Claire Foy Fan

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categorized as: Articles posted by Dani September 17, 2017

Variety – Claire Foy is officially playing Lisbeth Salander in “The Girl With the Dragon Tattoo” sequel, “The Girl in the Spider’s Web.”

Variety first reported in May that Foy was the frontrunner for the gig as the precocious Swedish computer hacker.

The new installment of Sony Pictures’ Millennium franchise will commence production in January in Berlin and Stockholm, and the film will be released on Oct. 19, 2018.

The film will team Foy and director Fede Alvarez, who helmed 2016’s “Don’t Breathe” for Sony.

“I couldn’t be more thrilled about Claire taking the reins of the iconic Lisbeth Salander,” he said. “Claire is an incredible, rare talent who will inject a new and exciting life into Lisbeth. I can’t wait to bring this new story to a worldwide audience, with Claire Foy at its center.”

Foy is nominated for an Emmy for her portrayal of Queen Elizabeth in the Netflix series “The Crown,” from Sony Pictures Television. She previously won the Golden Globe and Screen Actors Guild Award for the role. Foy also recently starred as Anne Boleyn in “Wolf Hall” and stars with Andrew Garfield in the drama “Breathe,” which premiered on Sept. 11 at the Toronto Film Festival.

The screenplay for “Girl in the Spider’s Web” was written by Steven Knight along the team of Alvarez & Jay Basu, based on David Lagercrantz’s bestseller. Amy Pascal and Elizabeth Cantillon will join Scott Rudin and Yellow Bird in producing the film.

“The Girl in the Spider’s Web” will be the first in the series to be produced into an English-language movie in its initial adaptation. The previous books in the franchise have been adapted into three Swedish-language films, starring Noomi Rapace. Sony’s “The Girl with the Dragon Tattoo,” starring Rooney Mara and Daniel Craig, was a remake of the Swedish film of the same name.

“The Girl in the Spider’s Web” was published in 2015 and is the first novel in the series not authored by Stieg Larsson, the series’ creator and author of the first three Millennium books about Salander and journalist Mikael Blomkvist. Larsson died in 2004.

The studio continues its development of the next book in the Millennium series, “The Girl Who Takes an Eye for an Eye,” which was released this week. Sony’s Columbia Pictures retains the rights to all future Millennium series books.

categorized as: Articles, Breathe, Gallery, Interviews, Videos posted by Dani September 14, 2017

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Photoshoots > 2017 > Set 010

Deadline – A pioneer in the field of computer-generated performances with such films as Lord of the Rings (portraying Gollum) and King Kong—in which he plays Kong himself—Andy Serkis found his directorial breakthrough in The Jungle Book, which was pushed to 2018 so as not to conflict with Jon Favreau’s 2016 adaptation of Rudyard Kipling’s classic collection of stories. But no matter—in the meantime, Serkis shot another film, Breathe, which bowed at the Toronto Film Festival this week.

Starring Andrew Garfield and Claire Foy—an Emmy frontrunner for her turn as Queen Elizabeth II in The Crown, that can’t quite process that reality at the moment—the film tells the true story of Robin Cavendish (Garfield), a young man paralyzed by polio, and Diana, the strong, brilliant woman who supported her husband through his deep depression and ultimate acceptance of his fate. With very little expectation of a long life for Robin, he and Diana elect to invent a new life for themselves, straying from Robin’s mandated hospital stay and pioneering in technology to better the lives of those suffering from this terrible condition.

Interestingly, this remarkable true story came to Serkis through his business partner at Imaginarium Productions, Jonathan Cavendish, the son of the couple on display in the film. Known for his work in very different kinds of movies, Serkis made a passionate pitch to direct the film. “Five or six years ago, we started Imaginarium [Productions]. It was a performance capture studio and a production entity with the view to creating lots of different projects, ‘next generation storytelling’ sort of projects, and then we had an old slate of films that he was wanting to make. One of these films was a film called Breathe, which he’d been working on for some time before we got together,” Serkis explains. ” I read it one night and, as most people did who read the script originally, I couldn’t stop crying. It was just so powerful, such a brilliant piece of writing, and I said to Jonathan, ‘I know I’m sort of more known for directing dwarves, goblins and creatures of Middle-earth, and jungle animals, but I really would love to direct this. What do you think?’”

“He said, ‘Absolutely’—without a blink, he just said, ‘Yeah,’” the director remembers. “So we started to develop it, and what I loved about it—what really inspired me to want to do it, actually, apart from the fact that it was the most amazing love story—was that it seemed to me to be a story about pioneering. At that point in the story when Diana says, ‘How can I make life better for you?’ and he says, ‘Get me out of here,’ from then on, they are basically creating life afresh in a way that had never been done before.”

Like Eddie Redmayne in The Theory of Everything—a film which delivered that actor his first Oscar—Garfield is confined to a chair throughout the film, with a ventilator attached to keep him breathing. Undoubtedly, the role must have presented physical and logistical challenges for Garfield, among others, but as with his remarkable turn in last year’s Hacksaw Ridge, the actor is ever modest, placing the focus on the material and the remarkable people who really experienced these events.

“There’s a magic to it. There was a magic to their lives, there’s a magic to Jonathan, there’s a magic to the script that Bill Nicholson wrote, without wanting payment until the film got made. There was a magic to the whole process, and it was palpable,” Garfield says. “From my first reading of the script, I was so deeply and profoundly moved because it felt like a story that was so much more than about these two people. It was about how we can create meaning as human beings, how we can create lives of meaning and of joy, and of community amidst such terrible tragedy and loss, and laugh at the cosmic joke of existence.”

“And those words don’t do it justice,” he continues. “Their lives felt like a poem.”

