Archive for the ‘Article’ Category
G   /   October 18, 2014   /   1 Comment

By Dennis Dermody

White Bird In A Blizzard
Gregg Araki’s latest is a moody, melancholic, spellbinding movie based on the novel by Laura Kasischke. Set in 1988, teenage Kat (Shailene Woodley) is dealing with her mother’s (Eva Green) mysterious disappearance one day. Time passes with no word from her and she gets by living with her sadsack dad (Chris Meloni), hanging with her friends (Gabourey Sidibe & Mark Indelicato), seeing a shrink (Angela Bassett), sometimes screwing her dim but criminally cute neighbor (Shiloh Fernandez) and hooking up with the hot investigating detective (Thomas Jane). But she is haunted by dreams of her mother. Eva Green (seen in flashbacks straining furiously to break the bonds of her oppressive married live) is frighteningly good. Araki’s spot-on use of period music and dreamy cinematography give the film a haunting Mysterious Skin-like vibe, which serves it wonderfully.

Read the rest of the list HERE.

Source: Paper Magazine

G   /   October 14, 2014   /   2 Comments

By Fred Topel

Director Greg Araki discusses the psychology of his female characters and looks back on ‘The Doom Generation’ and Sundance in the 1990s.

 

Would a woman like Eve be diagnosed today as depressed?  

I do think that she’s definitely depressed. 

Maybe even bipolar.

Yes, possibly bipolar. I just saw her character as being a very tragic figure in the sense that if you think about when she grew up, she grew up in the ‘50s and ‘60s. Her role models were Jackie O, etc. Eva Green and I talked about these old school Hitchcock movie star heroines that were always these glamorous, like the perfect wife, the perfect mother. Shai’s character talks about it a little bit in the film. That was her only option. She didn’t have an option of become a doctor, travel the world or do this. It was just you’re going to get married and have kids. He character itself to me was very tragic in the sense that she had no choices in life and so found herself in this existence that was for her, soul crushing.

How did you approach photographing Eva Green as the ‘80s homemaker?

She’s just the most amazing actress in the world. Eva was only 32 when we made this movie. In the film, there’s young Eve and there’s older Eve, so when we were casting, it was like we could cast an older actress and try to make her look younger for her younger scenes. Or we could cast a younger actress and try to make her look older. When you see Eva, when she’s young, the scene in the restaurant where she’s like this glamorous kind of movie star character, when she’s getting married and she’s like this radiant bride, that’s what Eva Green looks like. When she would show up on set, we did minimal makeup on her. No prosthetics, nothing. It was literally just all of her acting. She just showed up and she was this withered, sad, kind of tragic figure. She’s just amazing.

Read the rest of Gregg Araki’s interview HERE.

Source: CraveOnline

G   /   October 12, 2014   /   1 Comment

Here are some more reviews on Eva’s performance in White Bird in a Blizzard. Click on the Source links for the full film review.

Green most certainly enjoys playing the more over-the-top roles, and this is another one to add to the collection. She’s absolutely engrossing on screen, as we just can’t keep our eyes off of her crazy antics throughout the course of the flashbacks.

– Jeff Nelson for DVDTalk, White Bird in a Blizzard 

Also stellar here is, unsurprisingly, Eva Green, Hollywood’s boldest actress and White Bird in a Blizzard’s enigmatic conflict-catalyst, a troubled woman lashing out against domestication while losing her mind.

– Matt Barone for Complex, Permanent Midnight: Shailene Woodley, Eva Green, and More ‘Week Two’ Fantasia Film Festival Highlights 

Green plays up the hysteria in Eve’s voice and performs in a scene-chewing manner that leads up perfectly to a character meltdown.

– Allyson Johnson for The Young Folks, Ally’s Movie Review: White Bird in a Blizzard

The flashbacks are explosive bouts of emotion, with Eva Green snarling and spitting venom as only Eva Green can….and the melodramatic showcase for Eva Green as a housewife spiraling out of her mind in a loveless marriage and joyless life is filled with fireworks you cannot take your eyes off of.

