– 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.
EvaGreenWeb, its staff and the fans from around the world would like to wish Eva and her twin sister Joy a very Happy 36th Birthday!! We wish you both lots of love, blessings, wisdom, success and happiness!!!
Here’s a video of Eva speaking fondly of her sister Joy from Lynn Hirschberg’s W Magazine Screen Test:
For this occasion, Eva penned this special tribute for her sister and she’d like to share it with you all!
My sister Joy, the sweetest creature on Earth. Full of heart and integrity.
I just adore her. Beyond words….
I found this photo recently and…I just want to eat her cheeks…She looks like a little Angel….
Feel free to leave your own birthday greetings (in English or French) for them on the comments section (you may mention your country). Kindly limit your message to 3 lines in consideration to other fans.
Out of respect to Eva’s wish for the photo to be an EvaGreenWeb Exclusive, we ask everyone not to take the photo without proper permission or consent from Eva Green or EvaGreenWeb.com. Thank you.
Here’s the Fourth Part of our Exclusive Q&A with Eva Green. We thank her for her kindness, candidness and for taking her time to do this Q&A with us. Special thanks goes to her twin sister Joy for once again facilitating this, without whom it wouldn’t be possible. In case you missed the First, Second and Third Part of the interview, you can read them HERE, HERE and HERE. For this last and final part of this year’s Q&A, we asked Eva about her favorite things that she’d like to recommend and share with her fans. Thanks for reading and as always, feel free to leave some messages or comments. Enjoy!
Your taste is very impeccable and a lot of your fans have often cited how they’ve seen, read, tasted, visited or tried out some of your recommendations from various interviews. What are the things (film, tv show, place, music, food, performance, etc.) that recently interested and satisfied you that you would recommend?
NOPI in London
It is a fabulous restaurant. Ottolenghi is such a brilliant chef! Sumptuous flavours that I’ve never tasted before and great choices for vegetarians!
Charlotte Rampling is set to join the cast of Euphoria, alongside Alicia Vikander and Eva Green, who were previously announced by Deadline. Vikander is also producing the pic through her newly-launched production banner Vikarious Productions. She is partners in Vikarious with her London-based agent Charles Collier, a partner in Tavistock Wood. The two of them have been driving the production forward, also bringing on-board esteemed DP Rob Hardy, who previously worked with Vikander on Ex Machina and Testament of Youth. Shooting starts early August in the German Alps. The story follows two sisters (Vikander and Green), in conflict traveling through Europe towards a mystery destination.
Euphoria is the English-language directorial debut of award-winning Swedish writer and director Lisa Langseth, who previously collaborated with Vikander on two Swedish-language titles, Pure and Hotell. The film is a production with Sweden’s B-Reel Films’ Patrik Anderson and Frida Bargo. It is the first production from Vikarious, with Vikander and Collier launched on the eve of Cannes. The company plans to produce a further two titles at a similar budget to Euphoria within the next two years.
Read the rest of the official press release at the SOURCE.
Here’s the Third Part of our Exclusive Q&A with Eva Green. We thank her for her kindness, candidness and for taking her time to do this Q&A with us. Special thanks goes to her twin sister Joy for once again facilitating this, without whom it wouldn’t be possible. In case you missed the First Part and Second Part of the interview, you can read them HERE and HERE. Thanks for reading and feel free to leave some messages or comments. Enjoy!
Your red carpet looks for the past three years has been very simple, sublime and faithful to designer Elie Saab. It’s a stark contrast from your past Alexander McQueen and John Galliano dominated red carpet appearances that were adventurous, playful and iconic. Was the change a conscious decision? And will we still be able to see your playful side on the red carpet?
I wish I could be as brave as Helena Bonham Carter who wore one red shoe and one green shoe to the Golden Globes! I adore her! Unfortunately, not a lot of people have a sense of humour at these events and it has become very “political”…. This said, I do love Elie Saab clothing, it’s very ethereal and magical!
You are well-travelled and seem to choose to visit unconventional destinations. Is there a place that you haven’t visited yet but is dying to see and experience?
I have always dreamed of visiting the Himalayas. And this year I was lucky enough to travel to Bhutan and Nepal! I was probably African in another life because I’m completely in love with the Continent! In February, I went to Tanzania and discovered the Singita Grumeti Reserves and their Environmental Education Centre. And I was so impressed by their foundation that I have become their Ambassador. Their work, educating children about the environment, is amazing, and could help to change the planet for the better. I’m planning on continuing work with this fabulous organization because what appealed to me the most was their concrete approach to conservation … Once the children have finished the Conservation Workshop, they return to their villages to transmit this precious knowledge not only to their family but to the entire village. I can’t think of a more exciting way to empower children than to teach them that they have the capacity to change their world… which is the first step in making the rest of the world a better place.
Ahead of the season finale, we caught up with Penny Dreadful’s resident Irish Director of Photography John Conroy to talk about Penny Dreadful, how it was like to work with Eva Green and what’s in store for him.
Many Penny Dreadful fans are amazed but unaware of how each episode comes to life through the production process. Could you tell us about yourself and the role you play in the show’s production?
Basically I read the script, listened to John Logan’s & The Directors vision. I Interpret that through working with the Art Department, VFX Department, then through Lighting, Framing & Camera moves with my own aesthetic. There are a lot of technical issues that manifest themselves in order to achieve this. The Mirror Maze & Train sequences in the Wild West being good examples. I spend most of my prep problem solving so when we shoot we can hit the ground running so everyone can express themselves without too much compromise.
The Director of Photography job is widely considered as one of the most challenging position on a film or television set. What’s the difference between working as a DoP on film and on a television series? And which to you prefer to shoot with: film or digital?
Challenging yes but hugely rewarding on a show such as Penny. There is no difference between TV & Movies in my mind in reference to standards, however, there may be when it comes to time allowed & the amount of coverage you have to do. Also Film is more of a Director’s Genre whilst TV is more biased towards the Showrunner. I have no preference over Film or Digital. I’d shoot on super 8 if it meant I could light. It’s all about the light. I do find it funny though when I hear about people talk about grain & the lack of it in Digital. When I was working mainly with Film, people were obsessed about getting rid of grain in Film stocks…. go figure.