he said with this movie he was keen to explore how people can become strangers to their loved ones, and themselves.

“Carlotta has an extraordinary ability to create a myth and then get rid of the myth as soon as it bothers her," the director said of the character at a press conference Wednesday afternoon. "And that's the pure essence of l‎ife."

The actress added that she was intrigued from the start by the character's self-perception gaps. "She is mysterious," Cotillard said, "yet at the same time she doesn't view herself as mysterious‎."
Steven Zeitchik ... story.html

"Cannes diary: An opening night of red carpet poses and two very different directors' views on marriage"

"The 70th edition of the Cannes Film Festival began Wednesday night. L.A. Times film critic Justin Chang is taking in the scene and all the movies he can watch on very little sleep. In this, his Cannes diary, we can follow along.

Opening night has long been a tricky proposition at the Cannes Film Festival. It’s a high-profile slot, to be sure, but one that confers an oddly weightless, even ersatz prestige.

There have been some charming exceptions to the rule, Pixar’s “Up” (2009) and Wes Anderson’s “Moonrise Kingdom” (2012) not least among them. But for the most part, the festival seems to go out of its way to select a film that won’t upstage the star-packed, auteur-heavy main program, even if it’s a film that few Cannes attendees will even remember in a few days’ time.
That amnesia tends to set in whether the opener is a gaudy summer blockbuster like Baz Luhrmann’s “The Great Gatsby,” which provided the 2013 festival with an especially lavish kickoff, or a slice of low-budget French social realism like Emmanuelle Bercot’s “Standing Tall” (2014). Still, better indifference than the instant notoriety that greeted Ron Howard’s “The Da Vinci Code” back in 2006, when it was promptly (and rightly) declared an opening-night stinker for the ages.
No such hostility awaits this year’s 70th anniversary opener, Arnaud Desplechin’s “Ismael’s Ghosts,” though I suspect not much enthusiasm or visibility is in store, either. Desplechin is one of the most pre-eminent French filmmakers of his generation, and his best work, which includes “My Sex Life … or How I Got Into an Argument,” “Kings and Queen” and “A Christmas Tale,” has the power to make directorial indulgence seem like a virtue.

“Ismael’s Ghosts,” by contrast, is the rare Desplechin joint that seems to want for discipline, which perhaps makes it entirely fitting that it’s about an undisciplined filmmaker. That would be Ismael Vuillard (Mathieu Amalric), a genial, shambling man of cinema who’s on a beachside retreat with his astrophysicist girlfriend, Sylvia (Charlotte Gainsbourg), when the two are suddenly paid a visit by his wife, Carlotta (Marion Cotillard), who vanished mysteriously 21 years earlier.
It’s the sort of premise that could easily be played for plate-smashing histrionics or delirious romantic farce, and there are shades of both. Desplechin’s movies are often praised for their wonderfully lived-in messiness, and for a while “Ismael’s Ghosts” seems to fit that inspired pattern. It’s a busy, convulsive and fragmentary piece of work, with strange plot turns and dazzling formal gimmicks (iris shots, intra-scene dissolves, weirdly unmotivated music cues) coming at you every minute.
But then the thing derails and becomes, shall we say, the wrong kind of mess. Scenes from Ismael’s latest production, a thriller about a genial spy named Ivan Dedalus (Louis Garrel), pepper the main narrative in cheeky film-within-a-film fashion. Art begins to mirror life (or is it vice versa?), and Desplechin’s elaborate meta-conceits take a bizarre and abruptly violent turn.
More fatally, the romantic triangle at the movie’s center never becomes sufficiently engaging to warrant all this fussy ornamentation. Amalric has starred in six previous Desplechin joints, but rarely has he been encouraged to go as shoutily over the top as he does here. Cotillard’s character seems lost in a narcissistic fog, oblivious to the hell she has inflicted on her husband and her father (a touching Laszlo Szabo). The saving grace is Gainsbourg, whose initial hard-to-get rapport with Amalric — no one can do wistful exasperation quite like Gainsbourg — is one of the movie’s undiluted pleasures.

When I interviewed Desplechin two years ago, he described the still-in-the-works “Ismael’s Ghosts” as “full of bitterness and anger and furious characters … the shape and form of it are quite different from anything I’ve ever done.”
At the time, he was preparing for the U.S. release of his superb prior picture, “My Golden Days,” which had been mystifyingly denied a competition slot at Cannes in 2014 and wound up premiering in the parallel Directors’ Fortnight program instead.

