Michelle Williams Eyes ‘Rio’ With Benedict Cumberbatch and Jake Gyllenhaal

Variety
By Justin Kroll

Michelle Williams is in talks to join Benedict Cumberbatch and Jake Gyllenhaal in the StudioCanal pic “Rio.”

“Call Me By Your Name” helmer Luca Guadagnino is directing from a script by Steven Knight.

The film follows a financial reporter (Gyllenhaal) who travels to Rio de Janeiro to visit a wealthy friend (Cumberbatch), only to get sucked into a plot to fake his friend’s death.

Studiocanal will finance and produce along with Cumberbatch and his Sunny March production company with Adam Ackland as well as Jake Gyllenhaal and Riva Marker who will produce through their Nine Stories banner.


http://variety.com/2017/film/news/michelle-williams-rio-benedict-cumberbatch-jake-gyllenhaal-1202617247/

ALAN RICKMAN: Kate Winslet & Matthias Schoenaerts To Star In Alan Rickman Directed Period Drama 'A Little Chaos' NEWS BY KEVIN JAGERNAUTH JANUARY 17, 2013 8:25 P (INDIEWIRE)

Persistence pays off it would seem. To date, celebrated actor Alan Rickman only has one feature film directing credit to his name, 1997's "The Winter Guest," and while we've yet to see a sophomore effort, it hasn't been for lack of trying. Rickman has had a couple of projects percolating over the years, but the one that he's stuck with has been "A Little Chaos." It looks like his determination has finally yielded some results, with two great actors on board and a start date in sight.

Baz Bamigboye reveals that Kate Winslet and "Rust & Bone" star Matthias Schoenaerts will topline the Rickman directed "A Little Chaos." Penned by Allison Deegan, the film will tell the unique story of rival landscapes gardeners who are both commissioned to create a fountain at Versailles by Louis XIV. Winslet and Schoenaerts will spar in the main roles, and Rickman has been busy scouting locations and revising the script in preparation for a spring shoot. It will be Winslet's second time up to bat with Rickman, co-starring with him in "Sense & Sensibility," while Schoenaerts adds the project to a very busy 2013 slate that also includes "Suite Francaise" with Michelle Williams. The guy sure knows how to pick his projects.


READ MORE: http://blogs.indiewire.com/theplaylist/kate-winslet-matthias-schoenaerts-to-star-in-alan-rickman-directed-period-drama-a-little-chaos-20130117

Colin Firth: Newsweek Oscar Roundtable, part 1 of 7

http://www.youtube.com/watch?v=oRriFkIjXig

Colin Firth: Youtube of "A Thousand Acres" movie he was in with Michelle Williams

http://www.youtube.com/watch?feature=player_embedded&v=OHoiv5BqKXQ#!

pfeifferflicks

Tom Hiddleston, Michelle Dockery and others at London fashion week

Tom Hiddleston, Laura Carmichael, Michelle Dockery, Michelle Williams, Elizabeth Olsen

London Fashion Week: Tom Hiddleston, Michelle Dockery, Lana Del Rey and other Front Row Celebrities British actor Tom Hiddleston (L), British actress Laura Carmichael (2nd L), British Actress Michelle Dockery (C), U.S. actress Michelle Williams (2nd L) and U.S. Actress Elizabeth Olsen are seen before the presentation of the Mulberry 2012 Autumn/Winter collection show during London Fashion Week February 19, 2012.


http://www.ibtimes.com/articles/301470/20120220/london-fashion-week-celebrities-hiddleston-dockery-lana.htm#page1

Tom Hiddleston and the Downton sisters at Mulberry fashion show

British actors (L-R) Tom Hiddleston, Laura Carmichael and Michelle Dockery listen to U.S. actress Michelle Williams before the presentation of the Mulberry 2012 Autumn/Winter collection show during London Fashion Week February 19, 2012. REUTERS/Suzanne Plunkett (BRITAIN - Tags: FASHION ENTERTAINMENT)

http://sg.news.yahoo.com/photos/british-actors-hiddleston-carmichael-dockery-listen-u-actress-photo-123322352.html

