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Eva Green Exclusive Photoshoot 01
Eva Green est en couverture du magazine Elle, version russe, de ce mois d'octobre. L'actrice française est en ce moment en tournage de la série tv Camelot où elle incarne le personnage de Morgan. Elle est entourée des acteurs Joseph Fiennes (Merlin), Jamie Campbell Bower (King Arthur), Tamsin Egerton (Guinevere), Clive Standen (Gawain), entre autres. Au cinéma, Eva est aussi prévue aux génériques de Perfect Sense, au côté d'Ewan McGregor, et de Callas où elle joue le rôle de Maria Callas.
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Ellen von Unwerth is one of my favourite photographers and I love this wonderfully colourful shoot with actress Eva Green and the fabulous John Galliano from Madame Figaro magazine in 2007.
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Who is Eva Gaëlle Green?[1] Green is know as a French actress, raised in Paris and living partly in London. She has been noted by Vogue for her "killer looks, intelligence and modesty",[2] and described by The Independent as "gothic, quirky, and sexy".[3]
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Eva Green daughter of actress Marlène Jobert, Green performed in theatre before making her film debut in The Dreamers (2003), which generated controversy over her numerous nude scenes. She achieved greater fame for her parts in Kingdom of Heaven (2005), and in the 2006 James Bond film Casino Royale, for which she won a BAFTA. She has also modeled for numerous brands.
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Eva Green was born 5 July 1980 in Paris, the daughter of French actress Marlène Jobert and Swedish dentist Walter Green. She grew up in the 16th arrondissement of Paris. She is of Algerian, Turkish, Swedish, and Spanish descent.[4] Green has a fraternal twin sister named Joy, who was born two minutes earlier than she was.[5] Green described her family as "bourgeois",[6] and says that her sister is very different from her.[7] Green is a natural dark blonde; she dyed her hair black aged 15.[8][9] French-Swedish actress Marika Green is her aunt.
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Green was raised in France, went to the American School of Paris where she graduated, and spent some time in Ramsgate, London and Ireland.[10] Her school was English-speaking.[8] Green was quiet at school,[7] and developed an interest in Egyptology when she visited the Louvre at age seven.[11] Green aspired to become an actress at age fourteen, when she saw Isabelle Adjani in The Story of Adele H.. Jobert initially feared the effect an acting career would have on her sensitive daughter, but she soon supported her ambitions.[10]
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Eva Green enrolled at Eva St. Paul Drama School in Paris for three years, and then spent 10 weeks at Webber Douglas Academy of Dramatic Art in London.[1] Green stated that at drama school, "I always picked the really evil roles. It's a great way to deal with your everyday emotions."[13] Green trained at New York University's Tisch School of the Arts in New York City,[2] before she returned to Paris, where she performed in several plays.[10] Green was nominated for a Molière Award for her performance in Jalousie en Trois Fax.[14] Director Bernardo Bertolucci discovered Green in 2002, and found her "so beautiful, it's indecent". She accepted his invitation to star in The Dreamers (2003),
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IF EVA GREEN HAD HER WAY, she’d be starring in a remake of Mata Hari, the 1931 espionage drama that saw Greta Garbo don the bejeweled headdresses of the titular dancing spy. The larger-than-life character is the one 30-year-old Green says she’s most desperate to play, which, of course, couldn’t make more sense.
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Widely regarded as the 20th century’s foremost femme fatale, Mata Hari, who in 1917 was executed for allegedly spying for Germany during World War I, would prove the ultimate conquest for Green, whose relatively short filmography is already brimming with vamps and vixens to be reckoned with.
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“I think it’s always interesting for a character to have a secret,” Green says in a recent phone interview, the poor connection no match for the rich timbre of her distinctive voice. “Something dark for the audience to discover.”
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“Dark” and “secret” are words that spring to mind just from looking at this French actress, her ambiguous pout and smoky-eyed stare as unnerving as they are sexy. Over the past decade, Green has portrayed a witch in The Golden Compass, a princess capable of murdering her own son in Kingdom of Heaven, and the enigmatic double agent and Bond girl Vesper Lynd in Casino Royale (“It made me famous,” Green says of the latter).
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But femme fatale archetypes, Green insists, aren’t the only characters she’s after, nor is fame a primary pursuit. Her upcoming films include the German-made cloning drama Womb and the Sundance selection Perfect Sense, two little-known projects in which she plays a “nerdy, shy character” and a “normal character,” respectively. She can currently be seen in Cracks, a boarding-school period piece from Jordan Scott, daughter of Green’s Kingdom of Heaven director, the great Ridley Scott. While she certainly meets Green’s criteria of dark and secretive, Green’s character, an ostensibly id-driven English swimming instructor known only as Miss G., doesn’t wield any literal weapons or ensnare men. She does, however, bewitch the bevy of teenage girls who idolize her, and are entranced by her feminist impulses, her wild stories and her worldview, which bucks the norms of the film’s 1930s setting (smoking and preaching the supreme merit of “desire!” she’s like Mona Lisa Smile’s whore cousin).
