93rd Annual Academy Awards

Written by Elise on April 27 2021

The 93rd Annual Academy Awards were held this Sunday, thus marking the end of this year’s award season. Carey was wearing a beautiful golden Valentino gown. Unfortunately, she did not go home with the Best Actress in a Leading Role award, which instead went to Frances McDormand, for “Nomadland”. I’m sure there will be plenty of other opportunities in the future. Next time!

However, “Promising Young Woman” did win the Best Original Screenplay award. Congratulations Emerald Fennell!

I have added lots of beautiful high-quality images to our gallery. It was so lovely to see our girl attend an event in person!

Public Appearances > 2021 > April 25 | 93rd Annual Academy Awards [+52]
Photoshoots & Portraits > 2021 > Session 011 [+01]
Photoshoots & Portraits > 2021 > Session 012 [+02]
Photoshoots & Portraits > 2021 > Session 013 [+09]

Carey Mulligan & Emerald Fennell for The Guardian

Written by Elise on March 24 2021

The GuardianPromising Young Woman’s five [Oscar] nods include the first for a female British director. Its star and writer-director discuss telling women’s stories, tackling difficult subjects – and feeling shellshocked.

Photoshoots & Portraits > 2021 > Session 08 [+03]

[…] How are you feeling, a day after the Oscars announcement?
Carey Mulligan: “The thing about awards season that gives it value is celebrating film, obviously, but also highlighting films that might not otherwise have had an audience. That’s brilliant. So it’s really cool to see Another Round up for the best picture and best director Oscars. And the Bafta nominations bringing forward films like Rocks.

I haven’t seen everything, but I loved Minari so much. And Daniel Kaluuya is probably the best British actor working today, so I’m big-time rooting for him. Amanda Seyfried is so brilliant in Mank. Emerald should win everything, obviously. But I am biased.

The very fact that Emerald and Chloé [Zhao] are record-breaking is crazy. That we have got to 2021 and still Emerald is the first British female film-maker to get nominated for best director? That’s wild.”

[…] Promising Young Woman has been called a #MeToo revenge movie. Was that your intention?
CM: “This is all very familiar stuff. We’ve all seen it in so many romantic comedies told from the guy’s perspective, who has to get the really hot girl really drunk to persuade her to have sex with him, because sober she wouldn’t go home with him. We’ve seen it in films and thought it was totally normal. Well, I did. I never thought: “Oh, that’s actually quite fucked up.” I’ve always watched it and thought: “Yeah, that’s life, that’s what we all do.” This film is saying: “Hang on, wait a minute.””

[…] Would your younger selves have benefited from seeing this film?
CM: “I do wish this film had come out when I was a teenager.

[…] How do you prepare for a role like this?
CM: “When I read the Promising Young Woman script, I felt the way that you do when you watch Parasite. Constantly wrongfooted, like: “Oh my word, what is this?” In a good way. I also felt the thing that I always want to feel: that I would be gutted if anyone else played this part. I had to do it, but also I didn’t know how to do it.

I’d been exclusively playing mums for a bit. I had a teenage son in Wildlife and then I had children in Mudbound. And I had been performing this Dennis Kelly monologue [Girls and Boys, at the Royal Court in London and on Broadway] in which I had two children.

And then, suddenly, I was a bit like: “Can you still buy me as pre-kids?” It wasn’t anything I’d massively articulated, but I was like: “OK, I’m gonna be in that zone again.” There were lots of things about it that I felt like: “I have no idea how to do this.””

[…] Did you feel any responsibility as feminists when making the film?
CM: “I have not had to experience what Cassie has gone through in this film and I wanted to make sure that it felt accurate, so that it didn’t sit wrong with people who’ve got real pain. That’s the last thing you ever want to do when you’re in this job and it’s why I didn’t want to speak to anyone who’d been through anything related to this film. I would never ask someone to relive something terrible for the sake of a film. There are heightened elements of this film, but the truth is that this situation is so common and what happens in the film is such a sad reality. You want it to be really clear about that.”

[…] How has the past year been for you?
CM: “I haven’t worked much. I did a few audiobooks just to try to do some acting. A Matt Haig book called The Midnight Library and a kids’ book called The Worst Warlock, which was really fun, with trolls and wizards. And the EM Forster short story The Machine Stops. Published in 1909, it’s about an apocalyptic society where everyone lives in their own bubble and nobody has any human contact and everyone communicates through what are essentially iPads. It’s just nuts.”