Academy Award Norminations - The Irish Post

The 84th Academy Awards will be held on February 27. Best Picture The Artist Thomas - Langmann, Producer The Descendants -Jim Burke, Alexander Payne and Jim Taylor, Producers Extremely Loud & Incredibly Close - Scott Rudin, Producer The Help - Brunson Green, Chris Columbus and Michael Barnathan, Producers Hugo - Graham King and Martin Scorsese, Producers Midnight in Paris - Letty Aronson and Stephen Tenenbaum, Producers Moneyball- Michael De Luca, Rachael Horovitz and Brad Pitt, Producers The Tree of Life - Nominees to be determined War Horse - Steven Spielberg and Kathleen Kennedy, Producers Actor in a Leading Role Demian Bichir in A Better Life George Clooney in The Descendants Jean Dujardin in The Artist Gary Oldman in Tinker Tailor Soldier Spy Brad Pitt in Moneyball Actor in a Supporting Role Kenneth Branagh in My Week with Marilyn Jonah Hill in Moneyball Nick Nolte in Warrior Christopher Plummer in Beginners Max von Sydow in Extremely Loud & Incredibly Close Actress in a Leading Role Glenn Close in Albert Nobbs Viola Davis in The Help Rooney Mara in The Girl with the Dragon Tattoo Meryl Streep in The Iron Lady Michelle Williams in My Week with Marilyn Actress in a Supporting Role Berenice Bejo in The Artist Jessica Chastain in The Help Melissa McCarthy in Bridesmaids Janet McTeer in Albert Nobbs Octavia Spencer in The Help Animated Feature Film A Cat in Paris - Alain Gagnol and Jean-Loup Felicioli Chico & Rita - Fernando Trueba and Javier Mariscal Kung Fu Panda 2 - Jennifer Yuh Nelson Puss in Boots - Chris Miller Rango - Gore Verbinski Art Direction The Artist - Production Design: Laurence Bennett; Set Decoration: Robert Gould Harry Potter and the Deathly Hallows Part 2 - Production Design: Stuart Craig; Set Decoration: Stephenie McMillan Hugo - Production Design: Dante Ferretti; Set Decoration: Francesca Lo Schiavo Midnight in Paris - Production Design: Anne Seibel; Set Decoration: Helene Dubreuil War Horse - Production Design: Rick Carter; Set Decoration: Lee Sandales Cinematography The Artist - Guillaume Schiffman The Girl with the Dragon Tattoo - Jeff Cronenweth Hugo - Robert Richardson The Tree of Life - Emmanuel Lubezki War Horse - Janusz Kaminski Costume Design Anonymous - Lisy Christl The Artist - Mark Bridges Hugo - Sandy Powell Jane Eyre - Michael O'Connor W.E. - Arianne Phillips Directing The Artist - Michel Hazanavicius The Descendants - Alexander Payne Hugo - Martin Scorsese Midnight in Paris - Woody Allen The Tree of Life - Terrence Malick Documentary (Feature) Hell and Back Again - Danfung Dennis and Mike Lerner If a Tree Falls: A Story of the Earth Liberation Front - Marshall Curry and Sam Cullman Paradise Lost 3: Purgatory - Charles Ferguson and Audrey Marrs Pina - Wim Wenders and Gian-Piero Ringel Undefeated - TJ Martin, Dan Lindsay and Richard Middlemas Documentary (Short Subject) The Barber of Birmingham: Foot Soldier of the Civil Rights Movement - Robin Fryday and Gail Dolgin God Is the Bigger Elvis - Rebecca Cammisa and Julie Anderson Incident in New Baghdad - James Spione Saving Face - Daniel Junge and Sharmeen Obaid-Chinoy The Tsunami and the Cherry Blossom - Lucy Walker and Kira Carstensen Film Editing The Artist - Anne-Sophie Bion and Michel Hazanavicius The Descendants - Kevin Tent The Girl with the Dragon Tattoo - Kirk Baxter and Angus Wall Hugo - Thelma Schoonmaker Moneyball - Christopher Tellefsen Foreign Language Film Bullhead - Belgium Footnote In Darkness - Poland Monsieur Lazhar - Canada A Separation - Iran Makeup Albert Nobbs - Martial Corneville, Lynn Johnston and Matthew W. Mungle Harry Potter and the Deathly Hallows Part 2 - Edouard F. Henriques, Gregory Funk and Yolanda Toussieng The Iron Lady - Mark Coulier and J. Roy Helland Music (Original Score) The Adventures of Tintin - John Williams The Artist - Ludovic Bource Hugo - Howard Shore Tinker Tailor Soldier Spy - Alberto Iglesias War Horse - John Williams Music (Original Song) Man or Muppet from The Muppets - Music and Lyric by Bret McKenzie Real in Rio from Rio - Music by Sergio Mendes and Carlinhos Brown Lyric by Siedah Garrett Short Film (Animated) Dimanche/Sunday - Patrick Doyon The Fantastic Flying Books of Mr. Morris Lessmore - William Joyce and Brandon Oldenburg La Luna - Enrico Casarosa A Morning Stroll - Grant Orchard and Sue Goffe Wild Life - Amanda Forbis and Wendy Tilby Short Film (Live Action) Pentecost - Peter McDonald and Eimear O'Kane Raju - Max Zahle and Stefan Gieren The Shore - Terry George and Oorlagh George Time Freak - Andrew Bowler and Gigi Causey Tuba Atlantic - Hallvar Witza Sound Editing Drive - Lon Bender and Victor Ray Ennis The Girl with the Dragon Tattoo - Ren Klyce Hugo - Philip Stockton and Eugene Gearty Transformers: Dark of the Moon - Ethan Van der Ryn and Erik Aadahl War Horse - Richard Hymns and Gary Rydstrom Sound Mixing The Girl with the Dragon Tattoo - David Parker, Michael Semanick, Ren Klyce and Bo Persson Hugo - Tom Fleischman and John Midgley Moneyball - Deb Adair, Ron Bochar, Dave Giammarco and Ed Novick Transformers: Dark of the Moon - Greg P. Russell, Gary Summers, Jeffrey J. Haboush and Peter J. Devlin War Horse - Gary Rydstrom, Andy Nelson, Tom Johnson and Stuart Wilson Visual Effects Harry Potter and the Deathly Hallows Part 2 - Tim Burke, David Vickery, Greg Butler and John Richardson Hugo - Rob Legato, Joss Williams, Ben Grossman and Alex Henning Real Steel - Erik Nash, John Rosengrant, Dan Taylor and Swen Gillberg Rise of the Planet of the Apes - Joe Letteri, Dan Lemmon, R. Christopher White and Daniel Barrett Transformers: Dark of the Moon - Scott Farrar, Scott Benza, Matthew Butler and John Frazier Writing (Adapted Screenplay) The Descendants - Screenplay by Alexander Payne and Nat Faxon & Jim Rash Hugo - Screenplay by John Logan The Ides of March - Screenplay by George Clooney & Grant Heslov and Beau Willimon Moneyball - Screenplay by Steven Zaillian and Aaron Sorkin. Story by Stan Chervin Tinker Tailor Soldier Spy - Screenplay by Bridget O'Connor & Peter Straughan Writing (Original Screenplay) The Artist - Written by Michel Hazanavicius Bridesmaids - Written by Annie Mumolo & Kristen Wiig Margin Call - Written by J.C. Chandor Midnight in Paris - Written by Woody Allen A Separation - Written by Asghar Farhadi

Last Updated ( Wednesday, 25 January 2012 11:56 )

To Read more:  http://www.irishpost.co.uk/index.php/component/content/article/13-entertainment-news/124-full-list-of-oscar-nominations-irish-film-gets-a-nod

Downton Abbey proves global phenomenon (Scotsman.com)

Golden Globes: Downton Abbey proves Global phenomenon

Ricky Gervais was on hosting duties for the Golden Globes; below, Meryl Streep collects her award for best actress for her portrayal of Margaret Thatcher. Pictures: Getty

By Claire Smith
Published on Tuesday 17 January 2012 02:12

DOWNTON Abbey’s success at the Golden Globes will further bolster the success of ITV and help promote British-made programmes around the world, industry sources said last night.

The period drama, which follows the lives and relationships of the family and servants of the Earl of Grantham’s household, won a Golden Globe for best mini series at a ceremony in Los Angeles on Sunday night.

The show has been screened in 200 countries, including the US, Spain and Australia, and DVD sales are worth millions of pounds. The programme’s success has already boosted ITV’s advertising profits which tripled last year – in what has been called the “Downton Bounce”.

Downton Abbey’s creator Julian Fellowes said: “How fabulous this is. The whole Downton adventure has been an extraordinary one. Like spotting a promising child and waking up to find they’ve have won the Olympics – and that’s what we’ve lived through.

“Winning a Golden Globe is thrilling and a great honour. We couldn’t be more delighted.”

Margaret Scott, business and production executive for Shed Production Scotland, said the success of Downton Abbey was good news for British television. She said: “I think there has always been an aptitude for making good, high-quality costume dramas in the UK, although they did tend to be associated with BBC rather than ITV.  

“But it is fantastic that a UK drama has been given this sort of award and hopefully it will create opportunities for us all.”

Actress Elizabeth McGovern, who plays the Countess of Grantham, said the success of the show in the US was a thrill.

“It’s an escape into a world that is simpler, that is beautiful, that is full of drama and intrigue and humour.”

McGovern was beaten to the best TV actress award by Titanic star Kate Winslet for her performance in HBO’s Mildred Pierce, while Idris Elba beat Downton’s Hugh Bonneville, scooping the best actor award for his role in BBC1 crime drama Luther.

Tilda Swinton lost out for the third year running, after being nominated for We Need to Talk About Kevin. The award for best actress went to multi-award winner Meryl Streep, for her portrayal of former prime minister Margaret Thatcher in The Iron Lady. In her acceptance speech Streep thanked “‘everybody in England that let me come and trample over their history”.

• The Current style blog: Our top fashion picks from the 2012 Golden Globes

Comedian Ricky Gervais presented the award for the third year in succession, despite criticism over his irreverent comments about some of Hollywood’s biggest stars last year.

He said: “The Globes are just like the Oscars, but without all that esteem. The Golden Globes are to the Oscars what Kim Kardashian is to Kate Middleton. Bit louder, bit trashier, bit drunker, and more easily bought.”

A big winner was The Artist, a film celebrating the art of silent movies. Michel Hazanavicius’s tale of 1920s Hollywood picked up three awards, including best film (muscial or comedy) and best actor (musical or comedy) for its star Jean Dujardin. It is now tipped to pick up the Oscar next month for best picture.

The main competition is said to come from The Descendants, which won best film (drama) and also picked up a best actor award for George Clooney.

Other winners were Michelle Williams, who was named best actress (comedy or musical) for her role in My Week with Marilyn; The Adventures of Tintin, which won the best animated feature category, and the Iranian drama A Separation, which won the award for best foreign language film.

Martin Scorsese won best director for his 3D fantasy Hugo and Woody Allen took the best screenplay prize for Midnight in Paris.

