Miss Peregrine’s Home for Peculiar Children (2016)


Character: Miss Alma LeFay Peregrine
Director: Tim Burton
Co-Stars: Samuel L. Jackson, Asa Butterfield, Judi Dench, Allison Janney, Terence Stamp, Rupert Everett, Kim Dickens, Chris O’Dowd, Ella Purnell
Written by: Jane Goldman
Based on: Miss Peregrine’s Home for Peculiar Children, a 2011 novel by Ransom Riggs
Genre: Adventure, Fantasy, Drama, Family
MPAA Rating: PG-13

Teenager Jacob follows clues that take him to a mysterious island, where he discovers the crumbling ruins of Miss Peregrine’s School for Peculiar Children. As Jacob explores the abandoned bedrooms and hallways, he discovers that its former occupants were far more than peculiar; they possessed incredible powers. And they may still be alive.

Eva Green’s Role:
Eva plays Miss Alma LeFay Peregrine, an orphanage caretaker who lives with peculiar children in a time loop in the 1940s.
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Available on: DVD, Blu-Ray and streaming services

Eva Green

On her character Miss Peregrine

“In the movie, I play some sort of Mary Poppins that protects very special children. She transforms in a falcon. It happens in London in 1940 – a very particular atmosphere, typical of Tim Burton, it seems.”

“Tim called her Scary Poppins, which I thought was quite funny, but she’s not a bad, mad woman — it’s all to save her children. She has the ability to transform into a peregrine falcon and because peregrine falcons are the fastest animal on earth, she delivers lines very quickly.”

“(That’s why) Tim calls her ‘Scary Poppins’ — because she’s a bird of prey; she can kill to protect her children. But she has that maternal quality as well.”

“She’s one of those teachers that are a bit scary when you meet them, because she needs to have a lot of authority to be respected by her children, but you discover in the movie that she behaves like this sometimes for their own good. She’s a loving character.”

“(She’s) a bit bonkers and eccentric — such an unusual character. I love playing someone like this, who isn’t a love interest.”

“Tim calls Miss Peregrine ‘Scary Poppins’. 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.”

“She is very strong. She runs the home a bit like a commanding general, rather than a governess. She will do absolutely anything for her children and then they do find themselves in a tricky situation. She doesn’t want them to be scared. Everything is falling apart, but she is there to protect them. It is the mission of her life.”

“She is very good. She is like a mother to them. But she does have a lot of authority as well. She wants to be respected. All the children have to be on time because if one of them is not on time— it is quite a complicated story with this time loop. Everything has to be on time. It is all extremely organized so she, as I said, is like a general but it is all for the good of the children.”


On what she loves about Miss Peregrine

“She’s so cool. She looks after all these gorgeous children and smokes the pipe (laughs). And also, it’s the first time I am not playing the love interest.”

“She’s rather eccentric and fearless, and wields a deadly crossbow to protect her ‘Peculiars’.”

“I don’t want to be in a box. I want to play different things. That’s why I like playing the mother figure in this movie. I’m not a love interest, I just live for my children.”


On how she prepared to play Miss Peregrine

“I watched some documentaries on birds. It was kind of a challenge — I was trying to have little, sharp movements with my head and not much blinking at all, using my hands like claws, my long nails. You always worry that you’re going a bit over the top, but I had a lot of fun … playing her like Mary Poppins on speed.”

“The indication Tim gave me was, ‘She’s like a weird Mary Poppins.’ So I watched ‘Mary Poppins.’ It’s more than she can fly. It’s more the physicality because of her bird-like quality. A peregrine falcon is a bird of prey. It’s the fastest animal on the planet, so doing a Tim Burton movie, you have to bring an edge to it. You move your head quite sharply. You can’t blink. I had to deliver the lines very fast, sort of like Mary Poppins on speed. That was fun! (The Falcon) was quite regal, actually. There’s something quite acute and fascinating. They remain quite still, and in a second, grab the prey — and that’s it.”

“It’s not too easy playing a bird. It’s all very angular, precise. On my own, I tried to be a bit sharp. It’s just a feeling — you worry: ‘I might have gone too far, done too much.’ But Tim’s there, and he would say, ‘less,’ ‘more.’.”