Desplechin, who served on the Cannes competition jury last year, is now officially back in the official selection with “Ismael’s Ghosts,” even though the film, like most Cannes opening-night films, is playing out of competition. That seems about right. Not unlike this year’s jury president, Pedro Almodóvar, Desplechin is a perennial Cannes bridesmaid who has yet to win the Palme d’Or. I suspect he will someday, and for a movie that haunts my dreams longer than these particular “Ghosts” will.

As Amalric, Cotillard, Gainsbourg and Garrel posed on the red carpet outside the festival’s Grand Théâtre Lumière on Wednesday evening, a bevy of jet-lagged journalists made their way into the nearby Salle Debussy for their opening-night attraction: the first press screening of the competition. And in typically shrewd fashion, festival programmers saw fit to counter the antic frothiness of “Ismael’s Ghosts” with “Loveless,” two hours of gorgeously gloomy existential despair courtesy of the well-regarded Russian filmmaker Andrey Zvyagintsev..." ... story.html
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Re: Photos and Information (from Festivals & Movies)

Postby JV on Thu May 18, 2017 3:21 pm

"For its 70th edition, the Festival presents a prestigious selection of films featuring long-time regular Arnaud Desplechin, who has seven selections to his name and was a member of the jury in 2016. In Les Fantômes d'Ismaël (Ismael's Ghosts), the director chose Charlotte Gainsbourg and Marion Cotillard to feature alongside his favourite actor, Mathieu Amalric.

Twenty-one years ago, she ran away. And twenty-one years later, Carlotta (Marion Cotillard) is back from the void. But Ismael (Mathieu Amalric) has been busy rebuilding a life for himself with Sylvia (Charlotte Gainsbourg) and working on his next feature film...
As Ismael's trials and tribulations unfurl, so too do those of his film's protagonist, idle, funny and reckless diplomat Ivan Dédalus (Louis Garrel). The character is a nod to the ghost of another of Desplechin's creations, the brother of Paul Dédalus, three-time hero of Comment je me suis disputé... (ma vie sexuelle) (My Sex Life... or How I Got Into an Argument) (Competition, 1996), Un Conte De Noël (A Christmas Tale) (Competition, 2008) and Trois Souvenirs De Ma Jeunesse (My Golden Days) .

In Les Fantômes d'Ismaël (Ismael's Ghosts), Arnaud Desplechin marks a return to the past, creating film after film as his way of stepping back in time. Sitting on the Feature Film Jury last year, the director confided that his art is "a battle against his demons". Arnaud Desplechin's brand of genius lies in his ability to find light in the darkest of places."
Written by Tarik Khaldi ... l-s-ghosts

"The first press conference for the 70th Festival de Cannes was received with warm applause from the international press. Arnaud Desplechin appeared with his actors, Marion Cotillard, Charlotte Gainsbourg, Louis Garrel, Alba Rohrwacher, Hippolyte Girardot, and his favourite actor: Mathieu Amalric. In Les Fantômes d’Ismaël (Ismaël's Ghosts), he depicts a director working on his next film whose world is turned upside down by the return of his wife, who vanished 20 years ago." ... desplechin ... may-17th-1 ... red-steps#
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Re: Photos and Information (from Festivals & Movies)

Postby JV on Tue Sep 05, 2017 12:20 pm

"Marion Cotillard : “You Have To Stay Strong In Front Of People Who Want To Destroy Your Life”

"Oscar-winning actress Marion Cotillard opens up to The Pavlovic Today about the pitfalls of fame and her new movie, Ismael’s Ghost, that opened the 70th Cannes film festival. She tells Ksenija Pavlovic why she never abandoned France for L.A. and why she stopped reading blatantly fraudulent stories about her involvement in Brad Pitt’s divorce.

On a warm, glowing afternoon, I meet Marion Cotillard on the rooftop of the JW Marriott in the South of France. She is barefoot, lounging on a big sofa, dressed in pastel green pants and jacket, wearing a dramatic Chopard emerald and diamonds necklace.
The Parisian actress shot to stardom with an Oscar-winning role, playing Edith Piaf in La Vie en Rose in 2007 and has been growing strong ever since.