THE NIGHT’S BIG WINNERS

Best film (drama): The Descendants

Best film (comedy or musical): The Artist

Best actor (drama): George Clooney – The Descendants

Best actress (comedy or musical): Jean Dujardin - The Artist

Best actress (drama): Meryl Streep – The Iron Lady

Best actress (comedy or musical): Michelle Williams – My week with Marilyn

Best actor (mini series): Idris Elba – Luther

Best actress (mini series): Kate Winslet – Mildred Pierce

Best television mini series: Downton Abbey

Best supporting actor: Christopher Plummer – Beginners.

Best supporting Actress: Octavia Spencer – The Help.

Foreign Language: A Separation.

Animated Film: The Adventures of Tintin.

Screenplay: Woody Allen – Midnight in Paris.

Original Score: Ludovic Bource – The Artist.

Original Song: Masterpiece (music & lyrics by Madonna, Julie Frost, Jimmy Harry) – W.E.

http://www.scotsman.com/lifestyle/film/golden_globes_downton_abbey_proves_global_phenomenon_1_2060156

Golden Globes: 10 Most Memorable Moments (TV/Line)

January 16, 2012 04:34 AM PST
by Michael Slezak

Get More: Commentary, Golden Globes

A declawed Ricky Gervais, a near-sweep of the TV awards by cable programs, and a general spreading of the wealth among winners both big- and small-screen was the order of the day at Sunday’s 69th Golden Globe Awards. But before we turn the page on the annual kudos-fest, let’s take a look at the 10 Most Memorable Moments of a telecast that, in the words of its host, is “just like the Oscars…without all of that esteem.”

RICKY GERVAIS PUTS JOHNNY DEPP ON THE SPOT | Gervais proved a surprisingly tepid presence for the majority of the telecast, but his opening monologue kicked things off with an acidic bang, and he followed up with a hilariously inappropriate question — “Have you seen The Tourist yet?” — for the night’s first presenter, “the man who will wear literally anything Tim Burton tells him to.”

Golden Globes 2012: And the Winners Are….

MICHELLE WILLIAMS’ MOTHER OF AN ACCEPTANCE SPEECH | “I consider myself a mother first and an actress second. So the person I most want to thank is my daughter, my little girl, whose bravery and exuberance is the example that I take with me in my work and in my life,” said the My Week With Marilyn star, collecting the win for Best Actress in a Musical or Comedy. Williams then credited her child “for suffering through six months of bedtime stories where all the princesses were read aloud in a Marilyn Monroe-sounding voice.” (Added bonus: A shout-out to Williams’ one-time Dawson’s Creek costar Busy Philipps, whose presence at Williams’ table could be interpreted as Bill Lawrence’s best Cougar Town cameo plant ever, noted TVLine live-blog reader Andrew.)

FELICITY HUFFMAN AND WILLIAM H. MACY MAKE BEAUTIFUL MUSIC TOGETHER | The husband -and-wife team displayed perfect harmony and comedic timing in a little ditty introducing the nominees for Supporting Actress in a TV Series, Movie or Miniseries Category. “These actresses did stunning work, heartbreaking true and bold/ Though four will go home empty-handed, one will take home gold/ Don’t be humiliated ’cause you all did a terrific job/ It’s an honor to be nominated, blah-blah blah-blah, blah-blah, blah.”

Golden Globes 2012: We’re Live-Blogging ‘Em!

SETH ROGEN TAKES THE LOW, LOW ROAD | After walking to the podium with sexy Underworld star Kate Beckinsale to present the nominees for Best Actress in a Musical or Comedy, Rogen offered this terse, unwelcome bit of intel: “Hello, my name is Seth Rogen, and I am currently trying to conceal a massive erection.” Um, can we file a complaint to the Hollywood Foreign Press Association’s HR department on Beckinsale’s behalf?

OCTAVIA SPENCER SHOWS OFF HER HEART (AND HER SENSE OF HUMOR) | The night’s most emotional speech came from the winner for Best Supporting Actress in a Motion Picture for her work as a put-upon domestic worker in The Help. Spencer honored her character and all the real-world women like her by quoting Martin Luther King Jr. — “All labor that uplifts humanity has dignity and importance” — then cheerfully admitted she was overwhelmed by the moment: “Oh my God, I’m gonna fall off of these high-heeled shoes!”

MODERN FAMILY MAN STEVE LEVITAN TAKES SOME LIBERTIES WITH SOFIA VERGARA | As his voluptuous Colombian star accepted her show’s win for Best Comedy Series with an enthusiastic Spanish-language rant, show-runner Levitan provided a hilariously dubious translation declaring the sexiness of the Modern Family writing staff. “Film actresses, do yourselves a favor at the parties tonight and give them your phone numbers,” went Levitan’s Spanish-to-English interpretation. “They may look pasty and nervous and out-of-shape, but they’re the greatest lovers I’ve ever had. Seriously.”

MERYL STREEP LOSES FOCUS | Streep, who seemed shocked by her win for Best Actress in a Motion Picture Drama for The Iron Lady, was forced to wing it when she got to the podium and realized she’d forgotten her glasses. As inebriated audience members tried to relay the spectacles to her, Streep gave a fun, freewheeling speech that was preceded by an enthusiastic smooch for presenter Colin Firth, began with a faux recollection of stepping in to play Margaret Thatcher after “Ricky Gervais’ deal fell through,” paused to thank “my agent Kevin Huvane, and God Harvey Weinstein,” and included an apology to “the British people” for allowing her to trample all over their history.

MADONNA NOT-SO-SUBTLY REMINDS US OF HER FILM FAME | “[The movies] that made me believe I could dream and think outside the box were foreign films, made by the likes of Fellini, Visconti, Truffaut, Godard, Resnais, just to name a few,” said the star of Shanghai Surprise, Body of Evidence, and The Next Best Thing. “So there’s nothing foreign to me about a foreign film!” [Insert your own eye roll or Who's That Girl From Michigan With the clipped European accent punch line here.]

A DANCING DOG STEALS THE SPOTLIGHT | As the cast and crew of The Artist took to the stage to celebrate their win for Best Motion Picture Comedy or Musical, all eyes (and the cameras) turned to the film’s canine star, who did a jaunty little jig on his hind legs and totally upstaged an otherwise touching speech from producer Thomas Langmann about how his late father couldn’t even afford to fly to the U.S. to collect his Best Short Film Oscar back in 1966. Rated A…for Adorable!

CLOONEY PRAISES MICHAEL FASSBENDER’S, UM, FASS-MEMBER | Giving props to his fellow nominees as he accepted the trophy for Best Actor in a Motion Picture Drama, George Clooney paid special attention to the endowment his rival showed off in Shame. “I’d like to thank Michael Fassbender for taking over the frontal-nudity responsibility that I had,” said Clooney, who then made the suggestive suggestion that Fassbender could “play golf with both hands tied behind his back.” (Side note: Expect to see some portion of that quote in any/all upcoming ads for Michael Fassbender movies.)


http://www.tvline.com/2012/01/golden-globes-2012-10-most-memorable-moments/

Golden Globe Nominee and 'Downton Abbey' Star Elizabeth McGovern Wears Princess Di Favorite (The Hollywood Reporter)

The actress wore one of Jacques Azagury's amazing brocade creations to the BAFTA tea on Saturday -- and she'll wear one of his couture crafted gowns to the Golden Globes, too.     
 

7:38 PM PST 1/14/2012 by Merle Ginsberg        

 

 

 

 

Getty Images

T
he Hollywood Reporter attended this year's BAFTA tea, a tradition held every year the Saturday before the Golden Globes, at the Four Seasons Hotel. And it had quite an amazing turnout, including Leo DiCaprio, Charlize Theron, Michelle Williams, Viola Davis, Meryl Streep and the cast of The Artist. But what stood out most to us in a room filled with the heaviest heavy hitters was the violet dress Downton Abbey's Elizabeth McGovern was wearing, by couturier Jacques Azagury.