A real logistical challenge for Serkis—more familiar with the extended shooting schedules of blockbuster films—the director and actors had to tell their story in 7 weeks, three of those weeks, in South Africa. While the production schedule was “incredibly intense,” it was the singular purpose of those involved with the production that made it all possible.

“We really were blessed, actually, because we had a fantastic crew—the most amazing people in all departments—who were all there because they wanted to tell the story,” Serkis says. “So that was brilliant. But watching these guys work together was so phenomenal, and what they released in each other was just beautiful to watch every single day.”

categorized as: Articles, Breathe posted by Dani September 13, 2017

Since ‘Breathe’ premiered at Toronto International Film Festival on September 11, of course the movie will be reviewed by the media and in this post we will post every review that comes out, then you can check out below:

The Hollywood Reporter

A true story of enduring love and survival against impossible odds, Breathe is chiefly noteworthy as the feature-directing debut of British screen star Andy Serkis (Lord of the Rings, Planet of the Apes), a kind of dry run for his Jungle Book reboot next year. But the main authorial force behind this personal passion project is producer Jonathan Cavendish, who co-founded the London-based motion-capture studio Imaginarium Productions with Serkis in 2011.

Cavendish conceived Breathe as a tribute to his parents, Robin and Diana, and the “swashbuckling band of eccentrics” that surrounded them during their long and extraordinary marriage. Despite being paralyzed from the neck down at 28, Robin defied medical science by living a full, productive, positive life as a devoted family man and trailblazing disability rights campaigner.

Breathe is clearly aiming for the same heart-wrenching emotional heights as James Marsh’s Oscar-winning Stephen Hawking biopic The Theory of Everything. But this is very much a crude copy, its noble intentions hobbled by a trite script, flat characters and a relentlessly saccharine tone that eventually starts to grate. Set in a jolly old England of warm beer, country houses and village greens, it feels more like Downton Abbey with a medical subplot than a serious biopic about an astoundingly able disabled man and his devoted wife.

Whatever its flaws, Breathe will likely do modest business on the strength of its starry cast, which includes Andrew Garfield (The Amazing Spider-Man), Claire Foy (The Crown) and Hugh Bonneville (Downton Abbey). It also boasts lush visuals courtesy of triple Oscar-winning cinematographer Robert Richardson (JFK, The Aviator) and a screenplay by William Nicholson, a two-time Oscar nominee whose credits include Gladiator and Mandela: Long Walk to Freedom.

Following its gala world premiere in Toronto, Breathe opens the London Film Festival on October 4th. It then screens in Zurich, San Diego and the Hamptons before landing in U.S. theaters October 13th. Bleecker Street and Participant Media share North American rights.

Debonair young couple Robin Cavendish (Garfield) and Diana Blacker (Foy) begin their courtship in the mid 1950s in that quintessentially English setting, a cricket match. Soon they are married and on extended honeymoon in Kenya, where Robin works as a broker for a tea plantation. But shortly after Diana falls pregnant, her dashing new husband is struck down with a severe case of polio. Mute, paralyzed and wholly dependent on a mechanical ventilator, his life expectancy is diagnosed in mere months.

But Diana has other ideas. Vowing to stand by Robin through thick and thin, she flies him back to London, pulls him out of his initial suicidal slump, and helps nurse him back towards limited powers of speech and movement. Against medical advice, she also fights against stuffy hospital bosses to spring Robin from his prison-like ward and relocate him to their genteel country home. There they enlist old friend Teddy Hall (Bonneville), an Oxford professor and amateur inventor, to help create the cutting-edge technology that will allow Robin to live a more normal life, starting with a battery-powered mobile respirator mounted on a home-made wheelchair.

Liberated from his sick bed, Robin boldly begins to venture beyond the family home, including a hair-raising road trip to Spain that almost ends in tragedy when his respirator battery explodes. He and Diana also become charity campaigners for the rights of severely disabled people, raising funds and pressing government ministers to provide wheelchairs for other polio victims. Their lobbying is a huge success, and Hall’s company manufacture the chairs. A happy ending and a cream tea for everybody. Hoorah!

Well, no, of course not. Robin and Diana were obviously remarkable souls, but Breathe paints them as borderline saints, flattening their humanity and carefully glossing over potentially tricky subjects, notably sexual matters. Foy’s performance, perky with a hint of steel, mostly rises above these limitations. But Garfield is inevitably hampered by a role that restricts him to little more than nodding and grinning. And boy does he grin. Tom Hollander also does double duty as Diana’s twin brothers, his dual role seemingly an excuse for some creaky comic banter and slick visual effects.

There is a fascinating true story about two exceptional people buried beneath all this sugary gloop. But in the hands of Serkis and Nicholson, it becomes a reductive parade of jolly japes and stiff upper lips, all drenched in the sonic syrup of Nitin Sawhney’s atypically mawkish score. Even when the grim reaper strikes in the final act, he arrives softened and sanitized and bathed in an incongruously warm glow. As we might expect when a film producer writes a big-screen love letter to his exceptional parents, Breathe is a touchingly sweet portrait. But Cavendish is too close to his subjects, and the end result feels like a soppy vanity project.


categorized as: Articles, Gallery, Interviews posted by Dani September 06, 2017

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Photoshoots > 2017 > Set 009

Town & Country – The British monarchy has been very good to Claire Foy. In the year since the actress first appeared onscreen as a young Queen Elizabeth II in the hit Netflix series The Crown, which in its first season followed the monarch’s glittering, tumultuous life from 1947 to 1955, she has become one of the most watched women in the world. Her career (respectable but not exactly on fire before The Crown) has skyrocketed, she has taken home a Golden Globe for Best Actress in a Television Drama (as well as a Screen Actors Guild Award), and she is, at press time, nominated for an Emmy.

There’s only one small catch in regard to her relationship with Her Majesty. “I would hate the idea of her watching it,” Foy says.