– Mike Shutt for Rope of Silicon, ‘White Bird in a Blizzard’ (2014) Movie Review

G   /   October 08, 2014   /   4 Comments

By Hillary Weston

“I’m very shy and awkward, so playing all these characters and taking on these different roles from myself makes me feel alive and gives me blood,” Eva Green tells me when I ask about the mysterious and darkly seductive roles she’s known for in contrast to the person she is off-screen. “I’m breathing and alive when I’m acting, and I’m confident when I’m acting—I’m not always in real life.” But for the alluring French actress, her intense sensuality and cunning intellect have made her one of Hollywood’s most sought after women, from her breakout role in Bernardo Bertolucci’s The Dreamers and her turn as a bond girl in Casino Royale to starring on Showtime’s Penny Dreadful and her latest role in Gregg Araki’s White Bird in a Blizzard.

Starring Green alongside Shailene Woodley, Araki’s film (King of Teenage Doom) takes us back to the late 1980‘s to tell his dark suburban dream, based on Laura Kasischke’s novel of the same title. In White Bird, we follow Kat (Woodley), a 17-year-old girl whose emotionally unstable mother, Eve (Green), vanishes mysteriously one afternoon. Caught up in her newfound sexuality and exploration of desire and emotion, Kat represses the confusion and anger of her mother’s haunting disappearance, as her father (played by Christopher Meloni) continues on with his life in the shadow of Eve’s absence.But as the story unravels, we’re given insight into Eve’s life, with surreal flashbacks and snow-covered dreams, revealing the natural of Kat’s uneasy relationship with her mother and how deeply miserable Eve was in her caged-in life as a homemaker.

And although she is but a mere decade older than Woodley in real life, Green manages to elevate her Mommie Dearest-esque character to someone untethered by time, a ghost haunting their lives. Wonderfully theatrical while not going entirely over the top, Green plays up the ugliness of Eve’s alcoholism and anger to age herself, adding a sense of hyper-melodrama akin to one of Fassbinder’s women on the verge. So with White Bird in a Blizzard now out on VOD and in theaters next week, I stole some time with Green to chat about her fears about playing Shailene’s mother, her ability to make herself invisible, and acting inside a dream.

As a new actor to the world of Gregg Araki, how did you become involved in the film?

I remember I was in Bulgaria doing the 300film and my agent was like, “My god, you need to look at this I’m sure you’re going to love this.” And then I just really loved the story, and it was so unusual and frustrated and it had such a great conflict with the daughter. I was very moved by it, so I said yes straight away!

Had you been a fan of his past films?

Yeah, I remember I saw Mysterious Skin in the cinema when it came it. It was dreamlike and very tormented. There’s something in his films that are a bit David Lynch in a way. Seeing the film in the cinema I remember it was like a dream and fucked up and I loved that very much. His other films are all teenage trashy bonkers funny and this one, White Bird, I find more grown up. It’s in another category of its own.

How was the experience of turning in this character and playing a woman who was written significantly older than you? Did you read the book to get of the feeling of who she was?

When I found out my daughter would be played by Shailene, I was like, oh my god! It’s a bit unbelievable; we look more like sisters. But Gregg was like, don’t worry, it’s a bit surreal and you’ll have another hairdo. I was worried that it would not be believable, so I loved her journey. You see her young in her 20s and then it ages me. But I tried to portray that aging more in her character. She’s an alcoholic and her body changes and her voice changes, so it was a challenge.

She only exists in these surreal memories and in flashbacks, so in a way she felt ageless.

Yes, yes.

There’s something about your character that also felt out of time and very rooted in melodrama, like she belonged to films of the past, in opposition the natural cool of the teens.

It’s true. She’s kind of a mixture of a lot of women. She could have been a movie star but she didn’t fulfill her dreams and got trapped like a bird in a cage. Sometimes it felt like, am I going completely over the top, a complete alcoholic kind of thing, but Gregg allowed me to go there because it was a dream. You have all these teenagers and they’re cool and I had the excuse of being in a dream.

You’ve worked with a lot of great directors, but what was the experience like working with Gregg Araki?

In the beginning it was a struggle to find the money for the film and then the actors. But it’s nice that this film was made all with heart, and Gregg is very open and he’s so passionate. He’s like a child on set, with this passion and he’s so loving. He’s really all about who these characters are and the story. It’s all fun. There’s no judgement or games or bullshit. It’s pure joy and we all loved it.

How was Shailene as a co-star and daughter?

I was intimidated at first. I thought, oh god am I going to measure up? Is this going to believable? But Shailene was so great and she calmed me down and made me feel confident. She was very supportive. She’s very wise and very mature, an old soul. And she’s also very aware of the world and extremely bright and amazing.

