By Diana Lodderhose
EXCLUSIVE: Eva Green is in talks to star in Tim Burton’s Dumbo, the live-action adaptation of the 1941 animated classic for Disney. Sources tell me she’s being eyed for one of the three main adult roles in the title, which is edging closer and closer towards a production start.
A Green-Burton reunion would make a lot of sense given the sizzling actress seems to be the director’s new muse, and Burton has a habit of working again and again with actors he likes. Green played the title character in Burton’s family fantasy Miss Peregrine’s Home For Peculiar Children, based on the novel by Ransom Riggs. It grossed $297.4M worldwide last year. She also starred in Burton’s vampire comedy Dark Shadows alongside Johnny Depp and Michelle Pfeiffer, which generated $254.5M worldwide in 2012.
The live-action remake of Dumbo is written by Ehren Kruger, who produces with Justin Springer (Tron: Legacy). Disney’s original version focused on a big-eared, lovable circus elephant, who is mocked for his large ears but learns to use them as wings to fly.
It’s the latest in Disney’s long line of reboots: This month, the studio is set to release a live-action version of Beauty and the Beast, starring Emma Watson, Luke Evans and Dan Stevens, and Emma Stone is set to star as villainess Cruella De Vil in the upcoming 101 Dalmatians. The studio has had huge success with reinventions of classic animated fares like Angelina Jolie starrer Maleficent and Johnny Depp’s Alice In Wonderland, the latter of which was directed by Burton. Those pics earned $758.5M and $1.02B worldwide respectively. Its 2015 reboot of Cinderella starring Lily James took $543.5M worldwide.
Green has been hugely in-demand lately. After a successful run on Showtime’s psychological thriller series Penny Dreadful, the French actress starred in Miss Peregrine and then worked with Roman Polanski on his latest title Based on a True Story, which is currently in post. She’s also starred alongside Alicia Vikander, Charles Dance and Charlotte Rampling in Lisa Langseth’s Euphoria, about two sisters who meet up again after many years apart and the profound journey that they undertake together.
Green is also attached to star with Gemma Arterton in Vita and Virginia, a title which looks at the love affair between Virginia Woolf (Green) and Vita Sacksville-West (Arterton). But word is that should the Dumbo deal make, dates for that title will have to be shifted.
Green is repped by UTA in the U.S. and Tavistock Wood in the UK.
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.
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.
As Eva Green reunites with Tim Burton on the big screen, the former Bond girl chats to Susan Griffin about playing ‘Scary Poppins’ and her memories of Casino Royale, a decade on…
Eva Green is lamenting her age. “I feel old,” she exclaims when asked how it feels to mark a decade since the release of Casino Royale, the Bond movie that marked Daniel Craig’s debut as 007.
Green played Bond girl Vesper Lynd, a role she’s “proud” to have tackled, although she was tentative when first approached.
In her head, she no doubt had visions of playing bikini-clad arm candy, so was pleasantly surprised to hear the outline for the character: a foreign liaison agent who beguiles Bond but whose deception ultimately leads to her demise.
“Vesper was an enigmatic character, but very human, very sensitive, and it was mainly the love story that was very appealing to me in that one,” remarks the 36-year-old actress, beautiful yet delicate-looking in floor-length black lace.
Green was born in Paris but speaks in an acutely-enunciated English accent, her blue-green eyes defined by layers of smoky eye shadow. She’s friendly, but not someone who will fill the air with unnecessary and inane chatter.
The rumours continue as to whether Craig will step down from the role following his fourth outing in last year’s Spectre.
Does she think it’s time for him to hang up the tuxedo?
“I don’t know,” ponders Green. “He does what he wants, but he’s such a wonderful Bond because he’s so in his body. He’s sexy, raw and rugged.”
Since her debut screen role in Bernardo Bertolucci’s The Dreamers in 2003, where she and her co-stars, Michael Pitt and Louis Garrel, spent a large proportion of their screen-time naked, the actress has forged a reputation for playing empowered women, entirely confident in their own skin. But they’re not all femme fatales, she notes, as is often perceived.
