By Jeremy Kay
EXCLUSIVE: Psychological thriller recently wrapped production in Paris.
Sony Pictures Classics (SPC) has picked up North American rights to the French-language thriller, continuing its association with the director after the 2011 drama Carnage.
RatPac Entertainment will partner on distribution with SPC, who negotiated for the rights with Jeff Berg of Northside Services.
Emmanuelle Seigner stars as a Parisian author with writer’s block who encounters a mysterious woman at a book signing played by Eva Green. Wassim Beji of WY Productions serves as producer.
Olivier Assayas and Polanski adapted Based On A True Story from Delphine de Vigan’s novel of the same name.
“I am very pleased that Sony Pictures Classics will be distributing Based On A True Story in North America,” Polanski said. “Sony Classics is a company that has long tradition in supporting European cinema. I am looking forward to working again with Michael Barker and Tom Bernard.’
SPC said: “Based On A True Story is the kind of thriller audiences are hungering for, as exceptional and fresh as Repulsion and The Tenant were in their day. Polanski’s new film promises to be his very best.”
By Rebecca Ford and Alex Ritman
Chanya Button will direct ‘Vita & Virginia,’ which follows the romance and friendship between Woolf and Vita Sackville-West.
Eva Green and Gemma Arterton will star in drama Vita & Virginia, based on the true story of the love affair and friendship between literary icon Virginia Woolf and author Vita Sackville-West.
The film will be directed by British helmer Chanya Button (Burn, Burn, Burn) from a script by Eileen Atkins based on her own play of the same name, which debuted in 1992.
Virginia Stephen married Leonard Woolf in 1912, and then met socialite and author Vita Sackville-West, wife of Harold Nicolson, in 1922. They began a sexual relationship that lasted nearly a decade, as shown in their various letters and diary entries. After their affair ended, they remained friends until Woolf’s death in 1941. Green will play Woolf while Arterton will play Sackville-West.
Katie Holly of Blinder Films (Love & Friendship) and Evangelo Kioussis of Mirror Productions are producing the project while Simon Baxter will executive produce for Mirror alongside Green and Arterton. Protagonist is introducing the project to buyers at EFM in Berlin.
Green was most recently seen in Tim Burton’s Miss Peregrine’s Home for Peculiar Children and White Bird in a Blizzard with Shailene Woodley. She’ll soon be seen in Euphoria with Alicia Vikander and Roman Polanski’s Based on a True Story. She is repped by UTA and Tavistock Wood Management in the UK.
Arterton’s recently films include Lone Scherfig’s Their Finest with Sam Claflin, and she has The Escape with Dominic Cooper coming up. She’s also attached to Julie Delpy’s My Zoe. She’s repped by CAA, Independent Talent Group in the UK and Stone, Genow.
Eva will now just be receiving fan mails sent to France in one address. UK & USA fan mail addresses stays the same. Click HERE to see the updated list.
By Josh Behr
It’s been rumored for some time that Death would be a major player during Avengers: Infinity War, some even saying she will be the character Thanos wishes to destroy the universe for like in the original version of the story.
Although her inclusion is still a rumor, a new report has surfaced giving us an idea who may actually be in talks for the role. According to the report, actress Eva Green is currently in talks for Lady Death.
The report comes from 4chan, so it should be taken with a grain of salt. However, the site was home to a large list of rumors regarding both Thor: Ragnarok and Guardians of the Galaxy Vol. 2, most of which being confirmed as true. 4chan has a surprisingly strong track record in terms of MCU rumors.
Other rumors included in the report include Peter Dinklage’s role in Avengers: Infinity War, Quicksilver’s return to the MCU, and Thanos appearing in Thor: Ragnarok.
ADMIN NOTE: Eva was previously rumoured to be casted as Circe in the upcoming Wonder Woman film. A rumour she herself debunked during our Q&A last year.
We’ve added some new scans from the past few months to the gallery. Enjoy!