Looking back on the roles you’ve played, there’s been a lot of characters that fall into the darker, more dramatic realm. Do you tend to gravitate towards these roles or do you find that people approach you for them because that’s how they perceive you as an actor?

You take what you find, but I am always looking for something that’s complex and something that’s interesting. I also don’t want people to put me in a box of one character also. So I always hope people have enough imagination. But I am always drawn to something complicated. It’s jubilating in a strange way, but you also have to be careful. 

Do you find that you’re a much different person off-screen and not the mysterious woman we often see you play?

Oh, yeah. No one ever really recognizes me really. I take the tube all the time and it’s fine. I can make myself invisible, I have that power. I’m also very shy and feel so awkward that playing all these characters and taking on these different roles from myself makes me feel alive and gives me blood. I’m breathing and alive when I’m acting and I’m confident when I’m acting. I’m not always in real life, but I would like to be. So I think I’m very different for sure.

What are you working on now?

I’m going to Ireland to shoot the second season of Penny Dreadful. I get to play a very gifted and fabulous character. It’s an interesting character and one of the most interesting I’ve gotten to play. She’s in the dark but she’s fighting to get to the light and she goes through such an amazing, rich journey. 

Source: BlackBook 

 

G   /   October 07, 2014   /   1 Comment

Here are some more reviews on Eva’s performance in White Bird in a Blizzard. Click on the Source links for the full film review.

……She’s matched in intensity by Eva Green, who is such a delicious mess as Kat’s mentally unwinding mother that I missed having her on screen. 

– Scott Feinberg for scottfeinberg.com, Sundance Review: White Bird in a Blizzard

As I’ve already harped on, the casting in this movie is brilliant. Just imagine Eva Green as a misanthropic housewife, someone who would be jealous of her daughter’s looks, because she’s getting old. This is a woman whose chest was too hot for a Sin City 2 poster, and that’s precisely why it works so well. Eva Green embodies Eve Connor, the miracle homemaker turned miserable, listless drunk, with a husky voice and a sliver of the possessed version of her Vanessa Ives character in Penny Dreadful, and it’s arguably more terrifying to find her in 1980’s suburbia. Eva Green is as magnetic an actor as there is working today (is there a more interesting one? Envision a movie that costars Green and Adam Driver…), and her absence is felt as much as her overwhelming presence in this one.

– Andy Greene for Popinsomniacs, Film Review: ‘White Bird in a Blizzard’ and Shailene Woodley Subvert Expectations

……current vamp-for-hire Eva Green, meanwhile, is all stylized hauteur, as if playing Joan Crawford under Todd Solondz’s instruction. (She’s pretty great, in other words.)…….Her mother Eve (Green) has no such reticence, posing at every given opportunity in slinky, ridge-shouldered femme fatale dresses and flirting lasciviously with local boys. (She extends a dinner invitation to one, cooing that she makes a mean “crab thermidor” — Green says the words as if offering sex on a popsicle stick. It’s the most delicious moment in the entire film.)

– Guy Lodge for HitFix, Review: Shailene Woodley and Eva Green spark in disappointing ‘White Bird in a Blizzard’

Christopher Meloni and Eva Green do just as strong work as Woodley. Eva Green continues her streak of manic strong women here in the role of Woodley’s mother Eve. Green’s over the top delivery works well here as a protrait of a mother who’s looks are fading as fast as her atrophy for the life she lives is growing inside of her. To see something as deranged as 300: Rise of an Empire and White Bird in a Blizzard and how she is able to gel into both perfectly is a testament to her prowess as a performer. Both films show that Green appears to be just beginning a very interesting and arresting career……The final moments between Meloni and Green are as heartbreaking as one will see this year.

– Adam Kautzer for FilmDispenser, White Bird in a Blizzard – Film Review (2014)

Eva Green took on the role of the disappearing mother, Eve. As always, Green was amazing and managed to make herself feel present on screen even though she was not the lead. Ever since I saw her in The Dreamers I can’t get enough of her!

– Nina Chabel for Montreal Rampage, Review: White Bird ina  Blizzard at Fantasia

G   /   October 04, 2014   /   1 Comment

Here are some more reviews on Eva’s performance in White Bird in a Blizzard. Click on the Source links for the full film review.

