Archive for the ‘White Bird in a Blizzard’ Category
G   /   June 03, 2015   /   2 Comments

By Jennifer Weil

Eva Green is a multitasking maven. She recently took time out from filming the Tim Burton movie “Miss Peregrine’s Home for Peculiar Children” to appear at the press launch in Paris of the new L’Oréal Professionnel Pro Fiber line. Green might have been named the international face of the L’Oréal-owned professional hair-care brand just a few months ago in late January, but hair has played a leading role all her life. The actress, sporting a long black Hervé Leroux dress, sat down with WWD at the Le Meurice Hotel to have a discussion.

WWD: You first dyed your hair dark around the age of 15. What made you do that?

Eva Green: I wanted to change something. You know, like when you go through your teenage years. I hated school. I was a good student, but I just wanted to breathe in something new. I was in awe of a friend of my mum who had dark hair. She was quite weird, beautiful. I was like: ‘Oh wow, I’ll go to the hairdresser and try that.’ So I went there, I dyed my hair blue-black and came back home. It took me a while to get used to it, and then I actually really liked it. I felt more like myself. It’s weird.

WWD: Has hair played an important part of your character creation at work?

E.G.:  Hair defines your character, your state of mind. At the moment I’m in a Burton film, and it took weeks and weeks to find the right hairdo. It’s kind of a weird character. Her name is Miss Peregrine, so there is a bit of a birdlike hairdo in her. It helps you to create the character when you find the hairdo. It’s also like a costume.

WWD: What have been some of the interesting hairstyles you’ve had during your career?

E.G.: In “Dark Shadows” I wear a blonde wig. I was really worried at the beginning, … I was not sure [but] Tim Burton was like: ‘No, no I want you blonde.’ That made total sense for the character and actually was a very good idea, kind of a trashy Barbie. And that helps you tremendously to find the character.

I dyed my hair red six years ago, seven years ago for a role that I ended up not doing, but you feel different. I had a fringe, as well, a year ago for a movie called “White Bird in a Blizzard.” I kind of loved it. It’s a tiny detail, but you feel different. It’s funny.

WWD: What have been some of your favorite roles?

E.G.: I loved a movie called “Cracks” by Jordan Scott. It’s a small film, lots people haven’t seen it, unfortunately, but it’s a beautiful, passionate love story between a swimming teacher in the Thirties, that I play, and one of her students. I really loved that story. It was kind of a gift for an actor.

WWD: Are there any sorts of roles you’ve not gotten to play that you’d like to try?

E.G.: Yes, of course. It’s always hard as an actor because you’re being put in a box. Lots of journalists ask me: “Oh my God, why do you just play evil characters or dark characters?” I feel like I’ve played other characters, maybe that’s what you’ve seen only of me. I like complex characters, complicated people. In darkness you have light; you have different facets in the darkness. So maybe a comedy or something that people don’t expect me in — but the comedy is always a challenge, and it’s rare and it’s quite funny. But yeah, I’d like something kind of [like a] dark comedy.

WWD: Any directors you’ve not worked with yet that you’d like to try?

E.G.: I don’t know where to start. So many. Something simple. I’m sick of people saying that I do femmes fatales or I’m sexy. So I think I have to be careful now and play dirty hair, raw, a Mike Leigh movie or something, you know. No lipstick. I don’t know. Dirty hair for L’Oréal.

Something not too sophisticated, that’s what I mean. In “Penny Dreadful” I’m not very sophisticated. It’s not glamorous, let’s say.

WWD: What about stage acting?

E.G.: I’ve done plays. I get very nervous. I had a few blanks on stage so now I’m like, “Oh my God.” But it’s very electric, and it’s true that there is something kind of magical because there is a direct response with the audience. You’re not cut in the editing room. You are your own master, so that’s great but that’s really scary at the same time. I have to gain confidence again.

WWD: Back to beauty, what are your secrets?

E.G.: Sun cream, protection, food — what we eat is the most important: lots of green vegetables, raw vegetables, organic. Everything has to be organic.

Source

G   /   May 05, 2015   /   0 Comments

“I love extremes”

Fatale in Sin City, possessed in Penny Dreadful, the actress with 50 shades of dark is now shooting the new Tim Burton film. Today, the bewitched muse of L’Oréal Professionnel dreams of comedy.