“(Oh yes.) I was quite worried at first about finding the right balance because I didn’t want for her animalistic side to take over. Still, I watched a lot of clips on birds to understand their movements. After all, Miss Peregrine isn’t just any bird. She is a peregrine falcon and it’s bird of prey. Which means that their position in nature is one to hunt other birds. So I watched a lot of documentaries where they showed, for example, how they hunt and eat a dove. I thought it was really interesting. In short, Miss Peregrine is someone who would do everything for her children, she would risk her own life if necessary, even kill to protect them.”


On her worries on playing Miss Peregrine

“That of a dark Mary Poppins. I spoke quite fast. There’s something very sharp and precise about her. No messing around. The bird movements. It could go wrong quickly – that was my worry.”


On feeling Peculiar

“I always felt a bit peculiar. I think lots of people have felt at some point quite different. People say I’m weird but I don’t feel weird – so maybe I am weird! (laughs). I have black hair, I felt strange as a child, I was very shy, scared of going to birthday parties and clowns.”

“I was always quite weird, you know? I was very shy as a child. I couldn’t go to birthday parties, because I wasn’t very good with groups. I had to go see to a therapist for it. And sometimes I still feel too shy to join a group, and it makes me sad. And that’s why we do movies like this, to tell kids it’s okay: Whatever makes you weird makes you unique and special. I’m actually unloading my feelings with this movie!”

“I’ve always felt a bit weird, very shy. Like, I can’t believe I’m here giving interviews and doing stuff like this— it’s so surreal. I’ve never been very good talking about myself. I’m very proud of this movie and of course I want to promote it, but it’s kind of paradoxical. I’ve always felt like I’m from another planet.”

“I still feel like this. It is a movie that says that you just have to accept it and kind of embrace it and celebrate it. It is beautiful to be different. Be content with what you have and be who you are rather than trying to be like the others, which is boring.”


On why she agreed to play Miss Peregrine

“It’s nice, not to play the girlfriend.”

“It’s exciting to be other.”

“What is the trick in that kind of role? I mean, of course, she’s a supernatural being: she can manipulate time, transform into a bird. It’s to keep the humanity and to — you know she’s tough, she has those rules, but she’ll do anything for her children, she’d die for them, that’s what drew me to this.”

“Tim called and said, ‘Would you be interested in working with me?’ I said, ‘Yeah, of course,’ and he went, ‘No, no, no, I’m going to send you the book and tell me whether you’re interested’. I read the book and I thought it was so Tim Burton, immediately I saw the magic he would bring, and the character was really bonkers, in a nice way, so of course I said yes straightaway.”

“Tim said he was going to send me this book and if I was interested, he’d love for me to do it. Even without having read the book, I was in. But, he’s a gentleman so I read the book and I loved those haunting pictures first of all. You open it and it’s kind of like ‘wow!’ It’s so odd and austere and beautiful and very Tim Burton actually. I found Ransom Riggs’ world and Tim’s are quite similar, so I read it and I immediately saw Tim’s magic in it, and it was an easy decision to make.”

“In a Tim Burton movie, you know it’s going to be something unusual, or a bit mad. Something “other.” The characters are many-layered.”

“Of course, it’s a Tim Burton movie so full stop I would do anything. But at the end of the day, I choose something that makes my heart beat, that I can relate to, that’s very complex, or human. Miss Peregrine’s is a fantasy-adventure; it has striking moments and you escape for a little while— but also it makes you think and it’s very human.”

“I’ve never really played the love interest. I’ve never, ever accepted a role like that. But here it was nice to have a different goal, to have those children to look after. I love playing the protector.”

“I first read the book and then the script. And I knew from the start that no one could tell the story as well as Tim. It is the perfect material for him. And I really love the story and the meaning behind it. It is good to be different. Something that touched me quite a bit.”


On how she stumbled upon Miss Peregrine’s Home for Peculiar Children

“I remember Tim called me a year before the shoot. He was like, ‘I’ve got this book, I wonder if you would be interested?’ I was like, ‘Anything, I’d play anything for you’. But he was like, ‘No, no, I want you to read it and see if you like her’.”