French actress Green, an underused talent, has always had something crazed behind her large, popped eyes, a ferocious energy that serves her well here as a woman disappointed by life and content to rage against it until everyone in her wake is as miserable as she is.

– Beth Hanna for Indiewire: Thompson on Hollywood, Sundance Review: ‘White Bird in a Blizzard’

Eva Green goes deliciously unhinged in Gregg Araki’s latest!

– Peter Debruge for Variety, Sundance Film Review: ‘White Bird in a Blizzard’

Because it must be said—Eva Green isn’t exactly the star of ‘White Bird,’ but she gives one hell of a performance. With the small running time she’s in, she doesn’t just chew up the scenery, she devours it whole (including every actor that shares space with her). Her vicious maw is as staggering as her talent threatens to overshadow everyone who dares to come across her path……All in all, “White Bird in a Blizzard” is worth seeing for Eva Green’s performance alone, and to experience the dreamlike quality of Gregg Araki’s individual, highly unique vision of cinema.

– Chase Whale for Indiewire: The Playlist, Sundace Review: Gregg Araki’s ‘White Bird in a Blizzard’

Eva Green’s performance is unbelievable. She’s intense, beautiful and creepy at the same time. Her face, her voice and attitude transpires so much, how come this woman does not have an Oscar? Or is not a goddess in a Marvel movie? 

– wornoutspines.com

Green walks a fine line between composure and lunacy, although the director pushes her to one or two over-the-top moments.

– Todd McCarthy for The Hollywood Reporter, ‘White Bird in a Blizzard’ : Sundance Review

G   /   September 29, 2014   /   1 Comment

Let’s talk about your latest, very exciting, project – the television series Penny Dreadful. How did you get involved?

This is a good question. I’m not quite sure. It was the fortunate turn of events that Showtime approached me with an offer to write the score. Not the opposite, as it usually happens. There were apparently a few people who recommended me. Firstly, John Logan, the writer and creator of Penny Dreadful, knew and appreciated my work. Secondly, it was Juan Antonio Bayona who directed and shaped the series. Eva Green would play my music on the set, while they were shooting. She was a great ambassador (for my music).

I got invited to Dublin for meetings with Bayona, Logan and Eva Green. It was a great feeling, that my music was expected and requested. Also, seeing all the sets, built with such astonishing level of detail, was really a great experience.

Read the rest of his interview HERE.

Source: Films On Wax

G   /   September 18, 2014   /   1 Comment

By Kevin Woods

We were big fans of Showtime’s gothic horror series “Penny Dreadful” here at AITH, bringing you our reviews of the acclaimed first season throughout its run. If you missed it when it originally aired or just want to revisit the series again then you’ll be excited to hear that “Penny Dreadful” The Complete First Season” is heading to DVD and Blu-ray on October 14. If you’re the kind of collector who is into exclusive box art collections then you’ll definitely want to get your hands on the Target Exclusive release, and we’ve got your first look at the box art below!

PennyDreadfulS1_Target-BoxArt

Read More

G   /   September 13, 2014   /   1 Comment

By Tim Kenneally

 

Showtime psychological thriller also adds other guest stars and ups two cast members to series regulars

“Penny Dreadful” is beefing up its cast big-time as it prepares for its second season.

The “Showtime” drama has cast Patti LuPone as a guest star for Season 2. The two-time Tony Award winner, whose television credits include “American Horror Story” and “Life Goes On,” will play play a mysterious character of great importance in Vanessa’s (Eva Green) past.

LuPone will be joined by fellow newcomers Douglas Hodge, Jonny Beauchamp and Sarah Greene, who are also coming aboard as guest stars for “Dreadful’s” second season. Hodge (“La Cages aux Folles”) will play Bartholomew Rusk, an intense Scotland Yard investigator on the hunt to discover who is responsible for the terrible murders that have been plaguing London. “How to Make it in America” actor Beauchamp will play a young man with a singular past, while Greene will play Hecate, Evelyn Poole’s powerful daughter.

The series has also upped cast members Helen McCrory and Simon Russell Beale to series regulars, as seductive spiritualist Evelyn Poole and eccentric Egyptologist Ferdinand Lyle, respectively. In the upcoming second season, Poole will pose a unique threat to the series’ protagonists.

Season 2 of “Penny Dreadful” begins production in Dublin, Ireland for a 2015 premiere.