PHOTOS: Golden Globe Awards: The Nominees

We found it on the London-based designer's website. It's part of his fall 2011 collection. It has a fitted bodice in a brocade fabric like none we've ever seen before. It's purple on purple. The waist is tight and the skirt on the dress was very full, a very 1947 "New Look" kind of shape, with a lot of drama. It suits McGovern's role on PBS' most popular series.

"He's a real artist," McGovern told THR. "And a very sweet man. I met him in London -- and I'll be wearing one of his dresses to the Golden Globes as well."

This should be a real boost to Azagury's profile, but then, he already dresses Helen Mirren, and his most famous frequent client of all was Princess Diana. His favorite looks that he designed for her are in a special section on his website. Now, how do we get a hold of one of these dresses? They're like art, and we can't believe no star has worn him on a red carpet repeatedly.



http://www.hollywoodreporter.com/fash-track/golden-globes-downton-abbey-elizabeth-mcgovern-281922

BAFTA Boys: Meet the rising stars of 2012 (The BAFTAs for 2012)

The BAFTAs are just around the corner and the line up for the Rising Star short list has now been revealed.

And if the award which recognises actors that are speeding up the ranks of the film industry is anything to go by, in 2012 the faces to watch are all masculine.

My Week With Marilyn star Eddie Redmayne is one of the best known contenders, and the newcomer could also walk away with Best Actor for his role in the film alongside Michelle Williams.

Thor heartthrob Chris Hemsworth will go head-to-head with Tom Hiddleston, his co-star in the comic book adaptation and a cast member of Steven Spielberg’s War Horse.

Also in the running is Adam Deacon for his turn in Kidulthood, while the IT Crowd's Chris O'Dowd tops off the list of hopefuls for his role in Bridesmaids.

Although delighted to be in the running, nominee Tom revealed that the concept could be misleading.

"It's amazing, because I'm 30 years old and I've been acting for 12 years.” he said.

"People sometimes think success in this business happens overnight - and the truth is it doesn't".

The Rising Star Award is the one BAFTA category that is voted for by members of the public.


http://bafta.hellomagazine.com/bafta-awards-2012/20120109849/rising-star-shortlist-revealed/

Oscars: Are “Marilyn” and “Tinker” dark horse Best Picture contenders? – AWARDS ALLEY (Hollywood Awards)

By: Sean O'Connell

By Sean O’Connell

hollywoodnews.com: When the BAFTA’s revealed the long list of nominees for their year-end awards, one film leading the pack with 16 nominations was somewhat expected, while another was a bit of a surprise.

The anticipated picture was Tomas Alfredson’s “Tinker, Tailor, Soldier, Spy,” a British-to-the-core adaptation of John Le Carre’s exquisite novel that has performed admirably at the UK box office and continues to remain in the Oscar hunt for Gary Oldman, possibly a screenplay nod and (deservedly) numerous technical nods. “Tinker” nabbed the most BAFTA nominations with 16, including Best Film.

But it wasn’t alone. It tied Simon Curtis’ “My Week With Marilyn,” which also earned 16 nominations including Best Picture.

Now, what does this mean for the two films? Maybe nothing. Guy Lodge over at InContention dismissed the BAFTA nods as “embarrassing,” though he seemed more upset over omissions (“Shame,” “The Tree of Life” and Vanessa Redgrave in “Coriolanus,” to name just a few).

BAFTA and the Academy share members, obviously, so a film that performs well with one group has the potential to charm the other. And there might be something to be said for quiet, smaller films like “Marilyn” and “Tinker” playing better on DVD screener than they would in a theater. Could this also be why George Clooney’s “The Ides of March” has seen a resurgence of late, with the Producers Guild and the HFPA and their Golden Globes nominations? (Well, the HFPA likely just wanted to ensure George Clooney would attend the Globes, but the Producers Guild was a feather in that film’s cap).

All week, bloggers have been beating the drum for “Bridesmaids,” which continues to perform well with the guilds and could potentially play itself into the Best Picture race as a dark horse contender.

But with a significant boost from the BAFTAs today, is it too much of a stretch to see something like “My Week With Marilyn” – already generating serious heat for Michelle Williams and Kenneth Branagh – getting into the Best Picture race, as well?

Here’s a clip of Michelle Williams accepting the Hollywood Actress Awards at our Hollywood Film Awards in October. We’ll find out soon enough if she, her co-star Mr. Branagh, and their film will be in the Oscar race.


Awards Alley brings you the best Oscar coverage. Click below to read our exclusive interviews with:

- Harvey Weinstein
- The cast of “The Artist.”
- Kenneth Branagh for “My Week With Marilyn.”
- Bennett Miller talks “Moneyball.”
- Sir Ben Kingsley and Chloe Grace Moretz for “Hugo.”
- Tilda Swinton for “We Need to Talk About Kevin.”
- David Fincher, Daniel Craig and Rooney Mara on “The Girl With the Dragon Tattoo.”
- Viola Davis and Octavia Spencer for “The Help.”
- Tate Taylor for “The Help.”
- Gavin O’Connor for “Warrior.”
- Gary Oldman and Colin Firth for “Tinker, Tailor, Soldier, Spy.”
- Charlize Theron, Patton Oswalt, Jason Reitman and Diablo Cody for “Young Adult.”
- Steve McQueen for “Shame.”
- Glenn Close for “Albert Nobbs.”
- Seth Rogen and Will Reiser for “50/50.”

For complete Oscar and Film Festival coverage, visit our Awards Alley for the latest news items, reviews and interviews all season long.
Follow Hollywood News on Twitter for up-to-date news information.
Hollywood News, Hollywood Awards, Awards, Movies, News, Award News, Breaking News, Entertainment News, Movie News, Music News

Tags: Academy Award for Best Picture, American film directors, BAFTA, British Academy of Film and Television Arts, Cinema of the United Kingdom, Cinema of the United States, Entertainment/Culture, film, gary oldman, george clooney, golden globe award, hollywood foreign press association, Human Interest, Kenneth Branagh, michelle williams, Soldier, Spy, the BAFTA, the Oscar, Tinker Tailor Soldier Spy

 

http://www.hollywoodnews.com/2012/01/06/oscars-are-marilyn-and-tinker-dark-horse-best-picture-contenders-awards-alley/

 

 

 

‘Drive’, ‘Tinker Tailor’ top London critics’ nominations (The Cliff Edge)

Posted on December 20, 2011 by admin

By Ray Bennett

US crime thriller “Drive” and UK espionage mystery “Tinker Tailor Soldier Spy’ claimed six spots to top the nominations for the 32nd London Film Critics’ Circle Awards.

Nominations for “Drive”, released in the UK by Icon, included best film and best director for Denmark’s Nicolas Winding Refn plus best actor for star Ryan Gosling (pictured), best supporting actor for Albert Brooks, technical achievement for composer Cliff Martinez, and best British actress for Carey Mulligan, who also was cited for “Shame”.

Nominations for “Tinker Tailor Soldier Spy”, released here by StudioCanal, were for film, British film, actor and British actor for Gary Oldman, screenwriter for Peter Staughan and the late Bridget O’Connor, and technical achievement for production designer Maria Djurkovic.

This story appears in Cue Entertainment

Artificial Eye had two films with five nominations apiece. Iran drama “A Separation” picked up five nominations: film, foreign-language film, director and screenwriter for Asghar Farhadi, and supporting actress for Sareh Bayat.

