Archive for the ‘General’ Category
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 10, 2014   /   2 Comments

The Salvation will be shown under the Thrill Gala during BFI’s London Film Festival next month which runs between October 8-19.

  • Director Kristian Levring
  • Producer Sisse Graum Jørgensen
  • Screenwriter Kristian Levring
  • With Mads Mikkelsen
  • Denmark 2014
  • 91 mins
  • UK distribution Warner Bros UK

The western rides again in Kristian Levring’s gripping tale of hate, murder and revenge on the pioneer trail. The year is 1871, and ex-pat Danish soldier Jon (Mads Mikkelsen) is welcoming his wife and son from the old country. Taking the stagecoach to his farm near Black Creek, the family are joined by a drunken outlaw and his taciturn sidekick, and when the bandit makes a pass at Jon’s wife, all hell breaks loose. Jon fights back, but his actions send shockwaves through the local community, drawing the ire of local tyrant Delarue (Jeffrey Dean Morgan), who demands that amends must be paid with human lives. Paying steely, square-jawed homage to the laconic antiheroes of Sergios Corbucci and Leone, Mikkelsen fights dirty to keep the town clean, finding an unlikely ally in Delarue’s mute Native American wife Madelaine (Eva Green), a woman with a fierce warrior spirit. As for Black Creek itself, populated by shifty, characterful faces – notably Jonathan Pryce as the undertaker/mayor Keane and Douglas Henshall as the priest/sheriff Mallick – that, too, may be more than it seems, while Levring gives the muddy, bloody Old West a hyperreal makeover as tempers hit boiling point under its thunderous killing skies.

– Damon Wise

 

Here’s the screening schedule during the festival:

  • Oct 14, 2014 6:00 PM
  • Odeon West End, Screen 2
  • Oct 15, 2014 3:00 PM
  • Odeon West End, Screen 2
  • Oct 17, 2014 6:30 PM
  • Vue Cinema Islington, Screen 1

Festival Full Film Programme List HERE.

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

G   /   August 27, 2014   /   1 Comment

By Alison Willmore

How the Sin City: A Dame to Kill For actress walked away with the year’s most macho sequels.

Most of the thrill of the original Sin City is gone in Sin City: A Dame to Kill For, Frank Miller and Robert Rodriguez’s follow-up to their innovative 2005 graphic-novel adaptation, set in a stylized, digitally engineered world of black and white with splashes of color. The movie, which floundered at the box office when it debuted this past weekend, is just as intensely violent, lurid, and nihilistic as the first one, and this time, it’s in 3D, which lends an added oomph to its sometimes beautiful compositions. But Sin City: A Dame to Kill For is also stupefyingly — 100-plus minutes of just the climax of a story, everything turned up to 11, the characters so interchangeably hard-boiled that it can take a while to realize Josh Brolin is actually playing the same character Clive Owen did in the previous film.

It’s disappointing, except for the one thing Sin City: A Dame to Kill For does have that the first installment didn’t: a scene-stealing Eva Green, who, as Ava Lord, burns a giant hole in the center of the screen. In a movie in which Jessica Alba humps a stage and Mickey Rourke plucks out someone’s eyeball like he’s picking a particularly stubborn daisy, it’s not easy to be the center of attention, but Green easily dominates the gritty, gory affair. Her Ava is less femme fatale than dark deity, a goddess of self-destruction who men can’t help but cower in front of.

And Sin City: A Dame to Kill For isn’t the first hyper-macho Frank Miller sequel this year that Green’s walked away with — as Artemisia, the bloodthirsty villain in March’s 300: Rise of an Empire, she totally bowled over the indistinguishable muscly male lead (Sullivan Stapleton, if you’d forgotten). Ever since her 2003 debut alongside Michael Pitt and Louis Garrel in Bernardo Bertolucci’s racy The Dreamers and her 2006 stint as proto-Bond girl Vesper Lynd…

Green’s proven to be a little too much for Hollywood — too formidable for happily-ever-afters, too much presence to be a character actor, too beautiful to be ignored, and too…goth-y? But in 2014, Green’s been carving out a distinctive career for herself as the scariest and most intimidating of sex symbols, and it’s been awesome to watch.