Source: The Wrap

G   /   September 11, 2014   /   1 Comment

By Scott Roxborough

UPIE will release Kristian Levering’s feature, co-starring Eva Green, across Latin America, Eastern Europe and South Africa

Universal Pictures International Entertainment (UPIE) has picked up Kristian Levring’s western The Salvation, featuring Hannibal star Mads Mikkelsen, for multiple international territories.

In a deal announced in Toronto, UPIE acquired The Salvation for all of Latin America, Eastern Europe and South Africa.

TrustNordisk is handling international sales on the feature, which co-stars Eva Green. Trust’s head of sales Susan Wendt negotiated the deal.

“(This deal) strongly indicates that the international market place is more than ready for a western of Scandinavian origin,” Wendt said.

The Salvation, co-written by Levring and Denmark’s Anders Thomas Jensen (In a Better World) features an ensemble cast that includes Jeffrey Dean Morgan, Mikael Persbrandt,Jonathan Pryce and French soccer star turned actor Eric Cantona.

Mikkelsen stars as a Danish settler in 19th century America who sets out to avenge his family.

Buyers jumped on the film after its premiere as a midnight screening in Cannes, with IFC Films picking up North American rights, Concorde taking Germany and Austria and Tohokushinsha acquiring Japanese rights, among several other deals.

Source: The Hollywood Reporter

G   /   September 10, 2014   /   3 Comments

By Aleigha Spinks

Eva Green

Sorry, ladies! It is the year of Eva Green! This French beauty is WERKIN’ in 2014, pumping out four films and a hit TV show! Although Green tries to stay out of the eye of the public, no one can help but take notice of this woman being everywhere! ‘Sin City: A Dame to Kill For” was just released in the U.S. this past Friday, and Green plays the actual dame to kill for. I rest my case.

What You Should be Watching: ‘Penny Dreadful.’ The perfect combination of creepy gothic literature plot lines and fantastic acting! Find it on Showtime!

Film You Should Watch: ‘The Dreamers.’ It’s my favorite film of all time. That’s really saying something!

Look Out For: ‘Miss Peregrine’s Home for Peculiar Children.’ Set to begin shooting in early 2015. Green just signed on to play the title character and Tim Burton will be directing it! I’ve never been this excited!

Read the rest of the list HERE.

Source: Froth Magazine

G   /   September 09, 2014   /   4 Comments

By Jason Shawhan

A Dame to Kill For is the sequel to 2005’s Sin City in the most literal way. Thematically, it’s part of a chain of adolescent, hyperviolent misogynist fantasies going back to 1980’s Heavy Metal: hard-boiled men who know the languages of violence and betrayal, and an assortment of noble virgins and streetwise whores to pepper the narrative with occasional frissons to distract from the murder and double-crossing. This is more of the same, but with one noticeable upgrade that allows co-directors Robert Rodriguez and Frank Miller to claim some of the zeitgeist.

A Dame to Kill For is a must-see because of the transcendent performance of Eva Green. Much as she did with 300: Rise of the Empire earlier this year, she steps into a digital backlot and commits wholeheartedly to whatever the film requires. She’s got a gift for elevating material that has in 2014 alone made two sequels that nobody asked for into essential summer flicks, and it’s all due to force of will and a lack of inhibitions.

She’s always been a worthwhile screen presence, but it seems like she just recently found her groove — her Showtime series, Penny Dreadful, is a gleeful and atmospheric masterpiece of horror’s grand history, and she’s racking up great notices in films that are otherwise thrown to the hounds.

Hers is a remarkable face. She has a distinctive look, one that recalls screen beauties of the Golden Age of Hollywood; you realize that Green could have been a star at any point in Hollywood history since the ’20s. She’s got a brassy, glam sensibility that calls to mind Bergman, Bacall and Hepburn, but with the devilish sense of humor (and willingness to deploy the goods) of early ‘90s Sharon Stone.

As it stands, Green and Mickey Rourke are the only cast members who seem like they could actually pull off real noir — not just the monochromatic karaoke of so much of the Sin City franchise.

The rest is mostly a muddle. A Dame to Kill For jumps around in time, trying to serve as a prequel and a sequel to the 2005 original, but there’s a specific point where at least several months pass and there is no indication given to the viewer that this has happened. As always, if you’re engrossed in a story, it wouldn’t matter. If it weren’t for Green’s dynamic energy and carnal joie de vivre — and a competently funky Lady Gaga cameo that delivers classic Marisa Tomei realness — you’d be able to pinpoint the exact moment that the film loses its bearings.

