Back in September, while attending TIFF to promote ‘The Disappearance of Eleanor Rigby’ she did a portrait to The Hollywood Reporter, which was published in their September 27 issue. Thanks to JAMSession we have up the scans, and also I have the portraits added to the gallery as well.
In her new column on the Oscar race for Women and Hollywood at Indiewire, Susan Wloszczyna celebrates the longevity of Sandra Bullock’s career arc. When you look at where she started and now, where she’s landed with Gravity you can’t help but marvel at the ways she’s redefining not only her career but the potential trajectory for actresses over 40 in Hollywood.
Last year’s Zero Dark Thirty made $95 million, and eventually took the number one spot at the box office when it opened wide and was headed straight for the Oscar race before it was hit with controversy. But to understand the kind of tiny revolution happening here one must set aside that controversy for the moment and look only at the success of that film. Let’s also forget it was directed by a woman because that, too, is beside the point.
What is to the point with Zero Dark Thirty is that a film with a woman in the lead, making the decisions, having the whole plot turn around her character is the kind of thing Hollywood has to be talked into. Maybe it seemed like a one-off last year. You could say that the subject matter — killing Bin Laden — was enough to drive the box office. But either way, the facts are the facts: a film with a woman in the lead who wasn’t naked, having sex, someone’s mother, wife or girlfriend was kicking ass and taking names.
(…)Jessica Chastain had two number one movies last year — Zero Dark Thirty and Mama. These examples disprove the notion that movies starring women don’t open, don’t make money or aren’t awards bait. They can be. They are. Originally, the studio that had Gravity wanted a man to star in it, not a woman. But Cuaron stuck to the idea that it had to star a woman and look! It was actually successful! Imagine that.
Perhaps we are entering a new era with fresh minds. How can anyone now say Gravity would have been better cast with a man? It’s 2013 – we’re maybe on the brink of having a woman president for the first time ever. How can the films being made still reinforce the notion that only a guy can do it? Just a thought.
It worth reading the whole article, here at Awards Daily
Deadline reported earlier this week that The Weinstein Company was near a deal to acquire U.S. and multiple territories on “The Disappearance Of Eleanor Rigby: His/Hers”. The news is now officially confirmed, official press release can be found below.
NEW YORK (September 13, 2013) – The Weinstein Company (TWC) announced today that they are acquiring the U.S., Canadian, UK and French rights to writer/director Ned Benson’s THE DISAPPEARANCE OF ELEANOR RIGBY. The film elicits riveting performances from an acclaimed cast led by Academy Award® nominee Jessica Chastain and James McAvoy, and a richly talented supporting cast that includes Academy Award® winner William Hurt, two-time Academy Award® nominee Viola Davis, Isabelle Huppert, Ciarán Hinds, Bill Hader, Nina Arianda, and Jess Weixler. The film is produced by Cassandra Kulukundis, Benson, Chastain, Todd Labarowski and Emanuel Michael and executive produced by Kirk D’Amico, Peter Pastorelli, Brad Coolidge, Melissa Coolidge, Jim Casey and Kim Waltrip. It premiered to critical acclaim on Monday afternoon in the Toronto International Film Festival’s Special Presentation Section.
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The Playlist has published their review for ‘The Disappearance of Eleanor Rigby’. As if we didn’t need to be more excited and curious about the movie. Check some excerpts:
Filmmaker Ned Benson has been working on his “Eleanor Rigby” project for over 7 years. Having met Jessica Chastain 10 years ago, during a film festival where she saw and fell in love with one of his shorts, the project became something of a passion for the two of them. Chastain’s best friend Jess Weixler became involved and the idea of telling a story about a seismic incident that can topple a strong relationship between a man and a woman began to develop. Chastain has even mentioned that Benson would visit her on set of Terrence Malick’s “Tree of Life” to write pages of his story and get inspired by Malick’s method (there’s an unmistakable Malickian influence in the tone of “Eleanor Rigby”). What began as a story about a woman, written specifically for Chastain, started to grow into something much deeper and bigger, until Benson realized the potential of a pretty ingenious concept. Telling the same story from two different perspectives: “Him” and “Her.” Benson then took the idea further, screening both versions back-to-back at TIFF, with “Him” first, with the intention that the films be released separately to the public, most likely to give the choice to the viewers on which one they would like to see first.
(…)The story revolves around a couple who have been together for 7 years; Connor (James McAvoy) is a 33-year-old bar-owner and Eleanor (Chastain) is struggling with unhappiness and needs a change. One day, she decides to start from scratch and disappear from Connor’s life, asking him not to contact her nor to try and find her. In “Him”, we follow Connor as he talks to his friends (including his chef played by the priceless Bill Hader) and his father (Cirian Hinds, in a very nuanced and endearing performance), trying to understand the situation and dealing with this incredibly impactful change in his life. In “Her” we see some of the same events that transpired in “Him” but from Eleanor’s vantage point, as she attempts to make some kind of meaningful change in her life with the help of her family (William Hurt and Isabelle Huppert are her parents and Weixler is her sister) and her teacher (Viola Davis, in easily her best role since “The Help”). How do you move on? Where does “you” stop and “us” begin? Can a person truly change? These questions, and more, percolate in Benson’s epic story of love, life, loss, happiness and family.
Perhaps it sounds all a bit too Hallmark (to use one of the characters phrases), and in the hands of some of other less talented artists these kinds of stories nosedive straight into the territory of some bad made-for-cable Lifetime movie. But Benson’s multi-layered, organically paced, delicate and quite often hilarious screenplay holds it all together with wit and . He was also fortunate enough to land the perfect ensemble cast. McAvoy has never been better; obviously comfortable with the role and completely understanding Connor’s confusion, he looks relaxed and is inherently likable from the very first frame. Chastain’s Eleanor is cold and distant compared to Connor, but as the delicate actress that she is, she gives all of herself and delivers another highly nuanced, human character. The rest of the supporting cast, including the perfect fathers Hinds and Hurt, the wine-drinking Huppert going through a “quiet crisis” and the cynically hilarious and gentle soul that is Viola Davis all just add to the strengths of the film.
Jessica attended yesterday a InStyle party on TIFF, and she was beautiful wearing a Dolce & Gabbana dress. You can find pictures of it in the gallery, plus lots of additions from premiere and Variety Studio:
Check out some videos done during ‘The Disappearance of Eleanor Rigby’ premiere on TIFF festival:
The first photos of Jessica attending the Toronto International Film Festival premiere of “The Disappearance of Eleanor Rigby” (His and Her) are added in our gallery. She looks absolutely stunning in a Versace dress. Keep checking back for more additions!
Jessica and her “The Disappearance of Eleanor Rigby” co-star James McAvoy attended the Variety Studio Presented By Moroccanoil At Holt Renfrew at the Toronto International Film Festival earlier today. They are expected to attend the premiere later today, so stay tuned for the first pictures.
The Hollywood Reporter is reporting that Tom Hiddleston will replace Benedict Cumberbatch in “Crimson Peak”.
Tom Hiddleston is replacing Benedict Cumberbatch in Crimson Peak, a gothic film to be directed by Guillermo del Toro.
The thriller, which will also feature Jessica Chastain, Mia Wasikowska and Charlie Hunnam, has set a start date of January 2014 to begin shooting.
Legendary, which covered 75 percent of the budget for del Toro’s Pacific Rim, will produce and provide financing, while Universal Pictures will have the option to come on board as a finance partner at a later date.
Cumberbatch exited Crimson Peak in late August. There wasn’t a reason given for the departure at the time, although sources told THR that it wasn’t due to a conflict with another project.