Although some of the world’s finest performers have earned raves playing the queen, and the monarch’s life has been scrutinized for nearly 70 years, Foy is loath to think that her own performance might rankle Elizabeth. “When you’re playing a real person, you never want to be ghoulish,” she says. “I don’t want to pick apart a person. I want to invent someone. So I would hate for her to watch it and think I overdramatized anything.”

I would hate for her to watch it and think I overdramatized anything.
And despite reports from the occasionally reliable British tabloids that the series has indeed been viewed in the royal household, Foy swats away the notion, if only for her own peace of mind. “I decided a long time ago that she’d never see it,” she says. “If she ever rings me up and tells me that she’s watched, then I will think differently.” (For what it’s worth, Helen Mirren, perhaps the only other actress so closely associated with the queen, sent Foy a lovely e-mail.)

For the rest of us, watching Foy in The Crown the coming months will be very easy. In December will come back for a second season, picking up at the Suez Crisis in 1956, and in October Foy will take to the big screen opposite Andrew Garfield in Breathe, an affecting, astonishing film based on the true story of Robin Cavendish, a man who contracted polio at age 28 and, against all odds, went on to live a long life as an inventor and advocate for the disabled.

After that she’ll star in Unsane, a hush-hush project that director Steven Soderbergh reportedly filmed entirely on an iPhone, and First Man, director Damien Chazelle’s follow-up to La La Land, which tells the story of astronaut Neil Armstrong and features Foy as his earth-bound wife.

“Claire is one of the most exciting actors out there,” Chazelle says. “I was wowed by her performance in The Crown, and even more wowed by her interpretation of Janet Armstrong when she read for the role. Claire has a way of communicating unspoken depths in just a line or a gesture or a look that is truly extraordinary. I couldn’t be more excited to work with her.”

All of this has led to success that Foy did not imagine. “I’ve never been a particularly ambitious kind of actor,” she says. “I was eager to do great things, but I never was like, ‘What I have to do is become massive.’ I just thought, Maybe I’ll do a job here and there, and that’ll be nice and I’ll move on to a different stage of my life.” However, it seems that Foy, like many of the characters she has played, was meant for something greater than she might have planned.

Foy was born outside Manchester, England, in 1984 and grew up in Buckinghamshire, the youngest of three. She was eight when her parents divorced, and while the split was amicable she credits it to some degree with launching her interest in acting. “I watched a lot of films as a child, but that’s because I was being raised by single parents,” she says. “A lot of the time I was put in front of the telly with hope for the best.”

Another early inspiration was her mother’s large extended family. “I grew up in a very Irish family, with character and personality and energy and life, so if you had nothing to say for yourself, what were you going to do?” she says. “There were a lot of us as well, so you had to shout to get heard.”

Foy was a movie buff at an early age but never thought of acting as something she could do professionally. “It was something I loved but didn’t think I could do for a living,” she says. “It was what people in films had done, obviously, because they were special or someone came and found them, but that wasn’t my story.”

I grew up in a very Irish family, with character and personality and energy and life, so if you had nothing to say for yourself, what were you going to do?
Until, of course, it was. While at university she studied drama with an eye toward a career in film production, but in her first year she took a role in a student play and caught the eye of one of her professors. “A drama teacher said to me, ‘What are you going to do with your degree?’ And I said, ‘I don’t know,’ ” she says. “He asked, ‘Have you thought about going to drama school?’ And I was like, ‘Well, no, because that’s not something that I could do.’ He didn’t say anything. I just remember him raising his eyebrow and walking off. I was like, ‘Does that mean he thinks I should go?’”

Initially Foy was resistant. She was interested in politics or communications or, if she could overcome a distaste for science, medicine. “I thought that drama school was like Fame, that you had to wear leg warmers,” she says with a laugh. “I figured everyone would be incredibly dramatic and I would be like a fish out of water and hate it, that it’d be a disaster and I’d be asked to do things I really didn’t want to do—which, you know, is partially true.”

Still, it proved effective. After completing the one-year course at the Oxford School of Drama, Foy landed her first part, in the British werewolf drama Being Human (“I had a terrible time, and I was really bad in it,” she’d say later), and she appeared on the soap opera Doctors. The title role in a BBC adaptation of Charles Dickens’s Little Dorrit was her first big break, and it led to increasingly weighty parts in productions including Upstairs Downstairs and Wolf Hall, in which she played Anne Boleyn.

Then came The Crown. Foy was six months pregnant when she auditioned—her daughter with her husband, the actor Stephen Campbell Moore, was born in 2015—and she didn’t expect to land the part. “There are so many talented, amazing people for every job, it’s a miracle that anyone ever gets one,” she says. “I sort of got to a point in my career where I was like, ‘You know, I’ve done some really amazing things, I really love it, and I’ve been incredibly lucky. But I’m pregnant, and if this is it, then this is it.’ I really got philosophical.” Obviously, she made a good impression.

According to Stephen Daldry, an executive producer and director of The Crown (he also directed Billy Elliot and The Hours), Foy was a natural fit. “She’s always been on my radar, particularly because of her performance in Wolf Hall, but it wasn’t really until I started auditioning her that I realized how perfect she would be to play the young Queen Elizabeth,” he says.

“She’s fiercely intelligent and she has a good heart, but, more important, she has the ability to be both accessible and inaccessible at the same time. On one hand, you think you get to know her, and then sometimes you never quite know what Claire’s going to do next. It’s so true of the queen—in a sense she’s the most visible invisible woman in the world—and I think Claire has some of that.”