“I played a femme fatale 100 per cent in [2014’s] Sin City: A Dame To Die For, there are not many dimensions, she’s like a psychopath,” notes Green, who studied acting in London and directing in New York, and won the Bafta Rising Star Award in 2007.
“In the other roles I’ve played – some of the roles anyway – they’re strong women, but there is more behind the strong facade. There are cracks in the armour and they’re quite complex.”
Her Bond role aside, Green’s standout performances include Sibylla, Queen of Jerusalem in Ridley Scott’s A Kingdom Of Heaven, warrior Artemisia in 300: Rise Of An Empire, and the possessed Vanessa Ives in the horror series Penny Dreadful.
By Larushka Ivan-Zadeh
In real life, Eva Green is as curious as her characters. In Hollywood, that makes her a breath of fresh air.
‘A BIT bonkers and eccentric — such an unusual character,’ is a phrase actress Eva Green could use to describe herself. Instead the 36-year-old Parisian is enthusing about her titular role in Miss Peregrine’s Home For Peculiar Children as a magical, pipe-smoking headmistress who can turn herself into a peregrine falcon.
Miss P’s pupils include an invisible boy and a girl who floats like a balloon. Little wonder director Tim Burton dubbed her ‘Scary Poppins’.
‘I love playing someone like this, who isn’t a love interest,’ says Green, whose breakout turn as Bond’s most significant girl in Casino Royale saw the awards come rolling in. ‘I often get asked if I get worried about being typecast as a femme fatale. But I have played so many other things! It makes me sad. Is that how people see me, as a dark kind of icy image? I hope not.’
Green may insist ‘I am not a goth. I am a big geek!’, but today she certainly looks the part: her marble flesh is made paler by her raven tresses (‘it’s actually dark blonde — I have dyed my hair since I was 15’), her petite frame is clad neck to ankle in a black lacy-sleeved Elie Saab trouser suit, all topped off with her favourite chunky silver skull ring.
Bernardo Bertolucci, who cast her in his sexually graphic drama The Dreamers aged 19, once described her as ‘so beautiful it’s indecent’, but the French/Swedish actress is now more likely to be typecast as a witch (as she was in The Golden Compass and Burton’s Dark Shadows, plus a possessed medium in Penny Dreadful) than a Euro sex kitten. It’s something of a relief that in person Green is warm, fascinating company and refreshingly peculiar.
– Magazine & Newspaper Scans > 2016 > F*** Magazine — September 2016
– Magazine & Newspaper Scans > 2016 > Popcorn – September/October 2016
– Magazine & Newspaper Scans > 2016 > Post Magazine – September 2016
– Magazine & Newspaper Scans > 2016 > Premiere (France) – September/October 2016
By Elsa Keslassy
Emmanuelle Seigner and Eva Green are set to star in Roman Polanski’s psychological thriller “Based on a True Story” (“D’apres une histoire vraie”), which will be sold internationally by Lionsgate.
Assayas, who nabbed the best director prize at Cannes for supernatural drama “Personal Shopper” is co-writing the film with Polanski. “True Story” turns on the toxic relationship between a writer (Emmanuelle Seigner), whose life and mind are endangered by an obsessive woman (Eva Green).
Marking Polanski’s return to filmmaking since his 2013 drama “Venus in Fur,” the French-language “Based on a True Story” is an adaptation of Delphine de Vigan’s critically acclaimed novel of the same name. The book was published last year and won the Prix Renaudot and high school prize Goncourt des Lyceens.
“True Story” is Beji’s first collaboration with Assayas and Polanski. Beji is producing the film via his Parisian outfit Wy Productions, whose credits include Jalil Lespert’s Cesar-winning “Yves Saint Laurent” and Pierre Niney starrer “An Ideal Man” and the French remake of “Chaos” with Romain Duris, Charlotte Lebon and Lespert.
The shooting will start in Nov. in Paris. Mars Distribution will release the film in France.