– Magazine & Newspaper Scans > 2016 > Stylist Magazine – November 2016
– Magazine & Newspaper Scans > 2016 > GQ (France) — October 2016
– Magazine & Newspaper Scans > 2016 > Grazia (Mexico) – October 2016
– Magazine & Newspaper Scans > 2016 > Version Femina (France) – September 26-October 2, 2016
– Magazine & Newspaper Scans > 2016 > The Edit – September 8-15, 2016
– Magazine & Newspaper Scans > 2016 > Starpics – September 2016
– Magazine & Newspaper Scans > 2016 > La Cosa Cine (Argentina) – September 2016
– Magazine & Newspaper Scans > 2016 > ELLE (France) – September 30, 2016
Thank you to Flo for the La Cosa Cine magazine scans! To contribute or share your personal scans to help enrich our gallery, contact us HERE.
The elusive Eva takes time to talk to MiNDFOOD about her love of music, what she lives for and where she goes to escape.
Currently starring in Miss Peregrine’s Home for Peculiar Children, the fabulously glamorous and offbeat Eva Green, 36 (article corrected to Eva’s correct current age as of publication; original article contained the incorrect age of “38”), talks to MiNDFOOD about myriad subjects – from whether she’s ‘hot’ enough for Hollywood to her childhood fear of clowns. A former Bond Girl (Casino Royale) and regular on the TV show, Penny Dreadful, was born in Paris. She exudes an old-fashioned mysterious quality rarely seen in modern actresses, that same quality has guaranteed her a career in film.
Miss Peregrine is described as mysterious, smart and tough. Some might would say this was a perfect fit.
(laughs) Well, I like to think so. I try.
What do you like about this beloved literary character?
She’s so cool. She looks after all these gorgeous children and smokes the pipe (laughs). And also, it’s the first time I am not playing the love interest.
Do you smoke?
Not anymore. I used to be a smoker but I stopped 3 years ago.
Thinking about the word peculiar – when have you felt peculiar in your life?
I always felt a bit peculiar. I think lots of people have felt at some point quite different. People say I’m weird but I don’t feel weird – so maybe I am weird! (laughs). I have black hair, I felt strange as a child, I was very shy, scared of going to birthday parties and clowns.
What scares you now?
Oh, God, lots of things in this world. I don’t know where to start. Greed, pollution. Greed mostly.
Do you have any pets?
I have a dog but my sister looks after him. He’s a Border Terrier. His name is Mr. Griffin.
How do you get along with your sister?
My sister lives in Italy so I don’t see her very often but we Skype. She has two beautiful children that I adore. She has a vineyard so she makes her own wine. Yeah, it’s very cool.
By Neala Johnson
“It’s nice,” says Eva Green, “not to play the girlfriend.”
“I don’t want to be the woman in the script where it goes, ‘There’s a beautiful, mysterious woman …’ Just, OK, forget it. I think I would feel unhappy … Some people play it very well but I want to be as equal as a man, you know what I mean?”
Oh, we know what she means.
As far as mysterious girlfriends go, Green played a stunner — to Daniel Craig’s James Bond in his first, bracing outing, Casino Royale.
So impactful was Green’s Vesper Lynd, Bond basically spent the next three films getting over her.
But now the London-based Frenchwoman is over it too. Searching for the word to perfectly capture what she wants to do from here on in, Green finally settles upon “other”.
“It’s exciting to be other.”
If it’s other she wants, Green could wish for no better co-conspirator than Tim Burton.
She teams with the famously eccentric director for a second time on Miss Peregrine’s Home for Peculiar Children, a fantastical adaptation of Ransom Riggs’ best-selling young-adult novel.
Green plays Miss Peregrine, a woman who, while protecting a gaggle of children with unusual abilities from outside threats, also has a peculiarity of her own: as the name suggests, she can transform into a bird.
“I remember Tim called me a year before the shoot. He was like, ‘I’ve got this book, I wonder if you would be interested?’ I was like, ‘Anything, I’d play anything for you’. But he was like, ‘No, no, I want you to read it and see if you like her’.”
A woman-bird who’s handy with a crossbow, has absolutely no love interest and is slightly bonkers? It’s safe to say Green liked her.
“Tim called her Scary Poppins, which I thought was quite funny,” the 36-year-old laughs. “But she’s not a bad, mad woman — it’s all to save her children. She has the ability to transform into a peregrine falcon and because peregrine falcons are the fastest animal on earth, she delivers lines very quickly.
“I watched some documentaries on birds. It was kind of a challenge — I was trying to have little, sharp movements with my head and not much blinking at all, using my hands like claws, my long nails. You always worry that you’re going a bit over the top, but I had a lot of fun … playing her like Mary Poppins on speed.”