Audiences agreed, and the series, which was created by Peter Morgan (who is something of a royal expert, having written the Oscar-winning 2006 film The Queen as well as the 2013 play The Audience), was a huge hit. While Netflix doesn’t release viewership numbers, critics swooned (“Netflix can rest assured that its £100m gamble has paid off,” cooed the Guardian), and the show and its cast (other standouts included Matt Smith as Prince Philip, Vanessa Kirby as Princess Margaret, and John Lithgow as Winston Churchill) became regulars on the awards circuit—even if it wasn’t second nature.

“The Golden Globes were really weird—absolutely amazing, but strange,” says Foy, who keeps her statue in a bathroom. “Because suddenly, without me knowing, while I’ve been busy working, people felt like I belonged in that room. And I’d be like, ‘No, you don’t understand. I haven’t changed. It’s still just me.’ ”

Any feelings of inadequacy were short-lived, however; for Foy there was more work to do. “There was definitely a moment after the awards when I needed to be alone in a dark room to try to understand what’s happening,” she says. “I never got that moment. I got a martini instead and cracked on.”

Indeed she did. After nine months of filming The Crown, Foy took a break before her next project. “I decided that I wasn’t going to work,” she says. “I was going to have loads of time off and just be a mom.” But that didn’t quite work out. A chance run-in with her Little Dorrit co-star Andy Serkis led to her role in Breathe, his directorial debut, and had Foy doing again what has become her signature: playing a real woman whose life has been altered by fantastic circumstances—and making her completely relatable.

“I’m sure everybody in the whole world wanted this part. It’s such an incredible story, and she’s such an amazing woman,” Foy says of Diana Cavendish. “I also felt like Diana and Elizabeth were relatively similar characters in a way, obviously incredibly different but both of a certain generation of women who kept calm and carried on.

That was the challenge for me, to make it different and bring a different life into it.” That effort was successful. Breathe offers a stunning portrait of a couple who overcome terrible odds and gives Foy the chance to sink her teeth into a new character, showing an impressive range and dashing the hopes of anyone wanting to typecast her after Wolf Hall and The Crown.

“One of the great experiences of my creative life was getting to build this relationship and these characters with Claire,” Andrew Garfield says. “I was incredibly grateful and reassured every day working with Claire, because she’s so open and devoted to the truth.”

One truth that’s not so easy for Foy, however, is that the second season of The Crown will be her last. The show reportedly plans to change its cast every two seasons to depict the royal family at different points in time. “I’m in massive denial,” she says. “I don’t feel like it’s over. I’m waiting for it to hit me at some point that this stage of my life is finished, but it hasn’t happened yet.”

And as far as what might come after The Crown—and her forthcoming slate of films—Foy is not certain just yet. “At this juncture I think it will find me,” she says. “I think it will be a good time to sit down and take stock of what I want to do, which is possibly not acting, or where I want to go—all of those things you don’t really have time to think about when you’re working. I’ll probably have to consider all of that at some point, but not quite yet.”

categorized as: Articles, Awards posted by Dani September 01, 2017

Deadline – The Crown‘s Claire Foy will receive the Britannia Award for British Artist of the Year, BAFTA Los Angeles announced today. The award, which honors British artists “whose outstanding performances in a year have demonstrated the high quality of their craftsmanship,” will be presented at BAFTA’s Britannia Awards ceremony October 27 in Los Angeles.

“Claire is the perfect encapsulation of the enduring legacy of British talent succeeding on a global stage,” said BAFTA Los Angeles Chairman Kieran Breen. “Her performances this year have been nothing short of phenomenal, including of course her iconic role in The Crown portraying the longest ever serving British monarch in history.”

Foy played Queen Elizabeth II in Netflix’s The Crown. Previously, she played Anne Boleyn in 2015’s Wolf Hall, and other television credits include Crossbones, Little Dorrit, White Heat, Upstair Downstairs, The Promise, The Night Watch and Going Postal. Her film credits include Rosewater and Season of the Witch, and her stage credits include Macbeth, among other productions.

In October, Foy will be seen in Breathe with Andrew Garfield, directed by Andy Serkis and written by William Nicholson. Her next film project is Damien Chazelle’ First Man, alongside Ryan Gosling and Kyle Chandler. She’ll play Janet Shearon, the ex-wife of Neil Armstrong. The film is slated for release in November 2018.

She joins BAFTA’s previously announced honorees Dick Van Dyke, who will receive the Britannia Award for Excellence in Television, and Ava DuVernay, who will receive the John Schlesinger Britannia Award for Excellence in Directing.

This year’s event will take place on Friday, October 27 at the Beverly Hilton Hotel.

categorized as: Articles, Gallery, Interviews posted by Dani August 28, 2017

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Photoshoots > 2017 > Set 008

Deadline – Inspired by UK playwright Peter Morgan’s critically acclaimed 2013 play The Audience—which enjoyed a brief but successful Broadway run in 2015—The Crown proved a surprise hit for Netflix when the series debuted in November of last year. Starting with the marriage of Britain’s Queen Elizabeth II to Prince Philip in 1947, a scant few years before her coronation at the age of 25 in 1952, the 10-part first season served as an origin story for the world’s longest reigning monarch.

It also offered an introduction to actress Claire Foy, who—along with co-stars John Lithgow, as Prime Minister Winston Churchill, and Matt Smith, as her husband Prince Philip—received glowing reviews for her performance, which earned her a Golden Globe just over two months after Season 1 aired. In December, the story will continue, acquainting Her Majesty with dangerous affairs in the Middle East and a more embarrassing scandal closer to home.

How did this part come to you?

It started the usual way – I got sent the script. It was slightly tempered by the fact that I was five months pregnant at the time [in the fall of 2014]. So when my agent mentioned it, I was like, “Do you really think I want to have a three-month-old baby and do a nine-month TV series while I play The Queen of England? Are you insane?” [laughs] So I was reticent about it. But my agent said, ‘They just want to talk to you.”