Aside from that graphic-novel green-screen double feature, the Year of Eva Green has included the actress’s acclaimed turn as troubled psychic Vanessa Ives in Showtime’s Penny Dreadful, in which she shifts between serenely enigmatic, vulnerable, and terrifyingly animalistic. She’s also got upcoming roles as a “deliciously unhinged” mother (per Variety) in Gregg Araki’s White Bird in a Blizzard and a ferocious, mute outlaw’s wife in Kristian Levring’s Western The Salvation, both due out later this year. But it’s her parts in the Miller adaptations that particularly stand out, because they manage to feel subversive in an environment that’s almost toxically heavy on the testosterone.

Miller’s near-parodic odes to the toughest of tough guys can’t help but sideline their female characters — his stories are, underneath the blood and sweat, deeply romantic about the business of being masculine in the most archetypal of ways. The men might die for the women, seek solace in them, get them killed, and avenge them, but the women themselves are rarely the focus. And yet…as Artemisia and Ava, Green disrupts this pattern by refusing to be an object who is primarily gazed at or acted upon. In Sin City: A Dame to Kill For, she’s just as sexualized as her fellow female cast members (including Alba, Rosario Dawson, Jaime King, Jamie Chung, and Juno Temple), but she’s fully in control. When she goes to lure her ex Dwight (Brolin) back after leaving him years earlier to marry a rich man, she shows up nude, in his bed, serene in her certainty that she has him. Her sensuality’s presented as a weapon, and he’s resistant and resentful even as he gives in — and the sex scene, which is strenuously athletic and shot in silhouette, ends with him crouched at her feet, like she’s poised to bite his head off, praying mantis-style.

Ava barely bothers to play the victim, rolling her eyes at the ease with which she wins over one of the cops on the case (Christopher Meloni) by playing on his lust and protective instincts. Both Sin City movies do some ludicrous things in the name of “strong female characters” (like the women of Old Town, who are organized, armed, and impossibly tough, but not tough enough to move on from prostitution to more lucrative crime, and who, btw, also frequently have hearts of gold underneath the dominatrix gear). But Green plays Ava as someone who, while psychotic, is also thoroughly in charge, and who deflates some of the grandiosity the film invests in its male characters’ grand gestures of sacrifice and obsession.

Green’s even more fabulously bonkers as Persia’s ruthless top naval commander in 300: Rise of an Empire, now out on DVD and Blu-ray — sprawling on her throne at sea, manipulating Xerxes (Rodrigo Santoro) into somehow transforming into a gilded giant, taking the heads of enemies and then making out with them. Artemisia is a survivor of prolonged violence who remakes herself into a fearsome warrior, and the film never really suggests her thirst for revenge is unfounded, making her feel at least as much antiheroine as antagonist.

Halfway through 300: Rise of an Empire, Artemisia and Themistocles meet for a parley that turns, natch, into more crazy sex. It starts with her grabbing his hair and leads to the two slamming each other into various surfaces around the ship before she tosses him out, leaving him stunned when he goes back to his colleagues. Artemisia’s desire, born out of how pleased she is to have found an opponent who can actually match her, drives the whole love-scene-as-battle-metaphor sequence, and it’s not suggested she’s giving up anything or losing stature because she chooses to act on it.

Artemisia is the lone woman in a world of men, but, as played by Green, she’s neither challenged because of this nor acting as just another one of the boys. She’s her own wild creation, unfettered but readily feminine, whether leaping into battle or donning an increasingly intense series of battle ball gowns (culminating in a dress that includes tasteful golden bone-spikes along the spine).

Green commits to her material, no matter how pulpy, which is why this cartoonishly outsized character, a highly fictionalized version of an actual historical figure, comes so vividly to life. She’s not simply hamming it up — she’s as soulful as she is scary.

Green’s so good in these two watered-down sequels that it’s easy to imagine her kept in similar roles going forward — brash, witchy, and doomed. There are worse things that could happen, but she really deserves more, and Penny Dreadful comes closest to showing her range, from demonic force to unguarded romantic lead. And even in the Showtime drama, her character’s formative moment involved the love of a man who couldn’t keep up with her. But being a force of nature shouldn’t condemn someone to wan roles.

Source: Buzzfeed

 

G   /   August 27, 2014   /   4 Comments

By Susan Wloszczyna

“Sin City: A Dame to Kill For” did little to add sizzle to the late-summer box office this past weekend after collecting a slim $6.5 million and dismissive reviews. But it’s not from lack of trying on the part of Eva Green. This casting addition to the stylized babes-brutes-and-bullets sequel based on Frank Miller’s lurid comic-book series steamed up more than a few critics’ 3-D glasses as Ava Lord, a diabolical emerald-eyed femme fatale who has a hard time keeping her clothes on.