By Danny Leigh
The cast of Miss Peregrine’s Home for Peculiar Children have a tale or two
Eva Green: “I was terrified of being the centre of attention”
I’ve always felt a little peculiar. Growing up in Paris I was always quiet. Very shy. I was scared of going to birthday parties, because I couldn’t play games and I didn’t like being in a group. I have a twin sister, and she had that bravery, she could join in with the group. But for me, it was painful.
On my sixth birthday, another girl and I had a shared party, and I was so nervous I vomited. I know how crazy it is – from that terror of being the centre of attention, here I am as an actress. My parents made some home movies when I was three or four and I was already in my own bubble, looking away from the camera, thinking my own thoughts. Now I’ve tamed my demons but if I have to appear as myself in public, it’s hard. Deep down the child is still there.
As a girl, I used to go to the cinema on my own. I hate it when people say the cinema is an escape, as if making small talk about the weather is more real. I loved the films of Ingmar Bergman and also A Room with a View. I saw it first when I was about eight, and I loved it immediately.
At 16, I studied for a year at the American School of Paris, and that was a revelation. The French school system is very judgemental. There, everything was about the pressure to get a certain grade in Maths. Who cares? I don’t remember a thing I did in Maths. But at the American School, the individual was celebrated. I’d never been into fashion, but I would dress up every day, wilder and wilder. I did art, drama, photography, even sports. It was an epiphany for me.
If enough people call you weird, you start to see yourself as weird. But in adult life, it can be a strength, too. And sometimes I do still feel like I belong to a different planet, where all the peculiars should go.
By Naomi Pike
Eva Green might be a Bond girl, a Hollywood leading lady and a BAFTA winner, but she’ll never forget her first time gracing the cover of Vogue. Green’s debut was almost eight years ago, but she can recall the shoot with Patrick Demarchelier as though it was yesterday.
“He is such a wonderful photographer and it’s effortless as well. It’s timeless and sophisticated and I always love his use of lighting. He’s an artist that doesn’t have an ego. There is a relationship with him – it’s not that I’m an object.” The rapport that the pair share is visible in the black and white images that the shoot produced. She’s laughing and pulling faces, but strikes a glamorous pose in Prada on the cover.
While she might be happy to reminisce over her time shooting for Vogue, one thing she confesses she is “not great” is watching her own films. When we meet she is yet to see Miss Peregrine’s Home For Peculiar Children, in which she takes the titular role.
Another part of the acting rigmorale that Green prefers to steer away from – and is now in a position to have the option to avoid – is auditioning. “I’m always blessed when I’m not auditioning. I hate auditions. I’m rubbish, actually, and I get so nervous. My heart is about to pop out. It’s a disaster.”
Green is not a person you think of having a nervous disposition. On the red carpet she chooses bold yet ephemeral styles – something that could be linked to the characters she has chosen to play in her over 15 years on screen.
“It’s funny really as I don’t really have time to try on clothes,” she remarks as the conversation turns to the “baroque” aesthetic that she has become synonymous with. For the premiere of the film which marks the second time she has worked with Tim Burton, Green chose a scarlet Elie Saab gown.
However, securing her first choice was a bit more problematic. “I would have loved to wear an original Alexander McQueen dress, because he loved birds,” she reveals. As the name might suggest, her character Miss Peregrine is able to transform into a peregrine falcon, so a feathered gown would have felt particularly apt. “But it’s all in museums,” she sadly confesses.
Green first made a name for herself in Bernardo Bertolucci’s 2003 film The Dreamers, and the now 36-year-old admits that the pressures of being an actress in Hollywood have altered for her. Now it is age as well as “fighting to not play a love interest.”
Green has kept her personal life out of the public eye. Unlike many of her peers, her social-media presence is minimal. Her friends keep trying to persuade her to join Instagram but she fears the intrusion. “I prefer having my own bubble and I would feel too vulnerable to have it exposed. I think I’ve always protected myself quite well but it’s always been tough since day one. That’s the big challenge, and at the same time to remain vulnerable as an actor. Sometimes I just want to say ‘fuck it, I’m going to in the mountains with my animals’ and not to have to deal with all that cruelty.”