So I went, and it was nice, and they said, “Would you mind coming back and maybe doing a test?” I thought I’d have to go to LA, because it was Netflix, so I said, “Well, that’s not going to happen, because I can’t fly anymore,” but they said, “No, we can do it in London.” So I went back, and Stephen Daldry and I went over a few different scenes. Then they said, “Do you want to do it?” So it was a bit of an odd experience because at no point did I really consider it a serious possibility. And at no point did I really think that I would be who they were looking for.

What were they looking for in your audition? Were they looking for somebody with a strong resemblance to The Queen?

No. Well, we did do a costume fitting, but obviously, with a giant baby bump it was hilarious, because I was wearing a gown and a wig and a crown—I looked like a pregnant toddler. I think, knowing them now, they just wanted someone to discover [the part] with. It was very open. Maybe because I was pregnant, I was just very relaxed. Then, in November, they told me that I’d got it, and we started shooting in the July the following year. We knew that it was commissioned for two series from the off, and that we’d shoot all 10 episodes in one fell swoop. There was going to be no pilot.

What kind of research did you do?

Oh God. I can’t really remember. I think I did what I usually do, which is to buy thousands of documentaries and watch them all, because you can pretend it’s work. And then I got loads of books and read them. Actually, I had a very long time to get used to the idea of playing the Queen. I’ve never really had that before, actually—that expanse of time to get into character. Then we started working with a voice coach, William Conacher, who’s a genius—we couldn’t have made The Crown without him. It all happened very slowly, which was probably a benefit. There was no pressure to make any sudden, mad choices.

How do you approach playing such a famous real-life character?

You just have to take a step back from it. It’s an exercise in not jumping ahead of yourself and second-guessing every decision that you make—you have to try to go slowly, and not overwhelm yourself. I don’t really know what I do when I approach a character, apart from just try to get to know them and understand them. For the Queen, I just felt like there was a huge hook for me in the fact that she lost her father when she was very young. Just as a person, I was thinking how that must have felt, and how lonely she must have felt, and how scary. Then all of a sudden you’ve got the biggest responsibility of your life, and the one person that you want to help you isn’t there anymore.

What kind of conversations did you have with The Crown’s writer, Peter Morgan?

Peter had written every single script by then, and by the time we’d finished Season 1, he’d finished Season 2 as well. He’d written everything. Obviously, Peter comes from a theater background as well, so he works in a very different way, in the sense that if he’s watching the rushes and he sees something he likes, or he doesn’t like, he will alter it and move things around to enhance the story. He’s always thinking of ways to spice things up, or approach a scene from a different angle if it’s not working. And as an actor, that’s amazing, because you know that there’s someone somewhere who’s paying attention.

What’s the appeal of Peter Morgan’s writing?

I think he’s incredibly intelligent about the ways in which people communicate, and it’s not about what we say—it’s about our actions, and our choices, and also how we hurt each other. I think the undercurrent of a lot of his writing is about how we can be careless without realizing it. The scenes are so full because they aren’t written just to make the story move on, they’re about people being in a room, battling to get to…well, God knows where. There’s always an element of not knowing where the character’s going to go. And sometimes I don’t think he even knows.

In the UK at least, there was a sharp intake of breath when the project was announced, and it does go into some deeply personal areas of the Queen’s life. Were you ever nervous about that?

No. If I hadn’t read the script I would think, Oh my God, that sounds like walking into a pit of fire. Why would anybody want to do that? I wouldn’t have touched it with a bargepole. But then you read Peter’s script and you just go, Well it’s not like that at all. It’s not what you’d imagine, it’s not that kind of salacious biopic. You’re reading it and you’re going, Oh my God, this actually happened. And it just carries you along with it. I thought I’d be an idiot not to dive in.

Did you ever use Peter as a resource during the shoot?

Yeah, definitely. I would say to him, “I don’t think this is right,” and he would say, “Well, it is.” But he would take what I’d said on board, and he’d think about it, and sometimes he might say, “Well, let’s do it a different way, and then we’ll see in the edit.” It was the same with the directors. There was always a conversation.

Can you think of a specific example of a point where you said you thought something was wrong or needed clarification?

I remember one time when me and Matt were about to shoot a scene where we had to have an argument about the coronation. We really struggled with the intellectual argument of it. We were asking, “Are we acting them as a married couple, or are we acting them as the Queen and her consort? Who are we being?” Because in the end, we wanted it to be just a husband and a wife having a row, without bringing God, and all of the royal family, or an orb and a scepter into it. It diminishes it. You can’t run away from the reality of their life, although I think sometimes we wanted to, because it would—ever so slightly—have made our choices a bit easier. But we never took the easy route, I don’t think. As a team, I think we always said, “Fine, we’ll do it.” And the show’s the better for it.

Were you surprised when the show was such an instant hit?

God, yeah. I mean, we knew Netflix wanted it to have a broad appeal, be something that lots of people could watch. But I think we thought that it would mostly attract the kinds of people who would be inclined to watch a period drama or a program about the royal family. I was just shocked about the breadth of the audience and the different people who were watching it. Like 10-year-olds, and 25-year-old men—not really who I’d thought would be the target audience for it. But it was coming at people from all angles—like, their mums would tell them to watch it, or their children would tell them to watch it. That’s a very rare thing in this industry, and I feel very lucky that I’ve been part of something that people genuinely talk to each other about. It’s lovely.

It seems like it was only a matter of weeks between the show airing and you winning a Golden Globe for your performance.

I know! It was mental. Absolutely blooming mental. I suddenly found myself in a very odd situation, and I was thinking, This is strange. Six months ago, I would not have been here.

What can you say about the second season of The Crown? Obviously, there won’t be any bombshells because it’s based on a true story.

[Laughs] No, look on Wikipedia.

