Last week Jessica Chastain and James McAvoy stopped by to promote The Disappearance of Eleanor Rigby: Them, which opens in selected theaters this September 12, and finally a video interview has surfaced, this time from JoBlo. At this point, I just want Jessica and James to co-star every single film together because they’re adorable on interviews.
On this video they’re discussing the difficulty on doing the same scenes on different point of views, and also how it was watching the film for the first time. Let’s hope more videos to surface soon.
Also, check our video archive most recent uploads for Deauville and TIFF interviews, it’s being updated while we speak.
Over 400 HQ pictures from the events Jessica attended this weekend has been added to the gallery. Check by following the links below:
“I’ve never played Ophelia,” she told Yahoo Movies. “I always thought I’d play Ophelia. And it’s probably not now in my future…it’s a strange thing for theater with actresses, because you kind of grow away from a role.”
His reaction was the best one possible!
“She’s terrific! She can come and join our party if she wants. She hasn’t aged out of our production. I’m an older Hamlet, and we can all be contemporaries in the young world of that play. You give her a call. Call her up and see if she’s that interested in playing Ophelia now. I don’t think it’s an age thing, Jess. It would be lovely for us!”
So, it’s never late! What do you think?
It was, all things considered, a leap of faith. Two years ago, Jessica Chastain, fresh off her Oscar nomination for The Help, and James McAvoy, just after the release of X-Men: First Class, signed on to a sprawling New York love story helmed by a first-time director by the name of Ned Benson. Now, Benson was a longtime friend of Chastain’s, but still, his filmmaking chops were unproven, to say the least.
The end result is The Disappearance of Eleanor Rigby—a 3-hour-plus story of Eleanor Rigby (Chastain) and Conor Ludlow (McAvoy), a young, married couple in New York who become estranged following the death of their infant child, and Eleanor’s subsequent suicide attempt. The film is told from the individual P.O.V.’s of each character, as Eleanor tries to reacclimate to the world by taking classes with a Cooper Union professor (Viola Davis) and receives advice from her concerned parents (Isabelle Huppert, William Hurt), while Conor tries to take his mind off things by diving headfirst into his struggling restaurant, all the while pining for Eleanor and trying to win her back.
And, in classic Weinstein Co. fashion, the film has a unique release strategy, with the compressed two-hour cut of The Disappearance of Eleanor Rigby: Them opening Sept. 12, followed by the individual films The Disappearance of Eleanor Rigby: Him, and The Disappearance of Eleanor Rigby: Her, opening Oct. 10, for three films total. I had the pleasure of seeing the full, 3+ hour cut, and it’s a gripping portrait of the struggle inherent in the loss of a great love.
Jessica did a great interview to The Guardian, specially to promote Salome/Wilde Salome which is going to screen in a double-bill on September 21 at the BFI Southbank in London(For participating cinemas and to buy tickets, visit cinestage.co.uk/salome). Check it:
This autumn belongs to Jessica Chastain, who stars in four of the season’s Oscar contenders, directed by the likes of Al Pacino, Guillermo Del Toro and Christopher Nolan. But what she really wants is a cape
Jessica Chastain would like a table at the back. She’s on a tight schedule, and in 10 minutes she’ll need to take a call to discuss “an issue” with “a studio”. “I’m not happy with the way a distribution plan is going,” she says, not rattled, just frank – happy, even. For another actor, such a call might be a windmill-tilt, but Chastain’s knack for picking prestige projects indicates a star with clout.
She has been on an almost flawless run (she pulled out of 2013’s Diana biopic) since 2011, AKA The Year of Jessica Chastain, when audiences saw her in The Help, Take Shelter, The Debt, Coriolanus and The Tree of Life. That was topped by a weekend in January 2013 when she became the first female actor in half a century to star in both the No 1 and No 2 movies at the US box office (Mama and Zero Dark Thirty). That same month, she landed her second Oscar nomination in as many years. This machine-like – and on the face of it rather frightening – rate of productivity was in fact an accident: projects that had been shot years apart ended up getting released back-to-back. Though she will admit to a certain work ethic. “I feel like I’m being drawn in so many directions,” she says. “I make so many films.”