“Pulp and noir were often built on the beautiful shoulders of such characters as Ava, and the main justification for seeing the film is to watch Eva Green claim membership in the pantheon of noir leading ladies,” writes Todd McCarthy in The Hollywood Reporter.  Adds Voice Media’s Amy Nicholson: “Eva Green is sexy, funny, dangerous and wild — everything the film needed to be — and whenever she’s not on screen, we feel her absence as though the sun has blinked off.”

Signature line:  “As charming as you are, Mr. Bond, I will be keeping my eye on our government’s money — and off your perfectly-formed arse.” – as feisty Bond girl Vesper Lynd, giving as good as she gets opposite Daniel Craig’s 007 in the 2006 version of “Casino Royale.”

Career peaks: Like Bridget Bardot in 1956’s “And God Created Woman,” Parisian-born Green, now 34, exploited her own siren-like sexuality and created a sensation as part of a semi-incestuous menage a trois in her 2003 film debut “The Dreamers.” At the time, director Bernardo Bertolucci described his discovery as being “so beautiful, it’s indecent.”

Ridley Scott chose her to play the sultry Sibylla, a married Jerusalem princess who has an affair with Orlando Bloom’s crusading knight in his 2004 medieval epic “Kingdom of Heaven.” (Alas, much of her role was excised including love scenes that were later restored in a director’s cut.) The film flopped domestically but did well overseas, turning Green into an international star.

She had a better chance of proving herself a more than capable actress as the rare woman who has gained the upper hand over James Bond in “Casino Royale.” Fans of the series cheered her arrival as double agent Vesper Lynd, who bewitches Craig’s 007 with her witty banter and exotic good looks; she’s that rare Bond girl who actually steals Bond’s heart.
Despite her contributions to reviving the franchise with a new actor driving the Aston Martin, Green languished for a while after a fleeting role as a witch queen in the 2007 fantasy “The Golden Compass.” She started to get back on track with an appearance as the villainous Morgan in the 2011 miniseries “Camelot” and as the seductive Angelique Bouchard who bedevils Johnny Depp’s Barnabas Collins in 2012’s “Dark Shadows.”
“Rolling Stone” declared 2014 as Green’s comeback year, and she certainly started it off with a bang as the Persian warrior Artemisia in “300: Rise of an Empire.” She delivered the sequel’s killer line, “you fight much harder than you f**k”  with relish and shook the multiplex rafters with her bruising bout of hate-sex with her Greek foe. In a change of pace, Green is one of the good guys for once as the Victorian-era clairvoyant Vanessa Ives on Showtime’s horror series “Penny Dreadful,” which has been renewed for a second season. And if anyone can rise out of the ashes of ”Sin City” deux and survive, it will be Green.

Biggest assets: The London-based knockout has been compared to the early Angelina Jolie and rightly so. Just like Jon Voight’s daughter, she grew up with an actress mother, Marlene Jobert, and shares Jolie’s knack for making sexy seem smart while standing out in genres usually dominated by men. Green is also a welcome throwback to when Hollywood knew what do with alluring yet dangerous females who refused to be victims.

But unlike Jolie, Green has maintained an air of mystery about her private life, characterizing herself as a reclusive nerd. “I like to stay home and read rather than go to a club or something,” she tells Rolling Stone. “I’m very shy. If I go out, I’m hugging the walls.”