Do you have any particular memories from shooting that second leg?

Oh God, so many. It’s sad because people go and people come. There’s no John Lithgow this time—you have prime ministers coming and going, which is sad because you have to say goodbye to another actor. But we all went through the whole thing together, at the same time, so me and Matt just became terribly close through the whole thing. I always will love doing scenes with him. We just became even more of a family. It wasn’t like they were forcing people to come back to work—people genuinely wanted to come and make it again, and that was before we even knew it had been a success. Before it had even come out, people had signed up for another nine months of the same thing.

What’s next for you?

I’m in Andy Serkis’s new film, Breathe, which comes out in October, and I’m dead proud of that, so that’ll be lovely. And this is absolutely ridiculous what I’m about to say next: I’m doing a film with Damien Chazelle and Ryan Gosling—in October, as well—where I play Janet Armstrong. It’s called First Man. [laughs] I’ll probably be struck by a bolt of lightning before then, but apparently, that’s happening.

categorized as: Articles, Interviews posted by Dani August 25, 2017

People – Claire Foy could not be more thrilled that her Netflix hit, The Crown, has been nominated for 13 Emmy awards.

“It’s such an honor,” the actress — who is nominated outstanding lead actress in a drama series — says in the current issue of PEOPLE.

Foy, 33, is looking forward to reuniting with her castmates at all the parties surrounding the Sept. 17 awards show.

But the U.K.-based star, who has a 2-year-old daughter, has another reason she’s excited to head to Los Angeles in a few weeks.

“I live in London and I have a child, so getting on a transatlantic flight and having my hair and makeup done and getting to wear a beautiful dress and have a night out is amazing,” says Foy. “It’ll be magic — aside from the jet lag!”

categorized as: Articles, Gallery, The Crown, Videos posted by Dani August 10, 2017

Today, Entertainment Weekly and Netflix released new content for the second season of ‘The Crown’. A teaser and stills were shared, combined with an article. Check it out:

Entertainment Weekly – Without a dragon or superhero or zombie in sight, The Crown became an immediate international hit when it debuted on Netflix last fall, earning star Claire Foy a Golden Globe and netting the streaming service 13 Emmy nom­inations. Creator Peter Morgan’s (The Queen, Frost/Nixon) sumptuous look at England’s royal family took viewers into what felt like every corner of Buckingham Palace — and many of the British Empire’s farthest-flung territories — to tell the story of Elizabeth II’s ascent to power, covering her public triumphs and private challenges with an equal degree of precision.

The series’ second season, which covers 1956–64, will follow Queen Elizabeth and Prince Philip (Foy and Matt Smith, reprising their roles for just one more season) everywhere from Tonga to Papua New Guinea, and even the Antarctic — while focusing more on their private lives as the family expands with the birth of Princes Andrew and Edward. In this first look at the new season (out Dec. 8 on Netflix), we see a much more self-assured leader emerging, even if things at home are still fractious at the onset.

“I think [Queen Elizabeth] starts to realize she needs to pay more attention to her personal life now that the other part of her life is going all right,” says Foy. But the swinging ’60s aren’t an easy time to be the monarch: “The world’s changing faster than anyone can catch up with. There is no letup. She just keeps having to go from one crisis to another to another, and at some point, it’s about five crises at the same time and you have no idea how she manages to get up in the morning,” says Foy.

Below, find an even deeper dive into some exclusive first-look images from the season.

Glamorous Guests

When President Kennedy (Dexter’s Michael C. Hall) and his impossibly stunning wife, Jackie (Jodi Balfour), come to the palace, the Queen is equally enthralled and intimidated. “Her focus is really on this dazzling woman — and not just because of her husband’s flirting, but the whole attention on Jackie as a phenomenon,” says the episode’s director, Stephen Daldry, of this imagined version of what might have happened during the president’s actual 1961 visit. “The Queen’s beginning to feel the first aches and pains of middle age, and here is this woman who seems to have a huge role even within foreign policy.” Adds Foy: “The Kennedys were a real symbol of the ’60s and the world moving forward, and the Queen is very much stuck in the past at that point. It’s a real wake-up call.”

Having it All

At the end of the first season, Elizabeth had become comfortable in her role as monarch and in exercising her authority. Her home life was the struggle. And finding her footing doesn’t get any easier for the Queen. “She’s neglected her personal life, so there are all sorts of things she has to sort out,” says Foy of her character’s evolution in season 2. So will we see a shift in Elizabeth and Philip’s relationship? “As politics change around them and as they become older, there are huge changes that take place in them as human beings,” says Smith. “But to talk about [specifics] would give things away. You will have to watch!”

In the Family Way

In addition to delving more into Prince Charles’ troubled youth, season 2 of The Crown introduces two new royals: his and Princess Anne’s siblings, Prince Andrew and Prince Edward. “We never really got to do the new-mother thing [in season 1]. We just jumped a period of time, so you will see a bit of that,” says Foy. Adds Smith:“It’s The Crown. It’s still about politics and the crown and how these two wrangle their marriage and how they bring up their children.”

Downtown Diva

Princess Margaret (Vanessa Kirby) — whose doomed affair with Capt. Peter Townsend ended in sadness in season 1 — starts a relationship with society photographer Tony Armstrong-Jones (played by Matthew Goode), a story set in the bohemian, artistic world of London’s Chelsea neighborhood. “We follow her struggles to find a relationship that is not only suitable, but a man who she feels that she could love,” says Daldry. “It’s a chaotic situation, and they get into trouble. It’s fun.”

The Crown season 2 debuts on Netflix on Dec. 8.