Here’s your first look on Lisa Langseth’s “Euphoria” starring Eva and Alicia Vikander. The film also stars Charlotte Rampling, Charles Dance, Adrian Lester and Mark Stanley. This is director Lisa Langseth’s English language film debut. Miss Langseth previously directed Alicia in “Hotel” and “Pure”. The film tells the story of sisters Ines and Emily, who meet up again after many years apart and the profound journey that they undertake together. Filming is currently taking place in Munich with the production set to move in the Bavarian region of Germany. “Euphoria” is expected to be released next year, 2017.
“Eva looks like she can turn into a bird — and I’m sure she has on many occasions,” Burton deadpans of his leading lady, who arrives later for our chat dressed in the distinctly Burton-esque get-up of a black suit paired with a monochrome-striped shirt that recalls a chic Jack Skellington. “Tim calls Miss Peregrine ‘Scary Poppins’,” smiles Green. “Julie Andrews’ Mary Poppins was a bit tough already, but [Miss Peregrine] loves her children. She’s more like a commanding general, because if they’re not on time then something really grave [will] happen.”
– Magazine & Newspaper Scans > 2016 > Total Film (UK) – September 2016
By Dave McNary
Tim Burton’s “Miss Peregrine’s Home for Peculiar Children” will premiere at Fantastic Fest ahead of its Sept. 30 nationwide launch by Fox.
Burton is scheduled to appear at a red-carpet screening of the offbeat drama at festival, which will run from Sept. 22-29 at the Alamo Drafthouse South Lamar in Austin. The film, based on the Ransom Riggs novel of the same name, centers on a 16-year-old boy who accidentally works for a mysterious woman on a mysterious island where he helps a group of orphaned children, all with strange powers.
Eva Green stars with Asa Butterfield in the lead roles. Chris O’Dowd, Allison Janney, Rupert Everett, Terence Stamp, Judi Dench and Samuel L. Jackson also star.
The festival also hosted the world premiere of Burton’s “Frankenweenie” in 2012.
Fantastic Fest, now in its 12th yeas as one of the largest genre fests, will also screen the world premiere of “Phantasm: Ravager”; a special screening of “Phantasm: Remastered” with Don Coscarelli and cast in attendance; and Texas native Sasha Lane hosting Andrea Arnold’s “American Honey,” which also stars Shia LeBeouf.
“We really wanted to challenge the edges of what ‘genre’ means this year,” said Tim League, Fantastic Fest Founder and Alamo Drafthouse CEO. “This world of cinema has evolved so dramatically since our first festival in 2005, and we want to be part of the change by exposing audiences to films, formats and filmmakers that they may never otherwise see. I’m proud of the diversity of experiences we’ll be bringing to Austin this September.”
The festival has hosted the premieres of “Bone Tomahawk,” “Machete Kills,” “Red Dawn,” “There Will Be Blood,” “Red,” “Apocalypto” and “Zombieland” in past years.
The festival will include a spotlight on Indian cinema, including the U.S. premiere of Anurag Kashyap’s 2016 cops and crime story “Psycho Raman” and screenings of S.S. Rajamouli’s “Magadheera” and Sughash Ghai’s “Khalnayak.”
“It is a dream come true to bring the glorious excess and pageantry of Indian cinema to Fantastic Fest,” said Evrim Ersoy, the festival’s head of programming, in a statement. “We are celebrating not only Bollywood but also Tamil, Telugu and Malayalam cinema, highlighting the kaleidoscope of textures and content that is as wide and varied as the subcontinent itself.”
Photographer: Ellen von Unwerth
Stylist: Sascha Lilic
Hair: Maxime Mace
Make-Up: Kay Montano
Manicure: Christina Conrad
– Magazine & Newspaper Scans > 2016 > Glamour (Italy) – August 2016
– Magazine & Newspaper Scans > 2016 > W Magazine – August 2016
by Drew McWeeny
The first real rabid Penny Dreadful fan I talked to was Greg Ellwood here at HitFix. He was a steadfast believer the entire time it was on the air, and he encouraged me to watch it. I was busy cutting the cord, though, moving away from cable subscriptions. I had no cable in the house, none in my office, and chose not to watch anything on TV. I used Hulu, Netflix, HBO Now, Amazon Prime. And if a show didn’t land in one of the services I used, then it just went on a list of things to watch someday. Maybe.
