Archive for the ‘Proxima’ Category
G   /   March 27, 2019   /   0 Comments

In an interview with TASS, the actress talked about being a constant in Burton’s films and overcoming her fear of heights, outsiders, and flying in dreams and reality.

French actress Eva Green can easily be called the muse of American director Tim Burton. They have worked on three films together – Dark Shadows also starring Johnny Depp and Michelle Pfeiffer, Miss Peregrine’s Home for Peculiar Children, and now a live-action adaptation of the classic Disney animated feature Dumbo, where Eva plays aerial gymnast Colette Marchand, alongside Colin Farrell, Michael Keaton and Danny DeVito.

In your recent movies you’ve been going higher and higher – quite literally! In Proxima you are an astronaut, and now you are flying on a trapeze. Do you think it is a weird coincidence?
I must have been a bird in another life. I don’t know, it’s very funny. It’s such a great thing because it gives you the opportunity to explore different universes – you are an aerialist and you end up working with the most amazing circus performers, you learn the craft, which is amazing. Then, as an astronaut I met with a few astronauts, I trained physically because those guys are very fit.

Did you have to do the centrifuge?
I did that. We trained a bit in Star City as well. These people are amazing, they are very brave and they sacrifice themselves. These is something quite “Jesus Christ” about them, which I find very fascinating.

After all these movies do you see yourself being a pilot or going to space someday?
No, I can maybe do a bit of aerial work, but I am not a good flyer. Space is another subject, after doing lots of research and meeting all these astronauts – it is a very harsh life. Yes, they are making amazing discoveries in space, but it is dark.

You have mentioned in earlier interviews that if Tim Burton asks, you would play whatever he wants – a mop, a desk, or a chair. Is there a level of trust that you have developed with the director or is it because it’s Tim Burton and he’s one of a kind?
Exactly. You know that it would be visually beautiful, interesting, and different. That the characters will always be something that you have never played before, which is always a good challenge and it is fun. Who would say no to Tim Burton?

How would you describe Tim Burton compared with other directors? What is the difference between him and Bernardo Bertolucci, or any other director?
It’s always difficult to compare him. Maybe because I have worked with him several times, It is more intimate and I know many members from the crew, so you feel very protected. He always wants you to feel comfortable and he is very collaborative.

Every director is different. He is definitely very warm, very human. Maybe he talks less than other directors, he communicates more with his gestures and you have to understand his body language. He communicates with drawings as well. He constantly draws, I do not even know if he is aware that he is drawing. He would talk to you and he would draw, like blind drawing.

Talking about filming Dumbo, what was the secrecy like? With Marvel movies, they have to hide their scripts. Did you have the same level of secrecy?
Always. You have to be careful, and they get paranoid.

Speaking of the circus experience, I talked with Colin Farrell and he said he never saw the circus as a child. What was your experience when you were growing up in Paris? In Russia the circus is like a second nature for us.
I went a couple of times. It is always very impressive and the acts are amazing, but I always felt a bit sad, probably because of animals. As a child, you probably cannot explain why. Maybe you heard that story about elephant Tyke in Hawaii that went bonkers, killed her trainer, because she was stressed out. Or Black Fish, the documentary about orca. They are going insane when they are in captivity. So I think it’s wonderful that the movie is standing up for animal-free circuses. We should only have humans, like Cirque du Soleil – such a wonderful, beautiful circus. This is magic! You want animals to be happy.

Do you remember the first time you walked on the set of Tim Burton’s Dumbo?
All the sets were very complete, which is very rare. It was so colorful and vibrant and all the extras were there, so you just had to look, you did not have to imagine anything. All the circus performers were doing acts and it was just a fairytale.

Can you talk about the training for this part? You had to overcome your fear of heights.
First, I started to train just with the physical trainer to get very strong core, like invisible abs, because you have to do crazy things. Then strong arms as well. And after that they put me on a swing, and little by little we went higher and higher. The aerialists have a lot of very sexy bruises – behind the knee or around elbows. They like pain.

Why do you think Tim Burton likes to make movies about outcasts and misfits?
It’s a very moving thing and it’s true. I think he probably identifies with his main characters. And I think lots of people do, too. We all try to fit in and we live in the world where we want to please and fit the norm. But it’s okay to look different, it’s actually more interesting. I find it quite boring to want to be like everybody else. He is the one who really knows and understands the misunderstood.