“No. I remember Tim just said to me, it’s kind of a weird Mary Poppins, and I was like, “Oh, I always wanted to play kind of Mary Poppins.” And, yeah, he sent me the book — and, actually, I don’t know if you’ve read the book or saw pictures of the original Miss Peregrine, but she’s kind of austere. It’s something, you know, like long skirt and glasses, and Tim also set it in the ’40s and he wanted her to be a bit more rock ‘n’ roll, and a bit more wacko.”


On her foiled plan to wear a creation of Alexander McQueen for the premiere of the film

“I would have loved to wear an original Alexander McQueen dress, because he loved birds, but it’s all in museums.”


On travelling forward in time

“The future scares me, it’s like, ‘Woah’.”


On the idea of reliving the same day over and over again

“I think to relive something every day is pretty scary. I would prefer to move forward.”

“I don’t think so. The idea of being stuck and being forced to relive things, it’s quite scary. But of course, if it’s a nice holiday – today, I’d like to go to this wonderful holiday in Africa I’d been to. I went to Africa on my own. It’s a bit strange. But I loved it. It was unbelievable. I was scared at the beginning. What am I doing? After a while, there’s something you learn about yourself but only if you’re on your own. There’s something so free about that. It’s empowering.”


On smoking a pipe as Miss Peregrine

“I took it home to practise and I loved it! Of course it’s not healthy, but the smell is so nice. It is difficult, because it goes out quickly so you have to relight it again and the under-bite look it gives me isn’t so attractive. I felt like a detective in an old movie. That was cool.”

“I had two pipes. I kept one of them. I learned how to smoke them. There’s an art to it. It’s a delicate art. It helps me as well to bring a virility to her. It’s such a cool prop.”


On Miss Peregrine’s Style/Costume

“It is 1940s-inspired, but with a Tim Burton edge – pointy shoulders and sleeves that look a bit like wings. If you’ve seen pictures of Miss Peregrine in the book [by Ransom Riggs], she looks quite different with Victorian glasses. This is more sexy. We kind of took Marilyn Monroe’s look and went weirder.”

“Hair defines your character, your state of mind. At the moment I’m in a [Tim] 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.”


On shooting the film

“We didn’t rehearse. The first day of shooting was the dinner scene and I think Tim wanted to keep a bit of distance to keep that aura of Miss Peregrine, that respect from the pupils. It’s in the 1940s too, so there was a bit of respect. The children love and respect her because she has so many rules, so she can be quite strict. [We shot interiors] in the Gillette factory outside of London. The rest of the house was in Antwerp, because I think the house was a bit too small, so we shot the dining room scenes in London. It’s so rare now that we shoot in real surroundings. It’s never nice to have bloody green screens around you. But here it was just so easy. It was the typical Tim Burton house, with the garden with the topiary in the centaur shape, or the dinosaur, it was like Edward Scissorhands land.”

“It’s weird because, I mean, I’ve done movies with green screen, but this one, we had a real house in Belgium, it was a real garden, we had real topiaries, like animal-shaped topiaries or whatever. And it was a luxury to have real surroundings. The only thing I had to do was the transformation of a bird. Of course, I did have of it on wires and then the visual effects people, who are amazing, did their magic.”

“All the scenes I had in the actual house in Belgium, Antwerp. It is always a pleasure to actually be on a real set, and this house feels like it was built for Tim. It was completely real. It was such a weird thing, very Gothic, with a garden which is amazing. The topiary were brought in, in the shape of elephants, centaurs, dinosaurs and I was like, “Oh my God, this is a Burton movie.”.”


On what Peculiarity she would like to have

“I’d like to be invisible. Just sometimes, not always. Because then you can do whatever you want without others knowing about it. It’s something freeing I think.”


On the film discussing important social topics

“I think everybody will imagine their own thing. In the novel it was quite obvious that the Peculiars were the Jews and the Hollows were the Nazis. It’s more like a generic message — don’t be ashamed of who you are, embrace who you are. And if you’re weird, it’s good to be weird. It’s boring to be like everybody. I love that.”