Today is that day for Penny Dreadful for me. After Greg, the person who really picked up that ongoing advocacy for the show was Brian Duffield, who shares my deep abiding love of Eva Green’s work, and he has always been insistent that I was missing some of her very best work by not finding a way to watch the show. I couldn’t justify all of the expense for one title, though. I just waited, and when I moved into my new apartment this week, I finally reversed course, buying a cable/Internet bundle with a very healthy On Demand library. I checked to see if I had a Showtime folder, and then checked to see if they had all of the Penny Dreadful episodes, and just as I got excited about that, Netflix also added the series, although only the first two seasons.
It was suddenly abundantly available and so I put on the first one this morning while working, and that rolled right into the second one, and all of a sudden, there was Eva Green, and there was this seance, and she grabbed this script by the neck and cracked it open and drank the marrow and never once blinked, damn near staring the audience down, daring them to look away.
That’s Eva Green, though. From the moment she appeared in The Dreamers thirteen years ago, she made it clear that she was no one’s fantasy, no one’s object, no one’s simple fantasy. She is willing to follow a good piece of material anywhere, and watching her tear into good writing is one of the great pleasures of film these days. When I spoke to her about her work in 300: Rise Of An Empire, I was practically levitating because it’s such a knowing, accomplished piece of work. She read that script, she got exactly how to make that character spring to vivid life, and she dug in unabashedly. I don’t think Sin City: A Dame To Kill For is very good, but she positively skins it. She leans into the stereotypes that Frank Miller’s using and she twists them all into her own particular versions of them. When she played “the Bond girl” in Casino Royale, she ended up making Vesper into something just as morally and emotionally complicated as the original Ian Fleming conception of the character, if not more so.
Tim Burton’s Dark Shadows has 99 problems, but Eva Green ain’t one. She showed up to that film to play, and she owns Johnny Depp in every scene in the film. Seems apt. In a world where men get to be character actors for decades, building rich galleries of portrayals of a wide range of types and voices and backstories, women are often relegated to teasing out variations on a fairly limited range of roles. Eva Green has never allowed herself to be held back by that, though, and when a filmmaker understands just what a rich collaborator Green can be, it seems like there’s no limit to the rewards that the finished film will reap. She should have the kind of career Depp has, and it seems like she is forcing the industry to bend to that idea instead of her having to give up and just take the girlfriend or wife roles like everyone else.
Today is her birthday, and I don’t particularly care what number it is. What I care about is watching the rest of this series in the weeks ahead, and savoring the way a TV show, especially today as the caliber of writing seems to have risen across the board, allows a great actor to do something they can never do in film, living in a character’s skin over time, building in a million details that make the character even more vivid, even more real. And if I could give her one birthday present, it would be the promise that no one will ever do to her work what Ridley Scott did when he cut the theatrical version of Kingdom Of Heaven in 2005. Her character had a son in the film who played an essential role, but when Scott was pushed to create a theatrical version of the film that was an acceptable length, he chose to cut her son from the movie completely, and it destroyed her character in a way that was remarkable. It was only once I saw the longer cut that I realized just how impressive her work was, and how much William Monahan had given her to do. Here’s hoping that as she continues to move from role to role, filmmakers rise to the challenge and they write strong, smart, eccentric roles for her to play. I’m looking forward to seeing her play Miss Peregrine in Tim Burton’s Miss Peregrine’s Home For Peculiar Children, and you can see the latest trailer for it below. But I want more for her. I want her to conquer. I want her to find a filmmaker who is excited by what she brings to a collaboration. I want Hollywood to deserve her.
In the meantime, I’ve got lots more Penny Dreadful to get to. Celebrate her birthday right and join me if you’re also been missing out.