This year in Cannes, she came with Arnaud Desplechin’s drama, Ismael’s Ghosts, which premiered in the Out of Competition selection of the world’s premier film festival.

Off silver screen, Marion Cotillard is perceptive, luminous but at the same very tough. “No one can be harder on myself than I can be on myself”, she says flamboyantly.

For The Pavlovic Today, she talks about the pitfalls of fame, her new movie Ismael’s Ghost and why she stopped reading blatantly fraudulent stories about her affair with Brad Pitt.

On how she learned to live in the present

Marion Cotillard: Well, at the time I started doing movies I was so happy. I was doing movies; I was so excited. So I had the feeling that I attended the dream but I did not really live it. Today, I try to live most of the time in the present to really feel everything. So, this experience in Cannes is very different from the one I had ten years ago. Now I live in the instant.

On playing Charlotte in Ismael’s Ghosts

Marion Cotillard: Everything was pretty easy to play in the film Ismael’s Ghosts because you have such singular, amazing, writing.

Arnaud Desplechin’s writing is very singular. There is a very specific rhythm and melody that takes the time to get in, but when you get it, you are in the movie, in this world. It’s like Shakespeare.

To me, Charlotte is the light in the movie. And she is left to connect with the light and life within her.

When she comes back after 20 years and shows up in the lives of her father and the husband she left, she comes back to break the last locket that will set her free and alive. I think it is a very interesting contrast in the movie.
On being strong

Marion Cotillard: The only person who can destroy your life is yourself. Nobody can destroy your life. You will sometimes face horrible experiences and meet horrible people who will try to destroy your life, but if you do not allow it, then your life won’t be destroyed.

Sometimes you have to be very, very strong in front of the people who want to destroy your life. It is you who has to hold the main responsibility for your own life.

On film directors, she would like to work with in the future

I follow where the wind pushes me. There are many directors I would like to work with but I cannot know for sure that I will work with them. The only time I was sure I will work with the director, he died before we got the chance to work together. It was Claude Chabrol.

When he died I was devastated because I was waiting for the experience to work with him. I think I would have written to him if it would have been too long, but I never did and I was devastated.

I once passed a message to the director that I would like to work with him. So he responded immediately and said, okay, I have a movie we can work on together, amazing script, really amazing. A role of the lifetime. But I have just done the Dardenne brothers movie Two Day, One Night where the woman is so depressed, and then I did Macbeth so I had to say no to that director.

I said to him: “This is kind of unbelievable that I am turning this down.” And it was the exact dream that I had to work with him. But after spending my life with these two very disturbed women, with these two roles, I could not picture myself sharing myself with this woman who is so amazing but so deeply depressed.

I tried to protect myself emotionally, outside of the set because I have kids and I can’t bring my work home. But on set, I want to go into character as deep as I can, and I knew I could not have handled it at that time.

I was on the phone with that director, and I said: “ this is crazy, I am turning this down, this is the most beautiful script, this is the most beautiful character, I was the one who knocked on your doors but I can’t do it.” He understood. I have not seen the movie yet but I was told that the actress who took the role was absolutely amazing and I was very happy that she did it. I do not want to talk about it as it is her movie and I do not want to add my story to hers. But yeah, that was the one time I knocked on the door of the film director.

On why she never abandoned France for L.A.

Marion Cotillard: I am very lucky that I can work in my country – which is an amazing country for cinema, where cinema is well protected, and to also work in other countries of cinema like England and America.

I have the chance to choose and pick amazing projects but again, I go where I feel my place is, where I can deliver something authentic. In France, some people think I live in Los Angeles, that I have this amazing life in Hollywood, but I have never left my country.

On false stories, the media writes about her

Marion Cotillard: Sometimes it is really crazy that they publish information that is not even true. What was the most bizarre thing that was published about me? So many…One day, I’ve just stopped reading. When you are a young actor you cannot help yourself from reading but you have to. You know, there is this ego that is a big beast that you have not tamed yet and one day you are like: “do I really want to read this?” Because this is just one-sided, so you should either not read anything, or you should read everything – which would take a lifetime. And even then it would not even give a sense of the reality of who you are. (...)

