The song is now available to purchase on iTunes.
“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
Funko, the makers of the famous Funko Pop! Figures officially announced their Miss Peregrine’s Home For Peculiar Children line. On top of the debut line is the official Miss Peregrine Funko Pop! figure accompanied by a Peregrine Falcon from which Eva’s character Miss Peregrine can transform to anytime. Other characters from the film that have their very own Pop! figures are Emma Bloom, The Twins and Jake Portman. The Miss Peregrine’s Home For Peculiar Children Funko Pop! line will be available on September, in time for the film’s official theatrical release on September 30!
– 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.