They say you should never work with children or animals, but with the majority of the roles in Miss Peregrine being played by those not yet able to even hold a UK driving licence, she was left with little choice. Not that her experience was anything but pleasant. “Sometimes you worry are they going to be focused enough? Are they going to get tired? And actually absolutely all of them were focused, very professional. They were just beautiful. I was so nervous before meeting them because you can feel that they can see through you, and you’re not going to be credible as a strong headmistress-like figure. But there is a grace to children and as an actress that is wonderful to watch. It’s a real inspiration.”
The book that which this film is based on was released for the YA audience 2011, but feels completely at home in the world of Tim Burton. The characters as atypical as the ones most associated with him: Edward Scissorhands, Jack Skellington, the Maitlands.
Much like her feelings for Demarchelier, Green has great affection for Burton. Ahead of this film, the two had previously worked together on 2012’s Dark Shadows.
“He is so easy to work with,” she says warmly. “The wonderful thing about Tim is that he has no ego. He is very kind, normal and fragile. There is something equal with him that I love. Even working with the children he was like ‘What do you think? How do you feel?’ which is so nice. He’s so open to ideas as well. He’s wonderful and amazing.”
As it to be expected in any Burton epic, the visual is as much of a defining characteristic as is the plotline itself. Green’s character is all dark colours, nipped-in waists and striking shoulders. Her signature midnight black hair, which so seduced the camera in Casino Royale, is pinned with a cowlick curl. While her locks might be more on the navy side for this character, in reality Green’s hair is surprisingly little more dramatic than a “mousey” shade, reflecting her Swedish-French roots.
“My dark blonde was actually quite bland,” she confesses, admitting that she has darkened it to have “something happening” since she was a teen. “A friend of my mum had very dark hair. She was from Yugoslavia and I wanted to look like her.”
Besides wanting to look like her mum’s friend, a darker shade did feel more natural for the young actress. But, much like she won’t be defined by the characters she plays, the decision was not as simple as “I am dark, so I should have dark hair”, or a case for wanting to be more easily recognisable. Green admits to possessing the ability to make herself invisible as she walks through London in swathes of scarves and glasses. Unfortunately, with her CV continuing to expand and a beauty as powerful as hers, her anonymity is becoming scarcer and scarcer.
By Stephen Schaefer
As the protective mistress of a troupe of World War II orphans, Eva Green vividly creates a woman with extraordinary powers in Tim Burton’s “Miss Peregrine’s Home for Peculiar Children” (now in theaters).
In 1943, with Nazi Germany bombing Britain, Green’s Miss Peregrine fiercely guards her young charges — each of whom has a distinctive “peculiarity,” like the ability to freeze objects, float up into the sky or ignite fires.
Their mistress has a power of her own: the ability to transform into a peregrine falcon.
For Green, 36, that meant screening a 1965 film classic and meeting a falcon.
“The indication Tim gave me was, ‘She’s like a weird Mary Poppins.’ So I watched ‘Mary Poppins.’ It’s more than she can fly. It’s more the physicality because of her bird-like quality.
“A peregrine falcon is a bird of prey. It’s the fastest animal on the planet, so doing a Tim Burton movie, you have to bring an edge to it. You move your head quite sharply. You can’t blink. I had to deliver the lines very fast, sort of like Mary Poppins on speed. That was fun!”
As for that falcon, “It was quite regal, actually. There’s something quite acute and fascinating. They remain quite still, and in a second, grab the prey — and that’s it.
“That’s why Tim calls her ‘Scary Poppins’ — because she’s a bird of prey; she can kill to protect her children. But she has that maternal quality as well.”
Did Green, who just ended her “Penny Dreadful” series on Showtime, get in touch with her inner bird?
“God! It’s true,” she said, laughing. “It’s not too easy playing a bird. It’s all very angular, precise. On my own, I tried to be a bit sharp. It’s just a feeling — you worry: ‘I might have gone too far, done too much.’ But Tim’s there, and he would say, ‘less,’ ‘more.’ ”
As this film is Green’s second collaboration with Burton, following 2012’s “Dark Shadows,” some critics have anointed her as the legendary filmmaker’s muse.
“I don’t know. Muse is such a big word. It’s quite intimidating, a big responsibility. I’m just flattered he asked me to be part of this adventure.”