Domestic drama “We Need To Talk About Kevin” received nods for British film, director for Lynn Ramsay, actress and British actress for Tilda Swinton, and technical achievement for sound designer Paul Davies.

Entertainment’s silent black-and-white comedy “The Artist” earned four nominations: film, director and screenwriter for Michael Hazanavicius, and actor for Jean Dujardin.

Momentum’s story of sex addiction in New York, “Shame”, also picked up four: British film, actor and British actor for Michael Fassbender, plus Mulligan.

George Clooney rounded out the best actor category for “The Descendants” while Kirsten Dunst (“Melancholia”), Anna Paquin (“Margaret”), Meryl Streep (“The Iron Lady”) and Michelle Williams (“My Week With Marilyn’) also were nominated for best actress.

London Film Critics’ Circle Chairman Jason Solomons praised what he termed “the breadth, intelligence and style” of the choices: “This is the surely classiest set of nominations around this year with truly superb work reflected in the directing and foreign language categories.”


The winners will be named at a ceremony at BFI Southbank on Jan. 19. A complete list of nominees follows:

FILM OF THE YEAR
The Artist (Entertainment)
Drive (Icon)
A Separation (Artificial Eye)
Tinker Tailor Soldier Spy (StudioCanal)
The Tree of Life (Fox)

The Attenborough Award:
BRITISH FILM OF THE YEAR
The Guard (StudioCanal)
Kill List (StudioCanal)
Shame (Momentum)
Tinker Tailor Soldier Spy (StudioCanal)
We Need to Talk About Kevin (Artificial Eye)

FOREIGN-LANGUAGE FILM OF THE YEAR
Mysteries of Lisbon (New Wave)
Poetry (Arrow)
Le Quattro Volte (New Wave)
A Separation (Artificial Eye)
The Skin I Live In (Fox/Pathé)

DOCUMENTARY OF THE YEAR
Cave of Forgotten Dreams (Picturehouse)
Dreams of a Life (Dogwoof)
Pina (Artificial Eye)
Project Nim (Icon)
Senna (Universal)

DIRECTOR OF THE YEAR
Asghar Farhadi – A Separation (Artificial Eye)
Michel Hazanavicius – The Artist (Entertainment)
Terrence Malick – The Tree of Life (Fox)
Lynne Ramsay – We Need to Talk About Kevin (Artificial Eye)
Nicolas Winding Refn – Drive (Icon)

SCREENWRITER OF THE YEAR
Asghar Farhadi – A Separation (Artificial Eye)
Michel Hazanavicius – The Artist (Entertainment)
Kenneth Lonergan – Margaret (Fox)
Bridget O’Connor & Peter Straughan – Tinker Tailor Soldier Spy (StudioCanal)
Alexander Payne, Nat Faxon & Jim Rash – The Descendants (Fox)

The Virgin Atlantic Award:
BREAKTHROUGH BRITISH FILM-MAKER
Richard Ayoade – Submarine (StudioCanal)
Paddy Considine – Tyrannosaur (StudioCanal)
Joe Cornish – Attack the Block (StudioCanal)
Andrew Haigh – Weekend (Peccadillo)
John Michael McDonagh – The Guard (StudioCanal)

ACTOR OF THE YEAR
George Clooney – The Descendants (Fox)
Jean Dujardin – The Artist (Entertainment)
Michael Fassbender – Shame (Momentum)
Ryan Gosling – Drive (Icon)
Gary Oldman – Tinker Tailor Soldier Spy (StudioCanal)

ACTRESS OF THE YEAR
Kirsten Dunst – Melancholia (Artificial Eye)
Anna Paquin – Margaret (Fox)
Meryl Streep – The Iron Lady (Fox/Pathé)
Tilda Swinton – We Need to Talk About Kevin (Artificial Eye)
Michelle Williams – My Week With Marilyn (Entertainment)

SUPPORTING ACTOR OF THE YEAR
Simon Russell Beale – The Deep Blue Sea (Artificial Eye)
Kenneth Branagh – My Week With Marilyn (Entertainment)
Albert Brooks – Drive (Icon)
Christopher Plummer – Beginners (Universal)
Michael Smiley – Kill List (StudioCanal)

SUPPORTING ACTRESS OF THE YEAR
Sareh Bayat – A Separation (Artificial Eye)
Jessica Chastain – The Help (Disney)
Vanessa Redgrave – Coriolanus (Lionsgate)
Octavia Spencer – The Help (Disney)
Jacki Weaver – Animal Kingdom (StudioCanal)

BRITISH ACTOR OF THE YEAR
Tom Cullen – Weekend (Peccadillo)
Michael Fassbender – A Dangerous Method (Lionsgate), Shame (Momentum)
Brendan Gleeson – The Guard (StudioCanal)
Peter Mullan – Tyrannosaur (StudioCanal), War Horse (Disney)
Gary Oldman – Tinker Tailor Soldier Spy (StudioCanal)

The Moët & Chandon Award:
BRITISH ACTRESS OF THE YEAR
Olivia Colman – The Iron Lady (Fox/Pathé), Tyrannosaur (StudioCanal)
Carey Mulligan – Drive (Icon), Shame (Momentum)
Vanessa Redgrave – Anonymous (Sony), Coriolanus (Lionsgate)
Tilda Swinton – We Need to Talk About Kevin (Artificial Eye)
Rachel Weisz – The Deep Blue Sea (Artificial Eye)

YOUNG BRITISH PERFORMER OF THE YEAR
John Boyega – Attack the Block (StudioCanal)
Jeremy Irvine – War Horse (Disney)
Yasmin Paige – Submarine (StudioCanal)
Craig Roberts – Submarine (StudioCanal)
Saoirse Ronan – Hanna (Universal)

The Sky 3D Award:
TECHNICAL ACHIEVEMENT
Manuel Alberto Claro, cinematography – Melancholia (Artificial Eye)
Paul Davies, sound design – We Need to Talk About Kevin (Artificial Eye)
Maria Djurkovic, production design – Tinker Tailor Soldier Spy (StudioCanal)
Dante Ferretti, production design – Hugo (Entertainment)
Alberto Iglesias, original score – The Skin I Live In (Fox/Pathé)
Chris King & Gregers Sall, editing – Senna (Universal)
Joe Letteri, visual effects – Rise of the Planet of the Apes (Fox)
Cliff Martinez, original score – Drive (Icon)
Robert Richardson, cinematography – Hugo (Entertainment)
Robbie Ryan, cinematography – Wuthering Heights (Artificial Eye)

The Dilys Powell Award:
EXCELLENCE IN FILM
Nicolas Roeg



http://www.thecliffedge.com/?p=2895

Review: ‘My Week with Marilyn’ Dazzles Audiences as the Buxom Blonde Herself Once Did (GALO)

December 29th, 2011 7:31 pm in Art & Culture, Film by Nicole Bonaccorso - No Comment Yet

Though Marilyn Monroe died in 1962, she never ceased to captivate the world with her beauty, talent, and rollercoaster of a personal life. Director Simon Curtis’ film My Week with Marilyn, based on Colin Clark’s two memoirs (The Prince, the Showgirl, and Me, and My Week with Marilyn), documents the star’s vibrancy, unreliability, and friendship with Clark (played by Eddie Redmayne).

Clark, a 23-year-old just out of Oxford University in 1956, is determined to be involved in movie production. When family friend, Sir Lawrence Olivier (Kenneth Branagh), agrees to help him get a job on the set of his new production The Prince and the Showgirl, Marilyn Monroe’s (Michelle Williams) presence on the set isn’t the last thing on his mind, but it isn’t the first either. After finagling his way into the position of Third Assistant Director, otherwise known as a “gofer” and least the important job on the set, Clark is brimming with confidence and gratitude. However, he does not fathom what happens next. Ms. Monroe, the biggest and arguably most beautiful actress in Hollywood, takes a liking to the young movie-set slave.