The Hollywood Reporter Actress Roundtable 2021

Written by Elise on February 12 2021

THR – A fiesta grandmother. A persecuted jazz icon. A grieving mother. A sexual assault avenger. A pioneering scientist. A girlfriend scorned.

On a mid-December morning, six actresses behind some of the year’s most dynamic performances came together for The Hollywood Reporter’s Actress Roundtable: Hillbilly Elegy’s Glenn Close, The United States vs. Billie Holiday’s Andra Day, Pieces of a Woman’s Vanessa Kirby, Promising Young Woman’s Carey Mulligan, Ammonite’s Kate Winslet and Malcolm & Marie’s Zendaya. The group, who gathered via video conference from homes and sets in L.A., Montana, Atlanta and the U.K., discussed the business side of acting, their weirdest pandemic habits, the dangerous Hollywood misconception about creative genius — and the fact that “how women’s voices are being received [is] the biggest thing that has shifted.

Press > 2021 > The Hollywood Reporter: Actress Roundable Issue [+02]
Photoshoots & Portraits > 2021 > Session 07 [+01]

What is something people often get wrong about acting?
There’s a bit of an idea, and maybe more even within the industry, that to make something great, people have permission to behave badly, the idea of someone being a creative genius … that they are so inspired, there’s a required level of darkness or unpleasantness that goes along with that, that you need to put up with. And I think people get away with bad behavior because of those reasons. In my experience, some of the most incredible people I’ve worked with have just been also the most delightful. So that’s kind of a common misconception, that there are people who have to behave badly to psych themselves up at work, or that the process is just sort of utterly miserable. I think you can work really hard, but ultimately … the attitude on set should be one of warmth.

What will you do differently in 2021?
The first thing that came into my mind was that I’m going to go to the theater as much as I can, and the cinema. As soon as we can, I’m going to sit around people and watch something together with them. It just shocked me how much I missed that. I watched a medley of musical theater on television a couple of weeks ago, and it just made me cry. I just want to be a part of that. So it sounds quite trivial, but I think that is something I’m looking most forward to.

(read the whole article at the source)

Carey Mulligan for Harper’s Bazaar (March 2021)

Written by Elise on February 03 2021

Harper’s Bazaar – Carey Mulligan is at home, where she’s been – like everyone else – for the best part of a year. The day we speak she’s in her bedroom, in her house in Devon, and through the oddly personal glimpse Zoom allows into people’s lives, I can see a large, neatly made bed, little bottles of cream on a bedside table, the odds and ends of family life strewn around the room.

[…] When everything stopped, Mulligan was just starting to promote one of her two new films, Promising Young Woman, written and directed by the Killing Eve writer Emerald Fennell. Already, the movie had provoked the kind of conversations that reached beyond mere buzz. The story follows Cassie, played by Mulligan, who is on a path to avenge her best friend’s sexual assault by pretending to be drunk in bars, allowing men to take advantage, and then suddenly, soberly, calling them out.

Press > 2021 > Harper’s Bazaar (March) [+17]
Photoshoots & Portraits > 2021 > Session 06 [+10]

[…] “When the script came to my agent,” says Mulligan, “I just didn’t know what to do with it. I thought, ‘Why would Emerald ask me to do this?’” The part, and the movie, were outside Mulligan’s usual territory and the challenge to do something different was irresistible. Mulligan is more often found in period pieces – The Great Gatsby, Suffragette, Far from the Madding Crowd. She tends to play characters more obviously sympathetic, such as the grieving widow, Edith Pretty, in her other new project, a Netflix film called The Dig, which takes place on the eve of World War II and tells the story of the discovery of a haul of Anglo-Saxon artefacts beneath Edith’s land. Edith is the quintessential Mulligan role – slightly pained, wry, and often giving the impression of a buried emotional life communicated through a tiny half-smile, or a flicker of an eyebrow.

[…] Reflecting on her career, Mulligan says there simply wasn’t the opportunity for women film-makers and writers to make such movies when she started. “I certainly didn’t feel any of this kind of activity for the first decade I was working.” In her view, a game-changing moment was Blue Jasmine, the 2013 Woody Allen film in which Cate Blanchett played the title role, winning an Oscar for her performance.

I remember thinking, ‘Oh, there’s loads of brilliant, complex parts being written for women,’” says Mulligan. But after that, things seemed to regress again: “It was like one step forwards, two steps back.” (Also, it was still a film written by a man, one mired in controversy, who has had to publicly deny sexual abuse.) Only in the past couple of years has she felt that the landscape has truly changed, with women writers and directors getting the kind of backing they’ve long deserved and, as a result, creating parts like Cassie. Mulligan smiles at the thought not just of Cassie, but the antics all of these unforgettable characters: “It’s really fun to see people behaving badly.