Also, we have added some stills in UHQ in our gallery, check them out:

Gallery links:
TV Productions > The Crown (2016-2017) > Season Two > Production Stills > Episode 1

Gallery links:
TV Productions > The Crown (2016-2017) > Season Two > Production Stills > Episode 3

Gallery links:
TV Productions > The Crown (2016-2017) > Season Two > Production Stills > Episode 7

categorized as: Articles, Interviews posted by Dani August 08, 2017

The Hollywood Reporter – When Claire Foy signed up to star in The Crown, she knew she’d only be playing Queen Elizabeth for two seasons. But the news may have come as a shock to many viewers of the Netflix drama who came to love the breakout actress’ portrayal of the young Royal.

“I’m quite philosophical about these things and I think the amazing thing about the show is the fact that it will go on and that it hasn’t ended badly. It’ll go on and have another life,” Foy tells The Hollywood Reporter. “I can’t wait to watch it and I just think whoever they get to play that part, they’ll be extraordinary. I will never watch it with any sense of bitterness or regret. I will feel what I will feel now, which is so happy and lucky for the experience.”

Foy hopped on the phone with THR to further discuss what it feels like to leave the character behind as the drama looks to recast an older actress, her upcoming film with Damien Chazelle and how she’s adjusting to her newfound fame.

Since you wrapped shooting on the second season, do you get a bit of break now?

Well, we didn’t have much of a break because we went and did reshoots. So I went to New York for a bit and came back and did reshoots. But then now it’s officially done and so I’m just at home being mom and getting my washing done and seeing some plays. It’s amazing suddenly having that because it’s been two years of my life. I’m now catching up, which sounds dull but actually it’s really exciting. (Laughs.)

You had your first child right before the first season of The Crown. What was it like diving into motherhood and the show at the same time?

Yeah, I never would’ve planned it that way, but then I suppose that’s life. I had no idea it was going to pan out like that. But I think becoming a mother for the first time is a whirlwind in any situation that you’re in. I think mine was just slightly more mental in a sense that I was working long hours and my baby came with me to work, and not everybody has that luxury. So it was such a different way of working. I had been working for about 10 years before I had a child, so I knew the parameters as far as that was concerned, but I suppose this was the biggest job I had done up until that point. So I was aware going into it that it was quite a lot to take on and I think I’m only realizing now coming out of it just how much pressure I put myself under unnecessarily. (Laughs.) But I think all mothers at a certain point look back and go, “God, I was mad. Why did I stay up until 4 o’clock in the morning making puréed food? What was I doing?” I buy it. They have a packet. But that’s just what you do because this is the guilt, the amazing guilt. The amazing, amazing mother’s guilt.

You were able to bring her to set with you most of the time, yes?

Yeah, I mean, especially because I fed her for a good year, so she sort of had to be. But to be honest, film sets are not particularly interesting places for anyone other than the people who are making the film to be. My sister once came on set and she will never come again. She was like, “This is the most boring thing I’ve ever done.” (Laughs.) And I’m like, “Yeah, see. See. We’re in a car park in London.” So I think it’s only fun for a certain amount of time.

When you first signed onto The Crown, did you think it would catch on the way it appears to have?

No, not a clue. I knew it was very, very special. I knew that the people who were making it were people I really looked up to and respected and admired. So, I knew that I was very, very lucky to be doing it, but you never know the outcome of something. You never know how it’s going to turn out. It’s kind of a chemical reaction when you get all of those people together and see what comes out of the other end. I don’t think we can ever really judge what’s going to happen. So I’ve been continually surprised and overwhelmed and amazed and proud and just feel ultimately really, incredibly lucky that I have been part of something that people have appreciated.

Along with that, you’ve seen your career suddenly blow up, too. Have have you been handling your newfound fame?

Well, I’m one step removed from it, in a way, because I’ve seen it with friends and I’ve seen it from the outside and I’ve seen people suddenly be in something that gets them an overwhelmingly positive response. So I’ve seen that. And, in reality, not a lot changes. I’ve seen it from the outside enough to not be overwhelmed too much by it, I suppose. And also, my life has stayed very, very much the same. I think it’s more of the fact that you notice the difference in people you’re talking to and the roles you’re going up for. That’s the real difference. I’m like, “Oh, this is nice that I’ve been suddenly allowed to talk to you.” (Laughs.) It’s a funny thing. But also, I’m well-aware that it’s not something that you can keep up for a long time. I’m not taking it all too terribly seriously.

Speaking of the roles coming to you, you landed a part in Damien Chazelle’s Neil Armstrong biopic, First Man. And there are reports that you’re starring in The Girl in the Spider’s Web as well. Is that true?

Possibly. (Laughs.)

Any other projects you’d like to share?

God, no. That’s enough. That’s quite enough for me. I’ve done a couple of things that will come out, but that was a while ago. But I’m so, so, so excited about First Man. I just think she [Armstrong’s wife Janet Shearon] is amazing and she’s just an absolute cracker, so I feel very, very lucky and I can’t wait to start doing it. But yeah, I’ve got quite enough on my plate. (Laughs.) I’ve got an awful lot of work to do.

Are you looking to do more film than television now?

No. I’ve never in my entire career thought, “This is what I will do now and this is what I will do…” because I just don’t think life works like that. I don’t think you can predict anything. So I’m much more of, if I can see it, then I will make a decision about it. Also, my gut is my guide in the sense that if it doesn’t feel right, regardless of whether it makes a lot of sense, then I just can’t do it. But luckily with Janet Armstrong, I thought it was right. On paper, I’m not the prime candidate. I’m an English woman. (Laughs.) But I just thought that it was right. Thank God Damien did as well.

What’s the process like of having to say goodbye to your character and then see someone else take her on?