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“Don’t think; do!” Miss G. tells her captivated pupils, whose social hierarchy is dependent upon who can best fill the role of teacher’s pet. But is Miss G. as free-spirited and forward-minded as she seems? Green, who in her own life is more thinker than doer (“I should cut off my head sometimes in order to get things done,” she says), had a blast constructing, then deconstructing, her complicated screen persona, who’s surely the main attraction, if not quite the main character. Known for her bold fashion sense and occasional modeling gigs (Emporio Armani, Dior), Green worked closely with costume designer Alison Byrne to develop a look for Miss G., whose flowing frocks and glamorous headbands and hairstyles evoke film actresses of the era.
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But, naturally, everything is not perfect, and as the mystique of Miss G. unravels, her wardrobe does, too. Jewelry, tailored jackets and finger waves give way to frumpy housecoats, unkempt coifs and no makeup. It comes as no surprise that Green reveled in the character’s downward spiral, digging into the aesthetic and dramatic opportunities of a classic movie breakdown. But the arc of Miss G. is what appealed to the actress
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most—the chance to embody a strange woman with a wide, metamorphic range of “colors,” a word Green drops a lot when discussing the parts she chooses.
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“It’s difficult to find good, multi-faceted roles in movies for women,” she says. “I need to fall in love with the character. I cannot just do something for the sake of it or for the money, otherwise I think I’d die. I have to fall in love with it. I’m picky—too picky, probably.”
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Green’s discriminating instincts haven’t exactly steered her wrong. Along with a perceptive mentor and a whole lot of nerve, she has them to thank for her breakthrough. In 2002, when Green was discovered by Italian provocateur Bernardo Bertolucci and offered a major role in his forthcoming film The Dreamers, she was urged by her family and entourage to decline. The 2003 movie, which co-stars Louis Garrel and Michael Pitt and shows a whole lot of skin, didn’t scream “wise career move” to Green’s camp. But Green ignored the warnings, having long been a fan of Bertolucci’s controversial classic Last Tango in Paris. The Dreamers, a daringly beautiful film (which, incidentally, features Green doing Garbo while play-acting scenes from Queen Christina), became an arthouse and critical success, and it gave Green a helluva first experience as a bigscreen actress.
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“I had to pinch myself every day, like, ‘Oh my god, I’m in a Bertolucci movie,’” Green says. “We used to go to his house every weekend and he’d talk about the cinema and music and art. It was just amazing. It was a great start, for sure, to work with Bertolucci. It was hard, though, because when you start with somebody so great, you think you’ll be disappointed after that.”
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Though she doesn’t say it, it’s fair to assume Green hasn’t met such disappointment, nor has her career gone the way of recently-deceased Last Tango star Maria Schneider, who never truly regained the attention that, for better or worse, her baring-all breakout brought her. Green, who cites French luminary Isabelle Adjani as her childhood icon and actorly inspiration, has starred opposite Nicole Kidman, Orlando Bloom, Daniel Graig, Judi Dench, Jeremy Irons, Romain Duris, Edward Norton, Kristin Scott Thomas and Ewan McGregor. As is the case with Cracks, it’s not uncommon for her to be the most indelible player of the movie in which she appears.
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Born to a French mother and Swedish father and raised partially in London, Green has an alluringly odd, uniquely exotic appeal, which undoubtedly affects the sorts of scripts she’s offered. Is it a help or a hindrance for an actor to have a trademark package of characteristics that inevitably paints a specific picture in the minds of filmmakers and casting directors? Green seems torn on the question. She’s aware that she’s sometimes perceived as being “mysterious” and “not from this world” (“It’s kind of true,” she laughs), but she also doesn’t want to be pigeonholed, or “put in the femme fatale box.”
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Yes, the femme fatale. Despite her best efforts to deflect it, and despite a clear capacity for dramatic range (The Dreamers, which may still boast Green’s best performance, is, for a large chunk, lighhearted), the femme fatale thing has a way of hovering over Green, not like a dark cloud, but, perhaps, a dark halo. Her other current role is in Camelot, the Starz TV series based on Arthurian legend. She plays Morgan le Fay, Arthur’s cunning sorceress of a half-sister who battles him for the throne. Morgan—or Morgana, as she’s often called—is right up there with Mata Hari in the rogues’ gallery of cultural and historical vamps. It might be somewhat unconscious, it might be partly due to forces “not from this world,” but Green sure seems to have cornered a market.Which, box or no box, is not to be undervalued—there’s something to be said of an actress who knows just how to play to her considerable strengths.
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Green’s next big project is Dark Shadows, Tim Burton’s much-anticipated adaptation of the 1960s-era gothic soap opera. Starring alongside Burton muse Johnny Depp, and among a cast of characters that includes zombies, ghosts and vampires, Green plays Angelique Bouchard, a villainess who practices witchcraft.