Its box-office disaster last weekend doesn’t bode well, but let’s hope this film provides the impetus for an Eva Green/Angelina Jolie buddy film where they kick all ass. I would be there opening day, and you should be too.

Source: Nashville Scene

G   /   September 07, 2014   /   0 Comments

Our friend Thomas Perillon of Le Bleu du Miroir recently got to interview The Salvation’s director Kristian Levring and its main protagonist and Eva Green co-star Mads Mikkelsen in Paris. Here are what they have said about Eva and her participation in the film:

THOMAS PERILLON: Mads Mikkelsen was an obvious choice for the main part. What about Eva Green who probably has the most complex and enigmatic part of the movie ?


KRISTIAN LEVRING: Actually, I met Eva pretty quickly after Mads confirmed us his will to do it. I needed an actress with the necessary strength for the part, to play this mute character on screen. I had the feeling that Eva would be interesting in that way. When I met her, we started to talk about the part, she was very intrigued but a bit uncomfortable. For an actor, dialogues are very important. But she made her decision during this first meeting because she really wanted to accept that challenge. Working with Eva was very easy. She understood immediately what I was expecting from her to play Madelaine, how to communicate only with her eyes and body-posture. 

THOMAS PERILLON: What you did in The Salvation with this character Avenger driven by Mads Mikkelsen or mute Widow played by Eva Green…

Exactly. When we wrote the film, we have severely limited the dialogues. Sometimes a character had long dialogues but it was not true to the spirit of the Western. We had to shorten to go to the essentials. So we are left with very little dialogue – especially compared to what I used to do. It also was a challenge that was interesting to meet: Bringing more things with the fewest possible words. Suggest rather than show.

THOMAS PERILLON: What made you think about Madelaine’s character, played by Eva Green?

KRISTIAN LEVRING: Her character was made after a classic western, The Searchers by John Ford. In his 50s movie, John Wayne goes looking for a woman who got kidnapped by the Indians. I love this movie, it’s a masterpiece. Madelaine’s story is mainly inspired by this character.

Read the rest of Thomas’ interview with Kristian Levring HERE.

THOMAS PERILLON: This is the second time you co-star with Eva Green and still no word exchanged on the screen. It’s a funny coincidence, right?

MADS MIKKELSEN: That’s right, this is not the first time we made ​​this remark … In the film we had shot before, we had not hardly spoken to (Mads Mikkelsen and Eva Green does not communicate in their common sequences of Casino Royale , ed.) And in this one … I do not say a word either! You could say that we had an almost brotherly relationship. But Eva is a beautiful woman and a fantastic actress with whom I enjoyed reworking.

Read the rest of Thomas’ interview with Mads Mikkelsen HERE.

Special thanks to Thomas and Le Bleu du Miroir for sharing these interviews to us! Follow them on Twitter, Facebook and Tumblr.

G   /   September 01, 2014   /   4 Comments

Eva Green

Being pretty and talented is barely enough to cause a ripple in Hollywood. And if you want to really make waves, to take roles for the art instead of just the paycheck, you need to be a part of that magical Five Percent—that group with a maddening alchemy of good looks, preternatural skill, and mysterious intangibles that elevate them above us mere mortals. Eva Green is one of those people. She’s stunning. She’s possessed of a ferocious talent. She’s fucking crazy on screen, and through quiet seduction, she brought the summer of 2014 to its knees.

It started when she became the beating black heart of this spring’s 300: Rise of an Empire, making an otherwise unnecessary sequel worth the price of admission thanks to her frightening, powerful, sexy Artemisia. Then she laced up her corset to anchor Showtime’s Penny Dreadful, playing the gothic temptress Vanessa Ives to maximum slow-burn effect. Then she graduated from dreadful to sinful in the long-awaited Sin City: A Dame To Kill For. Frank Miller and Robert Rodriguez’s joint venture may be crashing headlong into the crushing expectations of its hype, but the critics are hailing Green, with outlets like The Hollywood ReporterVariety, and WIRED calling her performance as the titular dame representative of everything the movie could have been if it had lived up to its promise.