On working with children

“Sometimes you worry are they going to be focused enough? Are they going to get tired? And actually absolutely all of them were focused, very professional. They were just beautiful. I was so nervous before meeting them because you can feel that they can see through you, and you’re not going to be credible as a strong headmistress-like figure. But there is a grace to children and as an actress that is wonderful to watch. It’s a real inspiration.”


On Asa Butterfield

“Asa looks like Tim drew him, you know what I mean? There’s something very pure and innocent which is so rare today. There’s something otherworldly that is so perfect for Jake, you want to protect him from the outside world for real.”


On working with Dame Judi Dench

“I play a bird of prey, a peregrine falcon, she plays an avocet, which is a nervous bird. It was interesting to have us both in the same scene. And she’s such an iconic actress, I was very intimidated. She’s a legend and she’s actually very funny on set. A beautiful woman.”

“I met [Judi Dench] when we did a bit of press for ‘Casino Royale’, but I was not lucky enough to work with her. She’s such an iconic actress, I was very intimidated, she’s so wonderful. I’m in awe of her. But she’s so funny as well, she’s so down to earth, there’s no bulls***. She’s beautiful.”


On working with Tim Burton

“His universe is very poetic, very funny, so beautiful… I really feel like a child on set being able to play those eccentric characters. And we shot in an amazing house in Antwerp where they had this amazing garden with a pond and topiaries that looked like they were from Edward Scissorhands — animal shapes, a dinosaur — so you really felt like you were in a Tim Burton movie.”

“I think Tim’s Miss Peregrine is a bit more bonkers, in a Burton way. When you see the photograph of Miss Peregrine in the book she’s a bit more ‘beginning of the century’. With Tim, she’s a bit of a sexy creature and it’s in the 1940s, so she’s a bit more cuckoo. Literally. One of the best things about Tim is that when he picks and actor he gives you a lot of freedom. He has total faith in you. I see him more as a conductor when he’s on set. It’s a Burton film so you think, ‘how far can I go?’ You’re not going to play too natural, you have to do something, an expressionist kind of thing, but still remain quite human. I thought we were going to go in the direction of the book, so we started with white hair; it was very beautiful. I sent him some pictures and he didn’t like it, so we went towards a dark blue 1940s inspiration, a bit like Marilyn Monroe’s hairdo but with a f***ed up kind of nest thing going on there, then a bit of a flick thing that reminds us of a bird’s tail. Because she can transform into a bird, so for the physicality, there are sharp head movements, and they’re quite subtle but there’s no blinking. There’s something quite intense, because as you know my character is a peregrine falcon, so it’s a bird of prey, there’s something quite sharp about her.”

“Tim doesn’t like blinking in general.”

“Tim puts himself in the place of the actor. He understands that you always feel a bit vulnerable as an actor and he tries to make you as comfortable as possible. He’s so excited on set; it’s always a happy set. He surrounds himself with lots of the same people; it’s like a family thing. You don’t have the studio, you don’t have lots of people who say what they think, and you have one vision from Master Burton. So it’s nice, you feel like you’re in good hands and it’s happy. He’s fun to be around, he laughs a lot, he doesn’t judge you, and it’s nice.”

“Oh, I don’t know. There’s always a freedom, actually, and he wants the actor to really feel comfortable. So he’s open to suggestions, even to the kids. Like he would go, “How do you feel?” It’s so wonderful. There’s no ego ’cause, you know — “I’m the director, you do what I want.” You know? There is a lot of respect and, I don’t know … He has total faith in you and you feel trusted and loved and ready to give everything.”

“That is the thing. In the outside world they would be seen as monsters and freaks. They would be persecuted, and on this island their strangeness is celebrated as something that is very beautiful. He has such an understanding for the outcasts. All of them are beautiful. Even the evil characters in his movies seem to have a kind of humanity or something. In his drawings as well, there is always something very endearing about his characters. It is not like he has just one dimension.”

“He was like my hero. I absolutely adored Edward Scissorhands and Beetlejuice. They are my two favorite movies of all time, so it is like a dream come true.”