In Curtis’ adaptation, many of the British actors on Olivier’s set do not understand the difficult actress. She often fails to show up to work, and when she does, she frequently lacks the confidence and composure to get through her scenes. Olivier refuses to take her seriously, and she is regarded as a dumb blonde. Each member of her American crew attempts to exert control over the star by feeding her pills and feeding into her insecurities. To make matters worse, there are problems between Monroe and her new husband, playwright Arthur Miller (Dougray Scott). Clark seems to be the only person who can calm Monroe. He can sometimes even convince the notoriously late movie star to get to work early.

Summing up Olivier and Monroe’s rivalry, Clark notes their different but similar goals in one meaningful sentence: “It’s torture for you because you’re a great film star who wants to be a great actress and its torture for him because he’s a great actor who wants to be a great film star.”

It is as if Monroe shines once again on screen through Williams’ performance. Though she does not look exactly like the star (her body lacking the drastic hour-glass figure Monroe was known for), she captivates the audience with the spontaneity and sex appeal that the buxom blonde exerted. The costumes are fitting— Williams dons the whites, beiges, and blacks that we often picture Monroe wearing, as well as the lounging bathrobe she is said to have worn all day when out of the public eye.

 Williams, who has Monroe’s signature wiggling walk down to a t, also displays her playfulness and emotionality in two brief nude scenes. With the helpful direction from Curtis, she portrays Monroe as skinny-dipping and embracing life with wild passion one minute and reclusive the next. Williams majestically carries Monroe’s confidence in sexuality and her sensitivity to the world to an audience nearly 50 years after her death.

Milton Greene (Dominic Cooper), Executive Producer of The Prince and the Showgirl, and Monroe’s ex-lover, says of her work, “When Marilyn gets it right, you just don’t want to look at anyone else.” This is true of Williams as Monroe as well. The character is so breathtakingly dynamic that scenes without her fill the audience with anticipation of her return to the screen.

Redmayne as Clark is on point too. Clark’s eagerness on Olivier’s set shines through his green eyes and freckled face, adding to the innocence of the youth he is portraying. Though Clark and Monroe share a few kisses, and Clark undoubtedly falls under the goddess’s charm, their friendship can hardly be considered an affair. Clark, though years younger than Monroe, is in a position to see both sides of the situation and serves mainly as the paranoid actress’s confidant.

However, the film does stray from Clark’s memoir. It is not as honest — perhaps to add more detail to the account. In his memoirs, Clark did not want to fall in love with Monroe. He dawdled between wanting to save the melancholy star and attempting to keep his distance. While they shared a kiss or two, he insisted with Monroe, himself, and everyone around him that they were friends and nothing more. The film sugarcoats the story, portraying Clark as more of a puppy dog around Monroe; completely captivated and nearly helpless under her power, he tries to convince her to leave Hollywood for his love.

My Week with Marilyn focuses on a side of Monroe that documentaries often miss—her innocence, her desperation to be taken seriously as an actress, and the control the film industry attempted to exert on her personal life. The film does not delve into her psychological issues, but focuses on the blip she was in Clark’s life—a short week of Monroe’s warmth, spontaneity, and breakdowns.

http://www.galomagazine.com/artculture/my-week-with-marilyn-dazzles-audiences-as-the-buxom-blonde-herself-once-did/

Rating: 3.5 out of 4

Oscar Worthy Performances of 2011 (We Got This Covered)

More articles by Carina Belles »

Written by: Carina Belles

With political worries and economic woes taking up most of the small screen, 2011 has been a great year for movies because we’ve needed it to be. From big-name blockbusters to the artsiest of indie films, our actors and actresses have taken it upon themselves to give us some much needed distractions, and a lot to talk about. This group is so talented that we’re convinced the Oscars are going to be a bloodbath this year. That’s why we’re sharing our favorite performances of the year, and why we’ll keep talking about them long after awards season is over.



Kristen Wiig, Melissa McCarthy and Rose Byrne – Bridesmaids

Proving comedy is not just a boys’ club, Wiig, McCarthy and Byrne created one of the year’s best films in Bridesmaids. Wiig plays Annie, a failed baker whose best friend Lillian’s upcoming wedding painfully coincides with her life’s various disasters. To make things even worse, Lillian (Maya Rudolph) seems to have replaced Annie with rich, snobby Helen, played brilliantly by Byrne, who makes Helen endlessly hateable but still sympathetic.

McCarthy rounds out the strong supporting cast, and is responsible for many of the film’s most quotable lines and most outrageous moments. Though McCarthy and Byrne’s over the top characters provide much of the film’s humor, Wiig really makes the film work, tying everything together with a more refined performance (at least more refined than she usually is on Saturday Night Live) that’s as touching as it is hilarious.



Brad Pitt - Moneyball

Though he deserves just as much praise for his portrayal of a struggling father in Terrence Malick’s The Tree of Life, Pitt really shines in Moneyball, the true story of Oakland A’s general manager Billy Beane. It’s hard to make a good baseball movie without overly romanticizing the game, and maybe without Pitt, it couldn’t have been done. Don’t get me wrong, Pitt can play any dramatic role he wants, but he specializes in fast-talking, funny characters (like Beane) who know what the hell they’re doing. It’s where he excels – and his smart, complex portrait of Beane is what makes Moneyball worth watching.



Tilda Swinton – We Need to Talk About Kevin

Tilda Swinton has an odd air about her – like she never fully defrosted after playing the White Witch in 2005′s first Narnia film. If anything, it only amplifies her appeal. In We Need to Talk About Kevin, Swinton plays Eva, the mother of the titular Kevin (Ezra Miller), a nightmare from birth who murdered not only some of his classmates, but his father and sister as well. Swinton’s portrayal of Eva is decidedly cold, emphasizing the battle of nature vs. nurture at the film’s heart. Did she create a psychopath? Could she have stopped him? Swinton leaves it up to us to decide, making her performance all the more fascinating.



Michelle Williams – My Week With Marilyn

The daunting task of playing cinema’s greatest legend would be impossible, unthinkable for most, but Michelle Williams doesn’t even seem phased. She simply slips into Marilyn, and never lets the audience question her. My Week With Marilyn is just a glimpse at the captivating starlet’s life, but Williams gives us more insight into Ms. Monroe than a thousand biographies could. Williams breathes new life into the enigmatic image of Marilyn Monroe, and handles her with depth and dignity, reminding us that her superstar appearance was far removed from her real life as the insecure and damaged Norma Jean.



Rooney Mara – The Girl With the Dragon Tattoo

It’s impossible to tear your eyes away from The Girl With the Dragon Tattoo‘s Lisbeth Salander – Rooney Mara makes sure of it. Lisbeth, a victim of abuse turned antisocial computer hacker bent on revenge, cannot be an easy character to play, but Mara does it with ease. Her indifference and insolent looks are utterly captivating, but it isn’t just Mara’s obvious strength that wins us over. Lisbeth’s little shocks of vulnerability are what make Mara’s performance so memorable, and what leaves us craving for more. We’re certain we will be seeing much, much more of her.



Charlize Theron – Young Adult

It’s easy to see how anyone but Theron could turn Young Adult from a darkly entertaining film into a doofy romance filled with life lessons. Theron is deliciously bad as a 30-something who returns to her hometown in order to win back her high school sweetheart, destroying his marriage in the process. Diablo Cody‘s screenplay definitely helps her out, but Theron delights in her character’s calculating and unsympathetic nature, and it shows. Theron’s fearless refusal to soften up is what makes her a treat to watch, and left us feeling awful – in a good way.