Green has been chewing up screens with fearless role selections and uncompromising performances since breaking out in Bernardo Bertolucci’s 2003 film The Dreamers. Later this fall she’ll do it again, starring alongside Shailene Woodley in White Bird in a Blizzard, but for now, the summer is hers. (by Jordan Crucchiola)

 

Rest of the list HERE.

Source: Wired

G   /   August 29, 2014   /   4 Comments

Eva Green first made a splash as an actress by appearing nude in Bernardo Bertolucci’s sexually-charged 2003 film, The Dreamers. Now, just over a decade later, the former Bond girl (she played Vesper Lynd in Casino Royale) is again making waves as the oft-naked femme fatale in Sin City: A Dame to Kill For, the long-awaited sequel to the original 2005 film. Even the poster for the film was banned in the US for showing the outline of Green’s ample bosom under a white shirt. None of this is of much concern to the fearless French actress, however, who has few qualms about nudity.

“I don’t understand the fuss,” Green says. “No one in Europe pays much attention to nudity, and even though I’m not particularly desperate to show my boobs, I was willing to do it for this film because it’s shot with such artistry and beauty.

“I had to almost forget that I was naked so that I would stop worrying or feeling self-conscious when I was standing naked in front of a crew wearing nothing but a thong. You don’t have any other choice.”

Directed by Robert Rodriguez and Frank Miller (the author of the Sin City graphic novels), A Dame to Kill For sees Jessica Alba return to her role as exotic dancer Nancy Callahan who is determined to avenge herself against her tormentors. While Alba once again declined to appear naked, Green’s sensational physique is fully on display as femme fatale Ava Lord whose psychotic delight in sending men to their doom makes this of the most memorable female performances in years.

The visually-stunning, avant-garde film was shot in 3D using green screen technology where the actors worked on a bare set with the background filled in later during the post-production process. The cast includes original Sin City actors Mickey Rourke, Bruce Willis, Rosario Dawson and Benicio Del Toro while Josh Brolin and Joseph Gordon-Levitt join Green as key newcomers.

The 34-year-old Eva Green is also about to start filming the second season of the Showtime TV series, Penny Dreadful, a Victorian era horror/thriller co-starring Timothy Dalton and Josh Hartnett. She will also be seen in The Salvation, a western feature that reunites her with her Casino Royale co-star, Mads Mikkelsen. Some of Green’s recent films include this year’s 300: Rise of an Empire, and Dark Shadows (2012), which co-starred Johnny Depp.

Eva Green (her last name comes from her Swedish dentist father and is pronounced “Gren”) is currently single and lives in the Primrose Hill section of London. Her mother is retired French actress Marlene Jobert. Eva also has a non-identical twin sister, Joy, who is married to an Italian count from the Antinori winemaking family and lives in Normandy.

 

THE INTERVIEW

Q: Eva, your appearance as Ava Lord in this Sin City sequel is causing a minor sensation in the press. Do you think the amount of nudity involved is justified?

GREEN: I wouldn’t have done the film if I didn’t think that the nudity was handled in a beautiful and sensual way… I trusted Robert (Rodriguez). He came to my trailer and swore to me that I would look amazing with the right lighting and shadows. You feel quite vulnerable and exposed of course when you are naked on a set. You also feel silly standing naked with the green screen behind you and you’re all alone on a stage. It’s not that sexy at all when you’re doing scenes naked. But you trust Robert and Frank’s vision and it looks stunning. It’s not vulgar, it’s not indecent – it’s art.

Q: Is the nudity meant to shock audiences?

GREEN: I don’t think so. It’s being faithful to the atmosphere of the graphic novels that Frank Miller wrote and my character is the archetypal femme fatale. Ava uses her body as a means of manipulating men and getting them to do anything she wants.

Nudity is a weapon for her. I’m playing ‘a dame to kill for’ as the title says, and her physical and psychological aura is so strong that she literally drives men so crazy that they are willing to kill or be killed for her.

Q: You’ve done nudity before, including a memorable nude scene in your first film, The Dreamers. Does it bother you that nudity seems to cause so much of a fuss in some countries?

GREEN: I am a bit frustrated with all the talk about my nude or sex scenes. I’m not a porn actress! (Laughs) But sometimes if you’re going to play a character there’s going to be sex involved because that’s a very normal aspect of life and most people are naked when they f**k! Nudity is a lot easier to play than doing a sex scene which can feel cold and mechanical because you’re being told to put your hand here or there or the actor is told to put his hand on your boob and then kiss your breasts and so on. That can be much more awkward although if you’re shooting a sex scene all day it just becomes boring after a while.