“There is something very poetic. Sometimes people say that Tim is very dark. I don’t think so. I don’t really understand what it is. It’s something actually very beautiful, very sensitive. His work is beautiful maybe, but not in a dark way. It is also very funny. Lots of Burton movies are very funny and also fun.”

“When we shot Dark Shadows, I constantly had to pinch myself in order to remind me that I wasn’t dreaming. For years, I was a huge fan of his work and couldn’t wrap my mind around the fact that I actually was working with him. When he called me and asked about Miss Peregrine I said: “It doesn’t matter, I’ll play whatever character for you.”. And then I got the script and couldn’t wait to portray Miss Peregrine. The character is incredible and it is always fun to work on a Burton movie because you can do the craziest things in his movies. It’s something like jumping over your own shadow.”


On being Tim Burton’s muse

“I don’t know. Muse is such a big word. It’s quite intimidating, a big responsibility. I’m just flattered he asked me to be part of this adventure.”

“It’s kind of a big responsibility. Of course, I’m very flattered he asked me to be a part of his adventure—but I find this word a bit intimidating. It’s scary.”


Tim Burton

On why he decided to take on the book to film

“It’s been a bestseller before I’d even ever heard about it. So, I came into it quite late, but when I looked at the book, I think it’s probably the first time I ever looked at a book and liked it before reading it. Just because I liked the way that Ransom [Riggs] had constructed this story around these old photographs. I had an immediate connection to that because I love old photographs, and I look at them, and I have some that I’ve collected – not as many as Ransom does, but I have a collection.”

“You feel like when you see these photographs, you get such a mixture of feelings of haunting, spooky, funny, or emotional, or sad, or a weird sense of poetry about it, and I think it had all that. Then when I read the book, I thought ‘wow’, it’s got all the types of themes that I like. The themes of ‘what’s real or fantasy?’ The feelings of feeling peculiar, the labels of that and also, with Jake’s character [played by Asa Butterfield], this idea of feeling like you’re awkward and you don’t fit it. Those feelings that I remember very strongly as a teenager, like ‘I don’t feel a part of my world, and I feel like I’m crazy’.”


On how the film came to be

“Jane Goldman had written the script, and I’ve known Jane a little bit over the years, she’s a really amazing writer, an amazing person, and a peculiar person herself, so she was the right person for the job. She didn’t change much. Luckily we had Ransom, since he’s still a young and alive writer, we got his blessing. We changed the characters slightly; we changed the peculiarities from Emma and Olive around, just because for a film we thought that – even though they’re all great characters – that the floating was a bit more poetic for that character. But luckily, we check it with Ransom, and he’s a writer and he gets the fact that it’s not a book, it’s a movie, and we’re lucky that he had that spirit.”


On making the film scary

“My sketches are crude, but I do like doing it, just because it helps me think and process it. In this particular one, I come into it more with designing the Hollows. I have lots of great concept artists but things were just starting to look a bit too much like regular monsters. And so that’s where I did a little bit of sketching and a little bit of drawing, that kind of stuff. I’m lucky to work with enough collaborators where I can do a crude little sketch and then they get it. The word “Hollow’ went with the description of the book too, so I like the fact that they still had their clothes on and they were blank, hollowy looking creatures. From the beginning of my career, I’ve heard that [my films are too scary]. From ‘Beetlejuice’, ‘Batman’, ‘Nightmare Before Christmas’, they were all ‘too scary, too scary’ [holds hands up]. You know what, I grew up on these sorts of movies – I’m different – but I think it’s sort of an adult conceit in certain a way where they say ‘it’s going to be too scary for kids’ and you know what? When kids find it, like ‘Nightmare Before Christmas’, they find these things and they’re not scared.Go read ‘Little Red Riding Hood’ before they go to bed, see how f***ing scary that is.”


On casting Eva as Miss Peregrine

“Miss P. was originally an older person, but Eva was the right person for it. She was the first person I thought of about it because, for all of the reasons that are there, with her.”

(describes Miss Peregrine as a) “weird Mary Poppins like character—a strong and mysterious person who looks like she could turn into a bird. That’s Eva.”

