I have added new pics of Marion at 2012 Telluride Film Festival this weekend.
Check out THR’s report on Marion at Telluride Film Festival:
Jacques Audiard’s French-language drama Rust and Bone, which stars French Oscar winner Marion Cotillard and Belgian up-and-comer Matthias Schoenaerts, had its North American premiere Saturday night. Cotillard was in town — after taking four flights to get from Paris to Telluride — to attend not only the screening but also an intimate dinner hosted by Sony Pictures Classics (which acquired the film’s North American distribution rights months before its world premiere in Cannes back in May) as well as a career tribute given to her by the festival and moderated by THR’s film critic Todd McCarthy.
The film itself was very well received here, as it has been overseas, and I think it has a very strong shot at scoring Oscar nominations for both best foreign language film (unless France instead submits the more widely-accessible but less artistically-ambitious The Intouchables) and best actress. If it does secure a best actress slot, Cotillard, a best actress winner for 2007’s La vie en rose, would become only the fifth woman — after Isabelle Adjani, Penelope Cruz, Sophia Loren and Liv Ullmann — to earn multiple acting noms for performances given in a foreign language. Schoenaerts, meanwhile, deserves every bit as much attention for his brooding and brutish performance, which — like his work in last year’s Bullhead, a best foreign language Oscar nominee from Belgium — has earned him many comparisons to a young Marlon Brando. But the best actor category is jam-packed with big names this year, so he’s a long shot.
Audiard, who is best known for directing the widely-acclaimed French best foreign language Oscar nominee Un Prophet (2009), also co-wrote this film with Thomas Bidegain. It tells the story of two people, a whale trainer (Cotillard) and a frequently-unemployed single father who is staying with his sister and trying to make something of himself (Schoenaerts). They are both broken in different ways — she physically (after experiencing a terrible accident at work) and he emotionally (he vents his internal rage and pays the bills by competing in illegal bare-knuckle streetfights). They first cross paths before her accident and his streetfights; then they reunite afterwards and find that they can make each other feel a little better.
Virtually every moment of the film is visually beautiful and poetic, but the two actors each have one scene that seems to me particularly worthy of highlighting. (Spoiler alert.) For Cotillard, the moment comes early in the film, when she awakens in an empty hospital room and discovers, to her horror, that her legs have been amputated and her life will never be the same. For Schoenaerts, the wait is a bit longer, but well worth it: near the end of the film, while Schoenaerts’ character is spending time with his son and trying to prove to his sister that he is capable of being a responsible father, his son literally falls into a potentially deadly situation that requires the father to apply his physical strength for a truly important reason for perhaps the first time.
I sat next to Cotillard — who, even on no sleep, is drop-dead-gorgeous — for a chunk of the Sony Classics dinner, and we got to discussing, of all things, Ronald Reagan. I told her that I’m a lover of old movies — she said that she is, as well — and that while watching her hospital scene in Rust and Bone, I couldn’t help but think of the moment in the 1942 film King’s Row when Reagan awakens to discover that his legs have been amputated and shrieks, “Where’s the rest of me?!” Everything about that initial moment of horror — the initial look of confusion, the panicked realization, and the hysterical reaction — reminded me a lot of her scene, so I had to know if she was familiar with it and/or regarded it as an inspiration. She told that she had never heard of it before — SPC co-chief Michael Barker felt confident that Audiard had, though — and was now fascinated to check it out, so I emailed her — and am now sharing with you — a YouTube clip that includes that scene, starting at the 1:04 mark.
For my money, Cotillard’s scene — and those that follow it and show her without her legs, which were achieved using CGI techniques that required her to wear a grey sock — is every bit as good, and probably better.
Marion will be receiving 2012 Silver Medallion Awards at Telluride Film Festival:
The 2012 Silver Medallion Awards, given to recognize an artist’s significant contribution to the world of cinema, go to director and producer ROGER CORMAN who will present CORMAN’S WORLD: EXPLOITS OF A HOLLYWOOD REBEL (U.S., 2011), THE MASQUE OF THE RED DEATH (U.S.-U.K., 1964) and (THE INTRUDER (U.S., 1961); Academy Award-winning actress MARION COTILLARD (LA VIE EN ROSE) who stars in TFF selection RUST & BONE; and Danish actor MADS MIKKELSEN who stars in two TFF selections: THE HUNT and A ROYAL AFFAIR.
“At the core of each year’s Festival are the Tributes that allow our audiences a chance to gain insight into the creative process of the filmmakers and actors being celebrated,” said Co-Director Tom Luddy. “We are especially pleased with the balance this year, beginning with director/producer, Roger Corman, who has helped launch so many important careers. Then actress Marion Cotillard, whose early career in French films brought her to the attention of the world’s filmmakers and now stars in both European and American movies. Finally there is Mads Mikkelsen, the Danish actor whose powerful performances have brought him much international attention and increasing audience awareness in America.”
Check out Marion’s recent interview for Rust and Bone with Vulture:
You saw her in this summer’s very American blockbuster, The Dark Knight Rises. But come fall, Marion Cotillard will be getting buzz for playing a double-amputee killer-whale trainer (yes, a double-amputee killer-whale trainer) in Jacques Audiard’s très français drama Rust and Bone. Jada Yuan spoke to the actress for New York magazine’s “Fall Preview” issue. Vulture got its hands on the complete transcript; highlights, below.
I read that you do a lot of research for your movies. What did you do to get ready for your role in Rust and Bone?