On the changing face of the media

Marion Cotillard: When you talk to the public directly, no one can change your words. The face of the media has changed already.

Today everybody is the paparazzi, everyone can listen to what you say, record what you say, take a picture of you, everybody has a camera so, yeah, the way we communicate, it has all changed.

On why she stopped reading the news about herself

It was one point in my life when I thought first of all that no one can be harder on myself than I can be on myself.

And it did not give me anything, it was just bringing negativity to my life and I was getting so upset about something that it was not even real. And then I realized that this will all be forgotten in a week.

On the change winning the Oscars brought to her life

Marion Cotillard: Suddenly I entered this world of having amazing propositions, and access to amazing projects and directors. It is a haven for an actor. So yeah, the Oscars changed a lot. It changed my life. It brought me things I dreamed of. The dream is still alive.
Ksenija Pavlovic ... troy-life/

"Marion Cotillard Drama ‘Ismael’s Ghosts’ Will Open in U.S. in New Version — Exclusive
Arnaud Desplechin's Cannes opener will be 20 minutes longer when it premieres at NYFF this fall."

When “Ismael’s Ghosts” opened the 70th Cannes Film Festival in May, the movie was a freewheeling portrait of a neurotic filmmaker, Ismael (Mathieu Amalric), grappling with the reappearance of his long-missing wife (Marion Cotillard) and his new relationship with a more stable woman (Charlotte Gainsbourg). That may or may not have changed, but when “Ismael’s Ghosts” arrives at the New York Film Festival in September, it’s going to look a lot different.

While “Ismael’s Ghosts” clocked in at roughly two hours for its Cannes premiere, Magnolia Pictures will unveil Arnaud Desplechin’s director’s cut at NYFF in advance of its U.S. release. The new version is a full 20 minutes longer. Magnolia Pictures will only release that version into theaters for the film’s release in early 2018.
The news comes months after a tangled back-and-forth between Desplechin and the French distributors of the movie, which opened in its home country days after its Cannes premiere.

Desplechin, best known for complex ensemble dramas like “A Christmas Tale,” said in statement that the new version fleshes out several character’s backstories. These include the travels of the father of Cotillard’s character, Carlotta Bloom, after she abandons Ismael and is presumed dead. Desplechin shot an entire sequence exploring the older man’s trip to Israel that the director has worked into his new version. Additionally, he digs further into the film-within-a-film starring Ivan (Louis Garrel), the young spy at the center of a movie that Ismael is struggling to write. That subplot apparently finds the character getting killed — and brought back to life. The director’s cut also introduces a third love interest for Ismael, and finds him experiencing a near-death incident of his own.

“While the short version of ‘Ismael’s Ghosts’ was a divertimento, I hope the director’s cut is an opera, a world,” Desplechin said. “From Tel Aviv to Addis-Abeba, this journey is contemporary, burlesque, epic, amorous, mad and full of wisdom. And it’s with a shivering emotion that I learned Magnolia Pictures would release this full version to American audiences.”

When the movie premiered at Cannes, Desplechin told members of the press that his initial cut was “more intellectual” than the “sentimental” version that played at Cannes.

The new cut is being supported by NYFF artistic director Kent Jones, a longtime supporter of Desplechin’s work who co-wrote his 2013 drama “Jimmy P.” Jones called the new movie “one of Desplechin’s most daring films, and it plays out on a big canvas.”
Eric Kohn ... 201869511/

"Alexander Payne On ‘Downsizing’, Opening Venice & Snarky Tailors"

"Tomorrow, Alexander Payne’s Downsizing will open the 74th Venice Film Festival. The Matt Damon-starrer marks a number of firsts for Payne, the Oscar-winning filmmaker behind such great pics as Election, Citizen Ruth, About Schmidt, Sideways, The Descendants and Nebraska. Not only has he never had a movie at Venice, he’s never even been to the Lido event. As for any pressure of opening the fest, which has become a key launch pad for awards-season contenders, he’s taking it in stride — although some choice words were exchanged with his tailor before hopping a plane to Italy.(...)

DEADLINE: Are there any people that you haven’t worked with that you would like to?

PAYNE: I would like to work with Javier Bardem, and I’d like to work with Marion Cotillard one day. I think she’s a great star..." ... 202157845/ ... han-Markle :?: :?:
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