“Eva looks like she can turn into a bird — and I’m sure she has on many occasions.”


On his hatred of blinking and pointing on screen

“I don’t. I don’t know why. Even when you’re mentioning it now, it freaks me out. I don’t know why, maybe, you know how you say something and then it stays in your mind? But she’s right, she’s right. And, I don’t know if she mentioned, but Eva’s the only person that I ever let point on screen. I hate pointing, especially pointing extras. I’ve had that. I almost wanna cut their arms off, especially with extras. I had this long conversation with Eva where I told her ‘I hate seeing people pointing’, but then she does it and it’s fine. She’s the only one I’ll let point.”


On not doing rehearsals

“Oftentimes you can’t do rehearsals, because they’re all off in different places. So, to gather a large ensemble like that, is very difficult most of the time, so no I don’t do rehearsals.”


On his cameo

“I have a cameo in this. We needed a few extra shots, we didn’t have any money, we didn’t have any crew, we didn’t have any permits, so we snuck in a couple of shots at the last minute. We could get into trouble for that, but, you know… [laughs] We nearly got kicked off Blackpool pier a few times for that.”

Eva’s character Miss Peregrine
“Right on time. Miss Peregrine, delighted to meet you.”

“That’s absolutely true, but there are few things I can’t explain. We are in common parlance as peculiar.”

“Fifty-one seconds late, Fiona.”

“As I was saying some people are peculiar. Its a recessive gene carried down through families. Yet, many generations can pass without a peculiar child being born. And alas, peculiars have been persecuted through the ages. Hence, we live in places like this.”

“You see. I am a type of peculiar called an Ymbryne. ”

“Well, I do, yes, but that’s not very useful. An Ymbryne’s main skill is the manipulation of time. We chose a safe place, a safe day and create a loop. ”

“A loop is the last twenty-four hours, rest the loop and the day is yours to live in again. Reset it daily, and you can stay there forever, entirely safe from the outside world. Right on time, Bronwyn, good girl. And that’s why we Ymbrynes are charged with the care of the young.”

“It’s best for everyone this way, I assure you. Each Ymbryne commits herself to the creation and upkeep of a place like this. A Home for Peculiar Children.”

“If you two can’t play without squabbling, wish you wouldn’t play at all.”

“Claire, why aren’t you eating?”

“We call them ‘Hollowgasts’. Hollows. For short.”

“I will explain everything, Jake. I fear its my duty now considering, but you should know that in doing so I’m breaking a solemn promise. I knew you were peculiar when you were born but your grandfather forbid me to tell you anything His dearest wish was for you to have an ordinary childhood.”

“He intended to tell you the truth when you turned eighteen. He hoped his bed-time stories would pave the way.”

“Promise me one thing, Jake. That you will look after them all.”
Production Trivia & Facts
Has a run time of 2 hours and 7 minutes.

Is a British-Belgian-American co-production.

The film is based off the very popular young adult novel of the same name by author Ransom Riggs. The book is the first of the Miss Peregrine Trilogy. It is followed by “Hollow City” and “Library of Souls” respectively.

Eva’s favorite Bond Girl is Dame Judi Dench. Dame Judi and Eva first starred alongside each other in Martin Campbell’s Casino Royale (2006).

Miss Peregrine’s Home for Peculiar Children marks the second collaboration between Eva and Tim Burton. They first worked together in Dark Shadows (2012).

The film boasts one Oscar winner (Judi Dench) and two Oscar nominees (Terence Stamp and Samuel L. Jackson).

In the book Miss Peregrine’s Home for Peculiar Children, Dr. Golan’s character is actually a man, whereas in the movie he is played by a woman (Allison Janney).

The original house that inspired the book was called Chateau Notteboom. However, the house was not available anymore during production so the cast and crew filmed in Torehof Castle in Brasschaat instead.

Eva doesn’t appear on screen until 30 minutes into the film.

In the book, the date of Miss Peregrine’s loop is September 3, 1940 but in the movie the loop date is September 3, 1943.

This film marks the 11th collaboration between costume designer Colleen Atwood and Tim Burton.