Meryl Streep – The Iron Lady

It wouldn’t be a year’s best list without including 16-time Academy Award nominee (and two-time winner) Meryl Streep, whose portrait of former British Prime Minister Margaret Thatcher is as flawless as you’d expect. In fact, she is nothing short of perfection. Her performance digs so much deeper than Thatcher’s standard appearances in media, creating a moving portrayal and showing us exactly what standards a biopic should be held to. Streep is a master of character – it’s as if she locks on to her targets and simply inhabits them for a while – as if it were that easy. No one else does it like her, and no one else ever will again.

Ryan

Gosling – Drive

Judging Ryan Gosling on his appearance alone, we’d think he’d just be some pretty boy, stuck doing romance movies forever. But this is where Gosling proves us wrong. Sure, he can do cute and sexy, just watch Crazy Stupid Love, but he gives us one of the year’s best performances in Drive. Gosling plays an unnamed stunt performer who moonlights as a getaway driver, and gets in over his head. His reticence is very cool – Gosling plays the driver in such a way that we have no choice but to study his every move, waiting for some hint of emotion, and when it finally bursts out, we feel very rewarded.  



Viola Davis, Octavia Spencer, Bryce Dallas Howard, Jessica Chastain and Emma Stone – The Help

There is no better ensemble cast than The Help‘s this year. The movie is strong performance after strong performance, and it would be a crime to honor one without the others. The Help is about Skeeter (Stone) a young writer who wants to expose what it’s really like to be the hired help in Mississippi. Stone handles Skeeter’s naivety and gradual shift to social outcast expertly, but it’s Davis who stands out the most as Aibileen, a black maid who has spent her whole life raising white children.
Davis’ steadiness and occasional bursts of ferocity is what gives the movie its fire – and will hopefully bring her Oscar gold. Spencer’s performance as Aibileen’s best friend Minny is so warm and memorable it’d be surprising if she didn’t earn a nod as well. Bryce Dallas Howard and Jessica Chastain round out the cast as the villainous Hilly, who Howard makes into the perfect fool, and the sweet but clueless Celia, who Chastain makes touching and strong.


Michael Fassbender – Shame
Though he stunned us in A Dangerous Method, Jane Eyre and even X-Men: First Class this year, Michael Fassbender outdoes himself in Shame, in which he plays a sex addict spiraling out of control. Fassbender is stripped – both literally and figuratively – and it isn’t always pretty. He makes sex addiction the opposite of sexy, which makes his character’s actions even more difficult to watch. The utter lack of human contact Fassbender’s Brendan receives, even though technically he’s constantly with other people, is sad and disturbing. It’s a character that hasn’t quite been done before. We have Fassbender to thank for that.

We also wish we could have included:
Albert Brooks, DriveWoody Harrelson, Rampart
Elizabeth Olsen, Martha Marcy May MarleneCorey Stoll, Midnight in ParisGary Oldman, Tinker Tailor Soldier SpyMia Wasikowska, Jane EyreGeorge Clooney, The DescendantsAmeena Matthews, The Interruptors


http://wegotthiscovered.com/movies/performances-2011/

Kenneth Branagh MY WEEK WITH MARILYN Interview (Collider)

by Christina Radish Posted:December 19th, 2011 at 2:50 pm

In the much buzzed about My Week with Marilyn – currently in limited release and opening wide on Christmas Day – 23-year-old, first-time production hand, Colin Clark (Eddie Redmayne), went to work on Laurence Olivier’s (Kenneth Branagh) The Prince and the Showgirl. When American film star Marilyn Monroe (Michelle Williams) experienced emotional difficulties during shooting, Colin came to her aid and romance developed. Unfortunately, one week of fun was just not enough to save the doomed star from her eventual self-destruction.

At a press day for the film, actor Kenneth Branagh talked about creating a character instead of just doing an impersonation of Laurence Olivier, how his admiration for the star only increased while researching him, working with both Michelle Williams and Julia Ormond (who plays Vivien Leigh), and the fact that he never met but did correspond once with Olivier. He also said that he hopes to be directing next, by the Spring, but isn’t sure which of the projects he has in development that he’ll be doing. Check out what he had to say after the jump:

Question: How do you separate creating a character from doing an impersonation, when you play a real-life person like Sir Laurence Olivier?
KENNETH BRANAGH: Partly, it was on the page. It was always going to be a guess and an imagined version of what went on. We had the hint, which was Colin Clark’s two books. There he was saying, “I really was at the ringside.” And then, in the second one, he leads us to believe that maybe there was some kind of romantic liaison. I don’t know if that was true. But, it was credible that these two people might confide in this young person, partly because I’ve watched people ignore certain people. They think, “Well, he’s young. He’s barely even listening. He’s not important.” They do suddenly confide things that might seem rather intimate. So, that was there on the page.

The thing that swung the decision to do it was that the movie wouldn’t just therefore be a slavish mimicry of Olivier and [Marilyn] Monroe. It was trying to understand what it was like between them. We know that Olivier said to Monroe, “Why don’t you just be sexy? Isn’t that what you do?” That’s on record. People were there. They heard it. So, our imagination was, “What did that come out of? What was the scene? What were the moments that provided that?” On the way, I think it was a chance to do something quite funny that both Michelle [Williams] and I had some experience with, which is you do a scene, you forget your lines sometimes, and the director says something that sometimes is helpful and sometimes it’s not, and sometimes the director is frustrated. That had some accuracy, in terms of our experience, but the guess about how the rest of the scene went was part of the fun of doing it. It kept you alive. It meant that, every day, you were asking, “How do we make the two things join up?” That, for me, was part of the enjoyment for the whole thing.

How did you and Julia Ormond work on establishing the relationship between Olivier and Vivien Leigh?
BRANAGH: Like so many things in the film, we knew that the chance to talk about that was going to be brief because the film was trying to cover so much, in this little snapshot. But, Julia is a very smart woman. She’d done a lot of homework. We knew that the key thing was suggesting this fragility that Olivier spoke of often, in Vivien Leigh, at that time. It was a very difficult conversation to have with his then-wife, when they were going through a very difficult period, at that point. She was a massive movie star. She was Scarlett O’Hara. She had this considerable talent and a considerable ego, and she was also his wife. We also know that two days before Marilyn [Monroe] arrived in England, it was announced that Vivien Leigh had just had a miscarriage. I think she was 43. As you can imagine, in anybody’s life, that would be a very difficult moment. So that, going into the meeting with Marilyn, threw all sorts of interesting influences over it. Basically, that tension between them was something that Julia understood very well. She understood that fragility. It’s a lovely moment between her and Michelle [Williams], where Marilyn is so fragile and vulnerable, as the two of them meet. The suggestion that Vivien was very concerned about whether Olivier would fall in love with her was very real. We talked about it a lot, we rehearsed it a bit, and I think Julia did a beautiful job.

In playing such a huge film icon, did it diminish your admiration for him, or did it increase it?
BRANAGH: It definitely increased my admiration. I saw films that I confess I hadn’t seen before. I hadn’t seen William Wyler’s film, Carrie. I watched the Otto Preminger film, Bunny Lake is Missing. He’s marvelous in that, in a small part. He’s so real. It’s a little after this movie, in the early ‘60s. So, I caught up with all of those things. I caught up with many of the recordings because I was so interested in how to find the voice. I hadn’t realized that he’d recorded an entire dramatic reading of the Bible, that was presented by his friend, Douglas Fairbanks Jr., which was quite extraordinary. He recorded a lot of short stories.