Q: Is it fun to play such a dark character like you do in Sin City?

GREEN: You enjoy the sense of power she has. She’s the ultimate kind of man-eater, a total fantasy who changes her personality and behaviour to transform herself into exactly what men desire and what any given man wants her to be. Ava has the kind of power that a lot of women would like to have over men! (Laughs)

She’s a true chameleon and it was interesting to be able to play all the variations of her character – one moment she’s a damsel in distress and the next moment she’s this sensual goddess and then she’s a total bitch. She’s a psychopath with absolutely zero sense of right or wrong and no conscience whatsoever and definitely the most evil woman I’ve ever played or could imagine playing.

Q: What was it like working with such an interesting cast?

GREEN: I was very excited to be asked to do the film. I was cast at the last moment, about a week before shooting started, but I was so happy to be part of it. I was also very happy to get to work with Josh Brolin whom I’ve admired for many years. He brings so much intensity and emotion to his facial expressions and he has these sharp features that are perfect for the extreme character he plays.

Q: The film is shot entirely on a empty set with a green screen in the background. How difficult is it to act with no scenery or props of any kind?

GREEN: It’s very close to being on stage. When you do theatre, the furniture and background is usually very minimal you don’t pay any attention to the props. All your energy is focused on the other actor or actors you’re playing your scene with. That’s how it was making this film. There’s just the crew around you and you have to imagine the setting that’s eventually going to be filled in later. I had read the graphic novels before starting work on the film and so I had a good understanding of the surroundings.

You also get used to miming opening a door or looking in certain directions where something is supposed to be happening or knowing where the walls are supposed to be. It takes a bit of discipline but it also intensifies your work because your entire concentration is on the other actor.

Q: You tend to play extreme characters. Do you think the public has a strange perception of you?

GREEN: (Laughs) Most people have this image of me as a very dark kind of woman or a real bitch. It probably doesn’t help that I like to wear black a lot and that adds to the impression that I’m very cold or distant. I should probably try to play more balanced kinds of characters but often the juiciest roles for women are the darker characters. But it would be nice to do a good love story once in a while although no one thinks of me when it comes to those kinds of films.

Q: Most people don’t know that you’re actually quite fair-haired in real life?

GREEN: I’m fairly blonde. I’ve been dyeing my hair black since I was 15 and I’ve stuck with that look ever since. It’s my way of hiding myself I suppose. I think I look more interesting with dark hair. It’s part of my self-image and we all have a darker side. I like to put masks on sometimes because I haven’t always been that confident and you fall into the trap of continuing to hide your real self even though you’ve changed and grown a lot as an individual. I feel more open but it’s not always easy for me to show that.

Q: Are you a fairly fearless person?

GREEN: Oh, no! I can be confident about some things in my life but I often become very anxious when I’m thinking about a film and I’m not sure how to approach my character. I go up and down. Some days I will feel very strong and determined and other days I will feel lost in life and wondering what I’m doing. I would like to be more like my mum who is much tougher than I am.

Q: You’ve appeared in some big films of late like 300 and Dark Shadows. Do you think A Dame to Kill for will lead to a lot more work for you?

GREEN: I don’t know. I hope so! (Laughs) I always feel it’s a miracle when I get offered any role. I’m surprised that I’m allowed to do this job. Making movies is my way of living out different kinds of fantasies and that’s one of the main reasons I love acting so much.

I’m still trying to be less intellectual in my approach to my work and more instinctual, though. I would like to be more natural in the way I get into my characters and let myself rely on my instincts more. I’m naturally shy and introverted and it’s a side of myself that acting helps me overcome. But it’s a slow process.

Q: You’re often portrayed as a sex symbol and your Sin City film will probably add to that kind of image. How do you feel about that?

GREEN: I have always felt very self-conscious about my appearance. I have never seen myself as being beautiful the way I am sometimes described in the media. Whenever I spend time in Los Angeles I tend to feel ugly compared to all the beautiful women there. It’s not part of the way I see myself at all.

Q: Are you confident when it comes to love?

GREEN: It’s beautiful to feel intense passion but it’s also dangerous. It’s hard to have your heart broken and you want to protect yourself from being hurt again. But you have to be able to grow and learn with each relationship and hope you find love.

Source: Yahoo