Eva was very fond of the pipe, citing it as a beautiful prop combining feminine and masculine aspects of Miss Peregrine’s character. She has since kept one of the pipes from the film in her London home.

The island port scene was filmed in Port Holland, Cornwall, England. The beach photographer scene and murder scene were also filmed in Cornwall, England.

The movie release date was switched from March 4, 2016 to Christmas 2016 then to September 30, 2016.

Tim Burton appeared in a cameo as the man on one of the amusement park rides.
Awards & Nominations

Hollywood Music In Media Awards (2016)

Nominated (HMMA Award)

Best Original Song (Sci-Fi/Fantasy Film) – Florence and the Machine For the song “Wish That You Were Here”

People’s Choice Awards (2017)

Nominated (People’s Choice Award)

Favorite Dramatic Movie

Costume Designers Guild Awards (2017)

Nominated (CDG Award)

Excellence in Fantasy Film – Colleen Atwood

Globes de Cristal Awards, France (2017)

Nominated (Globe de Cristal)

Best Foreign Film (Meilleur film étranger) – Tim Burton

Visual Effects Society Awards (2017)

Nominated (VES Award)

Outstanding Visual Effects in a Photoreal Feature – Frazer Churchill , Hal Couzens, Andrew Lockley, Jelmer Boskma, Hayley J. Williams

Women Film Critics Circle Awards (2016)

Nominated (WFCC Award)

Best Family Film

Academy of Science Fiction, Fantasy & Horror Films, USA (2017)

Nominated (Saturn Award)

Best Fantasy Film

ASCAP Film and Television Music Awards (2017)

Nominated (ASCAP Award)

Top Box Office Films – Matthew Margeson, Michael Higham

Into Film Awards (2017)

Won (Into Film Award)

Childrens Film of the Year

Teen Choice Awards (2017)

Nominated (Teen Choice Award)

Choice Movie: Fantasy – 20th Century Fox

Nominated (Teen Choice Award)

Choice Movie Actor: Fantasy – Asa Butterfield

Nominated (Teen Choice Award)

Choice Movie Actress: Fantasy – Eva Green

Critics on Eva Green’s performance

Brian Truitt, USA Today

“Miss P is a natural fit for the underrated French actress.”

Bruce Kirkland, Toronto Sun

“Green, of course, steals the whole show.”

Alistair Harkness, The Scotsman

“a delicious performance from Eva Green as shape-shifting Miss Peregrine”

Neil Pond, Parade

“Eva Green superbly channels her character’s enchanted mission with steely British resolve and flinty maternal focus.”

Leah Pickett, Chicago Reader

“The movie is engaging at every turn, and there are some winsome performances, from Green especially.”

Justin Chang, Los Angeles Times

“Green cuts a marvelous figure here as the raven-haired, shape-shifting Miss Peregrine, who smokes a pipe and wields a crossbow with the same deadly sangfroid.”

Richard Lawson, Vanity Fair

“Eva Green, masterfully doing her usual Eva Green thing, only flecked with a little more warmth and sadness”

Amy West, International Business Times

“Green offers up a memorable character in Peregrine….the director has finally found a muse that matches him in oddity although she never forgets that story is king.”

Matt Prigge, Metro

“Their headmistress is played by Burton’s brilliant current muse, Eva Green, who rocks her now expected silent movie diva poses and high camp line readings.”

Moira Macdonald, The Seattle Times

“There’s great pleasure to be had in the performances, particularly Green’s deliciously avian Miss Peregrine.”

Chris Packham, The Village Voice

“Green creates a flinty, authoritarian Mary Poppins…she laces the character’s sternness with a vein of warmth.”

Chris Hewitt, Empire

“Green is a quirky delight with her borrowed-from-a-manga eyes constantly scrutinising her surroundings.”

Kyle Anderson, Nerdist

“Eva Green is fabulous as Peregrine, a mix of strong, motherly, mysterious, and dangerous. She owns this central role and is a pleasure to watch throughout.”

Peter Debruge, Variety

“Burton appears to have met his match in Green. The already-outré “Penny Dreadful” star walks that razor-fine line between dignity and camp perhaps better than any other current actress — making for a partnership we can only hope to see continue.”