What I was amazed by was the breadth of what he’d done, and these many careers. He came to Hollywood when he was 24, to try to have a Hollywood career. He lived up at the top of Lookout Mountain, and he couldn’t get arrested. He said he did three or four movies, across 18 months, when movies took two or three weeks to shoot, and none of them worked. You see footage of that time and he had completely changed his accent. He did a couple promotional things for RKO Studios and he started to talk in a mid-Atlantic way, using hard R’s, as he talked about RKO Studios. That was way before Olivier became the classical performer that we’ve come to know and love.

He was a guy that was pounding the streets, and then he went away and became a classical actor on the stage in England, and then he came back and became a big movie star in the Golden Age of Hollywood. He was right in the middle of the greatest year in Hollywood history, in 1939, and he was about to be married to Scarlett O’Hara. By the time we get to ‘56 and this movie, you couldn’t help but be impressed by the extraordinary life he’d led and the variety of the work. So, I walked away much more impressed than I was, to begin with, and I was already completely awed.
Was there a moment that you felt really captured Olivier?
BRANAGH: Well, we had a prosthetic chin that gave me the little cleft in the middle of the chin and gave a little fuller lip. And, we plucked the eyebrows and gave me that blue-black hair color that was partly him, at the time, and partly what he maximized for the role of The Duke. Olivier famously said that he liked to prepare from the outside in, and that a key thing for him was shoes. I was actually in the middle of a process where my friend, Terrence Stamp, had said to me, a couple of years ago, “You’re approaching your 50^th birthday. You must do something very special for yourself. I recommend that you have a pair of handmade shoes made for you. You’ll find that it’s a wonderful process. There’s a man, named George Cleverley, at the Burlington Arcade in London. He’s from a family of shoemakers, for generations. Go there and tell him I sent you.” So, I duly went, at Mr. Stamp’s behest, and I began the process. It took about a year. He said, “Take your time with it. Have the first fitting and they’ll measure every part of your foot that’s possible and you’ll think it’s ridiculous.”

So, they took every kind of measurement, and the I went back after three months and looked at leathers. Then, I went back after three months and talked about colors. After a year, the shoes were ready. They were a brown pair of Oxford brogues. They were given to me and they felt like a pair of slippers. I said, “Well, I’ve got the shoes, Terrence. It’s cost me a small fortune. Now, I’m so terrified to use them, I don’t know what to do with them.” He said, “Something will come up.” What came up was My Week with Marilyn.

As he was taking me through various things about Olivier and talking about the costumes, our director, Simon Curtis, said, “Of course, he had his shoes made by George Cleverley of the Burlington Arcade.” I said, “You’re joking me!” He said, “No.” I said, “I’ve got a pair of those shoes. I have a pair of George Cleverley shoes, handmade for me.” I went back to George Cleverley’s, and they showed me that they had the actual [model] they put inside everybody’s shoe. There was Laurence Olivier’s, on the shelf. So, I wore my handmade George Cleverley shoes, made by Olivier’s shoemakers, in the movie, and Simon Curtis was so pleased that he gave them a close-up. So, that was working from the outside in, but also, in a strange way, working from the inside out.
Have you ever been frustrated working with some actors because they don’t have the tradition that most British actors have?
BRANAGH: What I’ve noticed is that, unquestionably, there are differences in approaches from actors, but not just in different countries or places in the world. It’s that way, inside of any one scenario. Even if people are all from the same place, there can be very, very different approaches. It’s one of the things I’m fascinated by. It’s why I like directing. I like to see how different people approach trying to be truthful, on camera or in the theater, and whether you can make them match up. Sometimes they don’t.

What surprised me was how rigid they were about their approaches. In practice, Olivier and Monroe were both very free. She may have had a more narrow range, but she was more natural in front of the camera and was a different kind of actor. She was a great movie star. He had more range, but he professed to being very mechanical. He wanted to control things. I don’t necessarily think that’s the right way to do things.

I think you just have to find whatever is the truthful way to get to something. I’ve certainly been in situations where people are what I would call tricksy. I don’t mind how people do it. If they’re playing a scene where they’re out of breath, if they need to say, “Wait, I’m going to go outside of the room and get out of breath. I’m going to do 15 push-ups. Please wait until I come back, and then I really will be genuinely out of breath,” that’s fine by me, even though I might be standing next to an actor saying, “Why is he doing that?,” as sometimes I have. It only needs to happen when you say, “Action!” It’s pretend. In film, we’ll stop and start so many times that he’s going to be exhausted in about 10 minutes time. If you do 50 takes and you’re still doing it, at the end of the day, he’s not going to just be out of breath. He’s going to be in the hospital.

Somehow you need to put those two actors in the same scene, and have them work together. I’m fascinated by how you do that. I’ve learned that differences of approach or bad behavior, as one might put it, is usually, in my experience, down to fear. Usually, people are scared. It’s as simple as that. Sometimes it comes out in what I call tricksy behavior. That’s not always easy to deal with, but it’s fascinating. The key thing is to make sure that somebody’s tricks don’t trip up somebody else. I don’t know that the Brits have the monopoly on being organized, but they do have a way of working, with which I’m familiar. It’s not necessarily the best way, but it’s a way.

Have you gotten any feedback about your performance from Joan Plowright or any of Olivier’s children?

BRANAGH: No, I haven’t heard from anyone in the family. I know that Tony Hopkins has seen the film was very, very kind about it. He knew Olivier very well. He understudied him, in fact, and had gone on for him, in a couple of plays, when Olivier was indisposed. I know that Derek Jacobi has seen it, and he was also very complimentary. For me, those were very scary moments, when those guys saw the piece. Derek is a great friend and he would be kind anyway, so you might take this with a pinch of salt, but he was directed by Olivier and played opposite him as well, and he said that he felt, for a couple of key moments, the performance had the look in the eye. I thought, “Well, I don’t look like him and I don’t sound like him, so there will just have to be moments that will somehow evoke him.” I’m glad that those two fellas both felt that I had passed muster.
Did you ever get to meet Olivier?

BRANAGH: No. It would be flattering to say I had a correspondence with him, but I sent him a letter once and he did reply. I was asking advice about playing a role, for which I was much too young. I found his address in the Who’s Who of the Theater, which actors put their actual, real addresses in. That’s impossible to imagine now, but I sent it there. That, in itself, was exciting. The ritual of writing to a God – which is what it felt like – with an address in central London was exciting. I remember my hand shaking when the envelope came back because, on the back, it said, “Laurence Olivier,” in embossed, raised writing. It was really fancy, blue writing paper.

I put it down and walked around for a bit. I didn’t want to rip it open. And then, I pulled it out and there it was. On an old Underwood typewriter were the words, “I’m afraid I cannot give you any advice, in particular ways, about the way you should approach this role. It’s up to an actor, himself, to come up with these individual things. But, my advice to you is to have a bash and hope for the best, which I certainly wish for you.” I wrote that on a Post-It note and put it on top of my dressing room mirror for this movie. Every day, there were little rituals. Once the chin had gone on, I would listen to him reading the Bible, and then go into the dressing room and have a look at the Post-It note, put on the handmade shoes and get ready to go.
What are you going to be doing next, directing or acting?
BRANAGH: I hope to direct next, but it’s not certain what. There are a couple of pictures that I’ve been developing, for some time, and it hasn’t quite fallen into place yet, but I hope it will be in the Spring. I think I’ll be directing next. But, my next project is the holidays, with an open fire, chestnuts roasting on it, and all of the family together.

http://collider.com/kenneth-branagh-my-week-with-marilyn-interview/133190/