I don’t really feel like I have yet because there’s so much post-production to do and publicity. I think once the show’s on and once I start First Man, I’ll really be like, “OK, it’s over. It’s over.” I’m quite philosophical about these things and I think the amazing thing about the show is the fact that it will go on and that it hasn’t ended badly. It’s not like we’ve done two seasons and they said, “No, we’re pulling the plug.” It’ll go on and have another life. Someone else will take on this amazing role and I’m not the first person to play that part. I have taken that role on from other people who’ve played it before. So it’s in the nature of the role that it will keep reincarnating and that that story will keep being told. I can’t wait to watch it and I just think whoever they get to play that part, they’ll be extraordinary because they’re an extraordinary team. I will never watch it with any sense of bitterness or regret. I will feel what I will feel now, which is so happy and lucky and thankful and grateful for the opportunity I had with that role. It’s been amazing for my life.

If you could cast the role in the next iteration, who would you want to play her?

I can’t possibly do that. That’s so unfair. No way. I can’t. (Laughs.)

How have you seen your character evolve over the course of the two season you’ve played her?

God, if I think about, she was a child when she got married. In a way, when you look at her life, she was so young when she came to the throne. And then you watch her be stranded and confused and feel inadequate, and then find her strengths. It’s one step forward and nine steps back in that early part of her reign. And then you see her come into her own, really, and realize the limitations and realize her role and duty. Then it’s another set of challenges. She realizes that but then the world is changing around her and she can’t keep up really — and the monarchy can’t keep up. Also, she’s in a different part of her life. She’s moving into middle age and her marriage is changing. So you do follow someone from infancy to adulthood in that way. She was so naïve and sheltered to get to a point where she sees the world more clearly — and that can be quite a humbling experience. I feel like I’ve lived with her through that.

There’s been a lot of speculation over whether the Queen has watched the show or not. What do you think?

Well, we definitely know that some people [close to her] have watched. They definitely have. I’m sure that Netflix in some way would be able to find out if they were under some massive breach of security, and they could see if the Queen has a Netflix account and that she was active at 11:00 p.m. on the Thursday night. But I don’t know what to believe more than anyone else. In my head as me, I like to believe that she hasn’t watched it because it makes my life easier and it makes me not have to consider that aspect of it. There’s also the likelihood that she has — but I’m living in the world of ignorance where I think that she hasn’t watched it. It’s a nice place to be and I shall stay here living in the idea that maybe she hasn’t watched it. (Laughs.)

What’s the biggest misconception about your character?

That she doesn’t feel. That she’s a distant, unfeeling person. I think she feels everything — she just doesn’t express it. That’s my idea.

If you could switch roles with any other Emmy nominee in any category, who would it be and why?

John Lithgow. (Laughs.) I’d like to play Winston Churchill. Why not let a woman have a crack at it?

If your character in The Crown had to join another show or film, which one do you think it would be and why?

Big Little Lies just because she’d be part of the sisterhood and she would be great in that group of women.

If your character was male, how would she look different?

It would just be same old, same old. Wouldn’t it? It would just be a story of a man in a powerful position of his country. Nobody wants to watch that. (Laughs.) Christ. History is full of that. We could do without that.

What’s the strangest fan interaction you’ve had?

I’ve got two actually. I had one the other day. I went to a fish and chips shop — the most English thing you could ever possibly do — and a woman had been out on a Tinder date and she was quite drunk and we were talking about her Tinder date. And then I got a Facetime call from my mom halfway through, and for some reason me talking to my mother made her realize that she’d watched me on TV and she started crying. I was like, “Why are you crying?” That’s really a peculiar reaction, for me anyway. I’ve never had anyone just cry at me unless they’ve been really upset because I’d done something. It was an odd experience but lovely. I think it was because she was a bit drunk. She was not really expecting to see me in a fish and chips shop. It was the date, it was the fish and chips, it was the alcohol and it all got a bit much. It was the only one I’ve ever had weirdly, but it was a special one.

categorized as: Articles, Films posted by Dani July 20, 2017

The Tracking Board – In classic Steven Soderbergh fashion, the Oscar-winning director has shot a film in secret with The Crown star Claire Foy that is rumored to be titled UNSANE, the Tracking Board has exclusively learned.

A representative for Soderbergh did not respond to multiple inquiries over the past two days, while Foy’s reps declined to comment.

Plot details regarding Unsane have been hard to come by, but word on the street is that Soderbergh shot the movie on an iPhone, the same device Sean Baker used to film Tangerine.

Soderbergh is just beginning to promote his new movie Logan Lucky, and he recently did an Ask Me Anything session on Reddit. Asked whether he had any advice or suggestions for how someone could find financing for an independent film, Soderbergh answered “get a script and an iPhone and start shooting. Seriously.”

Evidently, Soderbergh took his own advice and made Unsane, which insiders say he plans to self-distribute in the U.S. through his Fingerprint Releasing banner, though he is said to be seeking international distribution.

Ever since Bubble, Soderbergh has been more open to experimentation in both the production and distribution realms, so the idea that he has used his iPhone to shoot a secret movie with an up-and-coming actress isn’t as big a surprise as it might seem on the surface.

In addition to directing Logan Lucky, Soderbergh recently produced WB’s female-driven summer tentpole Ocean’s Eight, and he’s currently involved in three series — The Girlfriend Experience, Godless and Mosaic. He’s represented by Anonymous Content and attorney Michael Adler.

Foy won a Golden Globe for her star-making turn as Queen Elizabeth II on Netflix’s The Crown. She next stars opposite Andrew Garfield in Andy Serkis’ drama Breathe, and she’ll soon begin filming both Damien Chazelle’s First Man with Ryan Gosling, and Sony’s The Girl in the Spider’s Web. She’s repped by UTA and Independent Talent Group.

With Soderbergh making the PR rounds in the coming weeks, we expect to hear more about Unsane soon, so stay tuned.

Variety confirmed The Tracking Board’s article and added that Juno Temple will co-star the movie alongside Claire.