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Eva Green started her career as an actress in Hollywood in Bernardo Bertolucci's movie The Dreamers which released in 2003. The movie well accepted amog the male audience and her performance noted by the critics though the movie filled with Eva's immodest scenes. Eva Green's good performance in The Dreamers gave her the role Princess Sibylla of Jerusalem in Ridley Scott ' movie The Golden Compass. The Movie released in 2005 and well accepted by the audience all over the world. Her performence in movie also noted and she showed her self as an actress that she can handle any kind of complex role.
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Eva Green's good performance give her a way to her career best performence Vesper Lynd in Casino Royale. Casino Royale was the 21st edition of James Bond sereies. In this movie Daniel Craig played the role of the 007 agent James Bond. Eva Green's character Vesper appointed by M to assist and finance James Bond in poker table of Casino Royale. With this role in Casino Royale, Eva Green became the fourth best Bond girl of all time. Her character well received and she won two awards for that role. Eva Green Has been selected for the British Academy of Film and Television Arts(BAFTA) Rising Star Award and Eva won The Best Female Newcomer Award given by Empire Award. Eva Was the fifth French girl to act in James Bond Movies.
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Casino Royale gave her a big break and she widely known to everyone. After Casino Royale Eva appeared in movie Franklyn, directed by Gerald McMorrow released in 2008. In 2009 Eva Green acted in Cracks directed by Ridley Scott's daughter Jordan Scott. Eva Green haven't done too many film, she want to be a good actress so liked to work along with movies having good script. Eva has completed Tv serials like Starz and Camelot.
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Green finds dieting too stressful.[37] She thinks of herself as an international actress:[16] she can speak both her native French and English fluently,[11] and is also learning Japanese[39] as well as perfecting an American accent.[16]
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Eva Gaëlle Green (born 5 July 1980) is a French actress, raised in Paris and living partly in London. She has been noted by Vogue for her "killer looks, intelligence and modesty", and described by The Independent as "gothic, quirky, and sexy". Green performed in theatre before making her film debut in The Dreamers (2003), which generated controversy over her numerous nude scenes. She achieved greater fame for her parts in Kingdom of Heaven (2005), and in the 2006 James Bond film Casino Royale, for which she won a BAFTA. She has also modeled for numerous brands.
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Her performance in The Dreamers convinced Ridley Scott to cast Green in Kingdom of Heaven (2005), a film about the Crusades where she played Sibylla of Jerusalem.
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Green performed six screen tests, and was hired with only a week before principal photography began. Green found the atmosphere of coming onto a film so late tense and exciting, and also liked the film's ambiguity in approaching its subject matter. To her disappointment, much of her screen time was cut. Stephanie Zacharek of Salon.com praised her performance: "She doesn't quite know what to do with her character's stilted dialogue, but she carries herself so regally that you barely notice." Nev Pierce of the BBC, however, called her character "limp". Green was satisfied when her character's complex subplot was restored in the director's cut. Total Film noted the new scenes completed her performance: "In the theatrical cut, Princess Sibylla sleeps with Balian and then, more or less, loses her mind. Now we understand why. Not only does Sibylla have a young son, but when she realises he's afflicted with leprosy just like her brother Baldwin, she decides to take his life shortly after he's been crowned king."[1Green was considered for parts in The Constant Gardener (a role which went to Rachel Weisz) and The Black Dahlia. She was cast at the last minute in the role of Vesper Lynd in the James Bond film Casino Royale (2006). Green was approached in mid-2005 but turned it down. Principal photography was already underway, and director Martin Campbell noted casting the role was difficult because "we didn't have the final script and a Bond girl always had the connotation of tits 'n' ass." Campbell saw Green's performance in the director's cut of Kingdom of Heaven, and Green was approached again. She read the script, and found the character of Vesper far deeper than most Bond girls. Green's performance was well received: Entertainment Weekly called her the fourth best Bond girl of all time; IGN named her the best femme fatale, stating "This is the girl that broke — and therefore made — James Bond"; and she won a BAFTA and an Empire award for her performance. Both were voted for by the British public.
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Cracks is an independent drama film starring Eva Green, Juno Temple, María Valverde, and Imogen Poots, which was released theatrically on December 4, 2009. The film was produced in 2008, written for the screen by Caroline Ip and Ben Court and Jordan Scott, based on a novel written by Sheila Kohler, directed by Jordan Scott and produced by Kwesi Dickson, Andrew Lowe, Julie Payne, Rosalie Swedlin and Christine Vachon. Ridley and Tony Scott serve as executive producers. The film was mostly filmed in Wicklow Ireland. Set in a strict elite boarding school in the 1930s, the story centers on a clique of girls who idolize their enigmatic swimming instructor, Miss G (Green). When a beautiful Spanish girl named Fiamma Coronna (Valverde) arrives at the school, Miss G's focus is shifted away from the other girls. Di Radfield (Temple) has a crush on Miss G, and is the firm favourite and ringleader of her group. It becomes a triangle: Miss G gets increasingly obsessed with Fiamma, Fiamma is disturbed by Miss G and also openly disgusted by the teacher's hypocrisies and deceptions, and Di is terribly jealous and makes Fiamma's life hell.