Daughter of a cinema icon of the 70’s – paragon of the sexy and cheeky French – and of a Swedish dentist, Eva Green resembles nobody else, even if she comes with a twin sister the story reveals nothing about but the name. 

The chosen one, it’s her. Eva Green. Even if it may sound like a pseudonym, it isn’t one. Eva, Ève, biblical name of legendary echo and cinematographic reminiscence – Losey, Mankiewicz. Green : the green of her eyes? They’re blue, huge and particularly expressive. Back in the days of mute cinema, she would have made acarnage. Although it would have been a shame, her low voice is a treasure.

G   /   March 11, 2015   /   0 Comments

There are few experiences in modern cinema quite as intoxicating as watching Eva Green behaving badly. Whether she’s an American housewife on the verge of a nervous breakdown in White Bird in a Blizzard, or fixing those deep turquoise eyes on her oppressors in the revenge western The Salvation, or wrestling demons in the TV series Penny Dreadful, it’s impossible to tear your gaze away.

Green is an enigma, hiding in plain sight. She’s a femme fatale with as many female admirers as male ones, a Bond girl who all but ate Bond for breakfast. Her beauty is of the troubling sort that drives prim conformists mad – they’re forever wanting her to fix her teeth, go easy on the eye make-up, tone down the witchiness and look like everyone else.

Read the full article here on telegraph.co.uk.

G   /   December 30, 2014   /   19 Comments

No one can deny that 2014 is such an epic year for Eva and as we look back to the busy, crazy and hands down amazing year that has been, let us know of your favorite Eva Green moments from this year!

EGW-YearEnd2014

1) Favorite Eva Green Project of 2014

2) Favorite Eva Green Character of 2014

3) Favorite Eva Green Red Carpet Moment of 2014

4) Favorite Eva Green Quote of 2014

5) Favorite Eva Green Character Quote of 2014

Share your thoughts, choices and hopes for the coming year with other fans on the comment section. Here’s to a promising and successful 2015 for Eva! Cheers!

G   /   November 07, 2014   /   1 Comment

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 17, 2014   /   3 Comments

Gregg Araki talks about White Bird in a Blizzard and working with Eva Green (at 6:30 mark).

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 27, 2014   /   5 Comments
COUNTRY RELEASE DATE EVENT
France 11 September 2014 Deauville Film Festival
USA 25 September 2014 Video on Demand / Limited Release
Canada 26 September 2014 Vancouver International Film Festival
France 15 October 2014  
UK 16 October 2014 London Film Festival
USA 24 October 2014  
Iceland 7 November 2014  
Belgium 12 November 2014  
Netherlands 20 November 2014
G   /   September 16, 2014   /   0 Comments

White Bird in a Blizzard will be shown during BFI’s London Film Festival next month which runs between October 8-19.

  • Director Gregg Araki
  • Producers Pascal Caucheteux, Sebastien K. Lemercier, Alix Madigan-Yorkin, Pavlina Hatoupis
  • Screenwriter Gregg Araki
  • With Shailene Woodley, Eva Green, Christopher Meloni, Gabourey Sidibe
  • USA 2014
  • 90 mins
  • UK distribution Altitude Film Distribution

As soon as the Cocteau Twins’ shoegazing ‘Sea Swallow Me’ kicks in over the luminous haze of the opening credits, it’s clear we’re in Gregg Araki territory, and with his latest creation the New Queer Cinema alumna continues to explore his favourite obsessions; sex, mortality and adolescence. An impressionistic adaptation of Laura Kasischke’s novel, the film follows Kat, a sexually adventurous teen dealing with the fallout from her mother’s unexplained disappearance. Battling her own teenage crises, Kat must make sense of her broken family, and face the dark realities that exist at its core. Styled with a dreamy sense of hyper-reality, and featuring a deliciously unhinged performance from Eva Green, White Bird in a Blizzard is every bit as formally exciting as we would expect from Araki, and every bit as rebellious in its examination of the agonies and ecstasies of young adulthood.

– Michael Blyth

Here’s the screening schedule during the festival:

  • Oct 16, 2014 9:00 PM
  • Vue West End Cinema, Screen 5
  • Oct 18, 2014 1:00 PM
  • Hackney Picturehouse, Screen 1

Festival Full Film Programme List HERE.

G   /   September 08, 2014   /   4 Comments

DISCLAIMER: This video was modified due to a sensitive shot. NSFW for strong language.