Your first memory of Tim Burton?
I really loved Beetlejuice as a child. I saw it so many times.

Is he working on the remake now?
Hmm… Maybe.
 
 
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G   /   January 08, 2018   /   8 Comments

By Divina Vitale
 
 
What does your work mean to you?
It’s a beautiful art. I find it extremely joyful to be able to play different characters. In true life I am shy, my job allows me to canalize my demons. It is jubilant to be able to “liberate “ myself by performing a role.

Was becoming an actress your dream as a child?
Not at all. At the start I wanted to be an Egyptologist…. But then at age 18 I started taking theater courses and… here I am!!!

The movie The Dreamers was the picture that put you on the spotlights. How important was that role for both your personal and professional growth?
I have wonderful memories of working with the great maestro Bertolucci, it’s most certainly one of my most memorable experiences. It’s thanks to him that I’m still acting today. On the set he was very gentle, respectful and fatherly. When the movie came out , on the other hand, it was a brutal experience. Most journalists wanted to talk about was nudity, when in my opinion there were other more important subjects in the movie …no?

What is your favorite movie?
Cries And Whispers

Is there a role you would have liked to play?
Virginia Woolf

What is your opinion on Weinstein?
I already expressed myself repeatedly on this matter; I would rather not talk about it anymore.

You are of French origins, how difficult was it to be accepted in Hollywood? I bet it hasn’t been an easy task…
In France the film director has full power of decision, unlike in the USA where even a famous professional such as Ridley Scott doesn’t have the last word! For my part the work it’s identical wherever it is an independent movie or a big Hollywood production. You may feel the difference in the budget they dispose for the movie set , the number of actors featuring in the movie… As far as I’m concerned, the hardest part is definitely to train for roles with all the different accents, in different languages, other than my mother tongue.

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G   /   September 07, 2017   /   7 Comments

by Rhonda Richford
 
 
Eva Green is set to star in a new astronaut action-drama from Disorder director and Mustang co-writer Alice Winocour.

Winocour is currently prepping the project, tentatively titled Proxima, for a nine-week shoot beginning in January. Green will be joined by German actor Lars Eidinger (Sils Maria, Sense8). An American co-star is soon to be announced for the bilingual drama.

Green will play an astronaut with the European Space Agency (ESA) that is preparing to go on a one-year mission to the International Space Station (ISS), but must first face intense training as well as the impending separation from her 7-year-old daughter.

Winocour says the story takes place as Green’s character prepares to depart. “[It] is just before the launch, which is the worst part of the astronaut’s training. Because when they get in space they are ready for everything, but just before is really the hard part — how to say goodbye to your relatives, how to prepare your body for space,” she told The Hollywood Reporter. “It’s really about how you put your fears and pain into something bigger than your life.”

“The idea is also to have an astronaut that can be a superheroine and at the same time a mother, because I think in movies mothers are always very weak characters. It’s time that women should assume that you can be an astronaut and a mother too,” she said, speaking at the Deauville Film Festival, where she is on the jury.

Green will be trained by French astronaut Thomas Pesquet, who completed a six month ISS tour in June alongside American astronaut Peggy Whitson. Pesquet’s return has created a media frenzy in France and boosted public interest in the ESA.

Winocour will be partnering with the ESA to film at their headquarters in Cologne, Germany, as well as the Russian Space Agency to film a launch in Kazakhstan. The director has already traveled to Kazakhstan to view a launch, fueling her passion for the project she has been researching for two years.

The story was inspired in part by the Cesar winner’s own separation from her 7-year-old daughter while shooting and promoting films away from home, she said, as well as her fascination with space. “I thought space is always in science fiction movies, but now it is our reality,” she said of creating a more down-to-earth drama.

Green was cast because she embodies an otherworldliness that Winocour has come to know in astronauts. “I think Eva has this thing that she is here and in another world as well, that she’s not on earth. And I think she’s really sexy too,” said Winocour of the former Bond girl, who also stars in Tim Burton’s upcoming live-action Dumbo. “I think it’s time for her to play in her native language and to act something less gothic, maybe more human.”

She cites James Cameron’s The Abyss as an inspiration for the tone of the film.

The film will be produced by Dharamsala, Winocour’s collaborators on her previous films Augustine and Disorder, and distributed by Pathe.
 
 
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