Awards attention:  Won BAFTA’s Rising Star Award in 2007.
Biggest misfire:  Middling reviews and a domestic box office of only $70 million canceled plans to turn “The Golden Compass,”  which cost $180 million, into a franchise based on the literary trilogy “His Dark Materials.”  That meant that audiences would not see Green reprise her role as Sarafina Pekkala, who is more developed in the middle story, “The Subtle Knife.” The film, whose source was better known overseas, proved to be a hit in other countries with a worldwide take of $372 million (New Line Cinema sold the international rights to offset the budget).
Biggest problem: Green tends to be typecast as an intoxicating fatal attraction with an erotic hold over males in larger-than-life roles. That she’s so good in these parts is not necessarily a problem. It’s just that Hollywood is not known for going outside the box when making casting choices: repeating yourself is not the best way to get ahead. And while she is far from old, Green is at an age where she might be wise to diversify her choices.
Gossip fodder: Green is more of a tabloid target internationally – something she is used to after dealing with her mother’s fame — and is known as a fashion-forward celebrity. four four years until 2009 she dated New Zealand actor and star Marton Csokas after he played her royal husband in “Kingdom of Heaven.” They must still be friends, as Csokas also plays her ill-fated tycoon spouse in “Sin City: A Dame to Kill For.”
Career advice: Green needs a strong director who sees beyond her obvious attributes. She has name-checked more than few on her wish list over the years, including Danish envelope-pusher Lars von Trier, David O. Russell, Spike Jonze, Stephen Daldry and Michel Gondry. She was originally cast in 2005’s “The Constant Gardener,” but had to drop out – a shame since the role of an impassioned political activist led to Rachel Weisz’s supporting Oscar win and could have been a possible career-changer for Green. She also revealed to Rolling Stone that she would like to do “something funny.” In order to tempt her, she admits, “it would have to be a comedy that’s very sharp, and very black.”
What’s next? Green plays Shailene Woodley’s depressed, alcoholic mother who suddenly disappears one day in the Sundance coming-of-age thriller “White Bird in a Blizzard,” directed by indie fave Gregg Araki (Sept. 25). And she co-stars with superhot Mads Mikkelsen as a mute woman  embroiled in a revenge plot  in “The Salvation,” an intense western from Danish director Kristian Levring that premiered at Cannes this year.
Source: Indiewire

 

 

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By Emily Zemler

 

Eva Green is impressively terrifying in Sin City: A Dame to Kill For. In the film, out August today, the French actress embraces the role of Ava Lord, a dangerous femme fatale set on revenge and murder. It’s an impressive and powerful performance from Green, who also recently appeared in 300: Rise of an Empire and currently stars on Showtime’s Penny Dreadful. The role also meant that Green spent much of filming with director Robert Rodriguez in various states of nudity. So much so that the promotional poster for the movie featuring the actress was deemed too racy and had to be edited due to the visibility of a nipple. We caught up with Green at a recent press day for the film in Los Angeles and chatted about working on Sin City, being naked and that infamous nipple incident.

 

You’ve been making a lot of movies with green screen lately.

I mean, I didn’t do this movie because it was green screen. It was a really cool project. The script was great. And yes, it was green screen–ike greener than ever: no furniture, no nothing. There was nothing there. Sometimes you have props, but it’s quite a weird world. The first day you’re like, ‘Oh my God.’ I was lucky because I had real actors to interact with. I know some of the other actors did not have that chance.

Is that a challenge to have nothing around you?

You don’t know how it’s going to turn out. So the other actor is saving you. It’s like theater. I haven’t done theater in 10 years.

So this is like doing theater without actually doing theater?

Yeah, exactly. You have a small audience and you can fuck up. It’s wonderful.

Why was the character of Ava Lord interesting to you?

She is so extreme and irreverent. She’s like a homage to the great characters of film noir. It was just fun to play somebody so evil. She’s so jaded with no sense of morality. I’m so not like that.

She definitely taps into something most women probably wish they could channel.

Yeah, I wish I had a bit of her power. She’s scary.

You basically wear no clothing the entire movie. Was there ever any trepidation about being naked so much?

Any actor and any actress are very nervous when we have to do that kind of scene. It is not gratuitous [with Ava]–the way she uses sexuality to get men and use men is part of her character. But also it’s not realistic. It is art. Robert lights it in such a way. He promised me there would be lots of shadows and stuff and things would be added in post. That was very important. But on the day you feel nervous. And then you kind of forget that you’re naked. It’s very strange. You’re so stressed that it’s like, ‘I’m not naked. I’m not naked. I’m not naked.’

 Do you do anything the day before to prepare for that?

A lot of actors get drunk. But I was cast a week before shooting so I didn’t have time to do much prep at all: So no time to go to the gym. I put myself in the hands of Robert and asked him to remove the cellulite in post-production.

 Is that the secret to losing cellulite?

I don’t know! I think with shadows they can. I mean, can you imagine a femme fatale with really bad cellulite? That would be another version of ‘Sin City’!

Speaking of nudity, what was your reaction to the controversy over your poster for the film?

I don’t really understand it. If people have a problem with the poster then they’ll probably have a problem with the film. You see nothing on the poster really. It’s like ‘Why?’ I thought it was bad publicity or something. I don’t know what the problem is.

I looked at the original and the edited version side by side and could not really see the differences.

There’s no difference! It’s a setup or something. I don’t get it.

What do you think about Americans being so prude when it comes to nudity and sex?

It’s very subjective. In this movie it’s so not pornographic. It’s very decent, I think.

What did you think of the film once you saw it?