Well, I did kind of technical research, because I just had to find the physicality of the body language of someone who’s lost her legs. I wanted to find the authenticity of what it feels like, even though I will never, never know how it feels. But then about this character … most of the time, I read a script and then I understand the character right away — not everything about the character, otherwise it would be boring, maybe. But sometimes you have right away kind of a … you understand a lot about a person, and you understand the soul of this person, and then you will have to meet this person to learn more. With the character I have in Rust and Bone, I read the script and then I thought, My God, I don’t really understand her. And so that’s what I told Jacques Audiard, and I was kind of scared he would freak out. But that was what I felt, so that was what I had to share with him after I read the script. I was anxious about his reaction, and he told me, “Well, you know, I don’t understand her either. But that’s a good thing. We will have to take the road together, you and me, and find her, find who she is.” So that was kind of an amazing experience I was really looking forward to.
Let’s talk about the physicality of it, because I think that’s really interesting. When you say you did technical research to sort of know how it would feel to be without legs, what did you do?
Well, I don’t know if it’s very interesting, but I watched videos of people with no legs. I mean, each time I have to enter into a character and give life to a character, I do my best to believe that I’m old, or that I’m, I don’t know, desperate.
Your character has an affair in the movie. How did you do the sex scenes?
Well, with my legs, obviously [laughs].
Do they wrap them in tape and then green screen them out? I loved the sex scenes. It’s something you don’t see with disabled people in movies very much.
Well, we didn’t really think about the technique, because Jacques Audiard is … I remember when he was preparing the movie, he was writing e-mails to me, and he was [saying], “I spent an hour with the special effects, and I don’t want to spend anything. I just want you guys to be there with me, and we’re going to just give life to those characters.” So the technical part — we were lucky to work with amazing, amazing technicians. But then it felt like something real. You have to have a certain position with your legs not to make shadows and everything, but it’s not what is very important about the work we did. The most important was the director’s poetry, the way he filled this in with poetry and his vision of those people.
You rarely see a double amputee played in such a sexy way. Do you know what I mean? She has this thriving sex life, and a man who falls in love with her. Was that important to you? Did you respond to that?
Yeah, well, because this is a movie about rust, bone, flesh, blood, and love. And they’re young, they’re lost, but they’re beautiful, and they’re coming back to life, and in a big way they’re really coming back to life. And life with surrender is beautiful.
The Marine World part was very interesting to me, because when you describe the movie to people and you talk about killer whales, immediately they start to have an idea of a different kind of movie than it might be. Why do you think the whales are so important to the story?
Well, it’s an element of life, and it’s her violent wake-up. I won’t say that whales are violent, because I don’t think they are, but how we treat them is more violent than the animal itself. I think it must be the strength.
So you actually were directing these whales, is that correct? You were making them do those movements?
How long did it take you to learn how to do that? Were you scared?
No, I was not scared. I mean, I’m very uncomfortable in a captivity area. I remember when I heard about Jacques’s movie very early on I thought, Oh, my God, I could never do such a movie. Because I would have to work with whales, and in a Sea Land, and it’s like the zoo. I never visit the zoo. I never go to the Sea Land, because to me it’s like a human being turning animals into monsters. Then I was there, and I had to work with them. Right away, the trainer was amazing. I had all those thoughts about who those people are, and then suddenly I just saw people who loved those animals — even though I will never go back again [laughs], and I really don’t like it. I have a very easy contact with animals, and the relationship with the whales was there right away. So I was not scared, and it was not very hard.
You’re basically the one French actress who’s managed to have a really blossoming Hollywood career, not just in independent movies but — you’re in Batman. I believe when Rust and Bone came out in Cannes, I thought there was a bit of an outcry among the French that it maybe didn’t seem French enough, or it was too commercial? Am I wrong?
I don’t know. Cannes is the taste of people … we were very happy that the movie did very well at the box office in France. That’s what is important. I don’t know if it’s too commercial. I don’t know. I never see the movies like that. My opinion on the movie I do is: Sometimes I like it, and sometimes I don’t. That happens sometimes. But I love the movie, and I’m very proud to be in it, and I’m so happy that people want to see the movie. That’s it.
Looks like Marion will not be doing “A Separation” anymore but I am happy Bérénice Bejo will get a chance to do a new movie!
It seems “A Separation” director Asghar Farhadi won’t have to sweat it in terms of talent for his next film, and first French-language feature. Earlier this year, it was reported he had rounded up “A Prophet” star Tahar Rahim and the luminous Marion Cotillard to topline his picture, but alas the latter has fallen out, but her replacement is nothing to sneeze at.
“The Artist” star and Oscar nominee Bérénice Bejo has stepped into the role, and that’s about all we can tell you about the film. Details are being kept under wraps, except that it’s being described as a “social thriller” with the project expected to be completed and ready for next spring, which we presume means Farhadi will be headed back to Cannes to premiere his latest work. No reason has been given for Cotillard’s departure, but considering shooting on this begins in October, right at the height of the awards season race, and rehearsals are already underway, our guess is that the actress’ commitments to doing press for “Rust and Bone” may have fudged the scheduled. It’s a disappointment, but Bejo is worthy replacement.
And certainly, with this cast in place, anticipation will still be very high for Farhadi’s film, which follows on the critical and audience acclaim for his Oscar-winning “A Separation.” You can place this untitled film high on cinephile lists for 2013.
Check out the “new” trailer of Marion in Little White Lies. There seems to be new stuff/buzz regarding the movie since it will be out in the USA next month but for others like myself, this is not new at all. I thought I would post anyways.