So, has the process of working with Fennell given her an appetite to do the same – to make a story of her own? “Not right now,” says Milligan, frankly. “I don’t know, it’s funny. If I spend too long on something, or if I see too much behind the curtain, I don’t really want to participate.” Partly it’s the reality of life with small children, and the consequential lack of time. But also, she quite likes just being, as she puts it, ‘an actor for hire’ – turning up, doing her job, leaving. When filming The Dig, she rented a house as close to set as she could and made it home for bath-time most days. But her attitude reveals a little more than just the logistics of juggling family and work; it’s also part of who Mulligan is, and the way she chooses to be.

She talks about enjoying the mystery of jobs: her dream is to be sent a wonderful script, to unwrap it like a present, make the movie and then disappear. She doesn’t want to analyse shots or watch the rushes, has no inclination to be involved in the film-making beyond playing her part. “It makes me feel very self-aware,” she says. “I like being just an actor. I like just showing up and doing my thing and then leaving them to it.

Carey Mulligan and Emerald Fennell for Deadline

Written by Elise on January 16 2021

Deadline – Emerald Fennell’s directorial debut Promising Young Woman could have easily been your classic revenge fantasy thriller, with its tale of Cassie, a grief-stricken, silently enraged woman on a mission to expose every last sexual predator in town. Only it’s so much more. Styled like an entrancing ’90s romcom, it wrongfoots the viewer at every turn with its fluffy-sweatered, heart-printed world, punctuated by cupcakes and pop songs. With Carey Mulligan’s blood-curdlingly underplayed performance as Cassie, Fennell leads us down a deceptively pretty garden path to the real truth about sexual assault and society’s turning of the other cheek, in a journey so twisty we never see its end coming. Antonia Blyth meets Fennell and Mulligan to find out how they disguised a truly thought-provoking shocker as a pretty pink love story.

[…] As soon as she’d read the script, Mulligan was on board. “For ages before this film came along, people were like, ‘What part do you want? What have you not done that you want to do? What’s your dream part?’” Mulligan says. “And I couldn’t describe what it was. I would just say, ‘Well, I just know it’s not that, and I know it’s not that. I know it’s not the wife to that great man or the girlfriend who’s a ‘troubled individual’. I knew what it wasn’t. And when this came along I was like, ‘Oh, it’s that. That’s what I want to do.’

Photoshoots & Portraits > 2021 > Session 01 [+04]

[…] Fennell and Mulligan built Cassie through an ongoing conversation. And the result was a character who mostly appears impassive on the surface, like a kind of angel of justice. This was something that required so much internal emotion with so little surface tension. But, says Fennell, Mulligan was thoroughly cut out for the job. “You see what’s happening with so little. She’s got that thing that’s so rare to find, where she does almost nothing, and it’s almost everything.

[…] “It’s so easy to cry on camera and that’s the territory I feel comfortable in,” she says. “But laughing and being free and happy, without ego and self-awareness, I think is much harder. That’s why I have such an immense respect for comedians.

She definitely did not want to dance, and tried the tactic of telling Fennell she didn’t imagine Cassie would do that.

She confesses, “It was definitely me hiding behind my character saying, ‘Oh, Cassie doesn’t want to do it,’ but I think it was Carey not wanting to do it. A great note from Emerald was, ‘Of course you feel that way, but when you’re in love you look like an idiot from the outside. Everyone thinks you’ve lost your mind. You’re so annoying.’ And Bo, from the beginning, God bless him, was just totally comfortable doing it. He says he wasn’t, but he was immediately picking up the [can of] spam. So much of the levity, and so much of Cassie’s lightness and vulnerability, was just because Bo was so hilarious and charming in that role. I can’t imagine a different actor doing it.

But there was also the problem of singing along to Paris Hilton.

The lyrics are quite complicated to learn,” Mulligan says, with absolute seriousness. “There are bits of it that don’t really make sense. It’s like learning a Radiohead song. It’s not a narrative. They are strange bits in it that are… I mean, it’s a brilliant song, don’t get me wrong, I loved it. But it’s not straightforward to learn, so we did have to print the lyrics out and practice them.

Fennell and Mulligan always excitedly planned to invite Hilton to the premiere, and then the pandemic got in the way. “My biggest disappointment of 2020 was not getting to meet Paris Hilton,” Mulligan says. “I hope she likes it.

(read the full article at the source)

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