I haven’t seen it! I hate watching myself. It has nothing to do against the film. It’s just me and my ego. I can’t watch myself. I become very self-conscious.

Will you ever do theater again? You don’t have to watch yourself there.

I’m the kind of the person where that would suit me. I’m a control freak and I could prep, but it’s so stressful. I’m so worried about blanking out onstage. It happened to me, actually. At three o’clock every day you go, ‘Okay, in four or five hours I have to go there.’ I have so many butterflies and I get so nervous. There’s a part of me that would love to, but I don’t know if I’m brave enough to go back there.

Do you have that same anxiety on a film set?

No. Because you can fuck up and do it again.

Source: Elle

G   /   August 23, 2014   /   1 Comment

By Kyle Buchanan

“You cannot defeat the Goddess,” says one character in Sin City: A Dame to Kill For. “She cannot die.” He’s referring to Ava Lord, the seductive black widow who gives the film its title, and when she’s played by Eva Green, who can blame him for using heavenly superlatives? There’s always been something otherworldly about Green, who first impressed (and undressed) in Bernardo Bertolucci’s The Dreamers, won best Bond Girl ever honors withCasino Royale, and just this year starred as the formidable Artemesia in 300: Rise of an Empire and toplined the Showtime series Penny Dreadful. A few weeks ago in Los Angeles, the slinky Green met up with Vulture at The Four Seasons to tell us how she got into character for the Robert Rodriguez–directed Sin City, and how she felt about getting out of her clothes for it.

Do you consider yourself an inhibited person when you’re not shooting?
Oh, yes.

So it must surprise you how bold you can appear onscreen, especially in all of Sin City‘s sex scenes.
It’s very ironic, because I’m very shy. People don’t believe me: “She did The Dreamers, and all these other nude scenes!” But I remember telling my publicist, “I’m really naked in Sin City. Just wait.” I don’t know any actor who’s comfortable with nudity, but it’s not gratuitous in this film, because she uses her body as a weapon. Still, in the morning when you have a nude scene, you want to die. You feel quite silly to be in a tiny thong with Josh Brolin, who’s wearing flesh-colored Spanx, and you’re in front of a green screen — like, “This is not happening!” But Robert told us, “I’m going to add lots of shadows, and you’ll look great. I knew that I could trust him.

When you play a character like that, does any of that confidence carry over into your real life?
Maybe it gave me some confidence in doing press, because I used to be very nervous doing interviews for TV — and I’m still not great, I get sweaty — but I got better. At school, I was really shy. If a teacher asked me a question in front of other people, I’d melt. Lots of actors are very scared in real life, actually.

Your characters are so forward with men. Are you?
No. I’m shit. [Laughs.]

How much freedom as an actor did you have in a film like this, where Robert is trying to re-create a lot of the frames from the comic almost exactly?
It’s funny, because I was really worried about that before I started filming: Oh my God, you have to be so still! Can I even move my finger? Can I touch the other actor? And yes, he frames each shot like a painting and you have to hit the mark, and some of the stuff he wants exactly like in the comic book, but it was fine — especially because I had real actors in front of me, because I know some of the other actors didn’t. I wouldn’t have liked that, so I was really lucky.

Did you have to do a lot of work beforehand?
I was cast very last minute, like a week before shooting, and usually I like to prep, so I was panicked: “Oh my God, I have to work on an American accent and find the character, and there’s so little time!” So I watched some film noir, like Barbara Stanwyck in Double Indemnity, because this is so femme fatale. At the beginning, I looked at my character and thought, My God, she’s so evil. There are no cracks in her, and her heart is so hard. I’ve played evil before, but that one was 200 percent evil, so I had to find the jubilation in playing her. I brought my body and my heart to Ava Lord.

And none of the men in this movie can withstand her.
Yeah, she’s quite scary. Quite scary! It would be interesting to do a prequel, just to find out why she’s so hard. Maybe she was traumatized? Or maybe she was born crazy.

What do you get out of doing a show like Penny Dreadful, which is about to go into its second season?
It’s fun, and I love fun. I love playing mad people, actually. My character looks quite guarded and very Victorian and tight, and to be able to let it all out … it’s so fun to be that irreverent. It’s like having a really bad Tourette’s moment.

Do you watch the show? Did you see the seance sequence from your second episode?
No, I haven’t! It’s horrible.

Well, at least watch the show so you can get to the part where Josh Hartnett and Reeve Carney make out.
Oh my God. Oooh! [Laughs.]

Source: Vulture