Posted By: Alsu Ноябрь 1, 2014 Leave A Comment

Emma Watson departing on a flight at LAX airport in Los Angeles, California on October 31, 2014. Emma was in town to attend last nights BAFTA awards.

    

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Posted By: Alsu Ноябрь 1, 2014 Leave A Comment

Emma attended BAFTA Los Angeles Britannia Awards in Beverly Hills on October 30

     

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Appearances > 2014 > BAFTA Los Angeles Britannia Awards — October 30

Posted By: Alsu Октябрь 29, 2014 Leave A Comment

«This is what a feminist looks like»

New behind the scenes pictures from new photoshoot for ELLE UK

    

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Photoshoots > 2014 > ELLE UK (December) — Behind The Scenes

Posted By: Alsu Октябрь 29, 2014 Leave A Comment

Amazing and unbelievable Emma on the cover of Elle UK’s feminism issue.

    

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Scans > 2014 > Elle UK — December

Posted By: Alsu Октябрь 25, 2014 Leave A Comment

First still of movie «Colonial» with Emma as Lena

    

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Posted By: Alsu Октябрь 19, 2014 Leave A Comment

Lucila Gandolfo, actress with two works in poster, Emma Watson accompany a film about Colonia Dignidad
abruptly, his diptych on a Bostonian teaching brought by Sarmiento to Argentina this weekend goodbye. The ogress Barracks The serial master and could have continued in the port billboard as the reviews, awards and public accompanied this remarkable work of Lucila Gandolfo, where not only acts, but also sings and also the first of these shows, speaking English throughout the [work has subtitles in Spanish].

Anyway, this is good news, since the actress off to Europe to film with Emma Watson. Lucila was summoned to audition for a German film which sought to speak perfect English actresses. The interpreter Argentina was selected and will travel next week to Luxembourg and Berlin to join the filming of this movie centered on the Colonia Dignidad, where she will share scenes with the heroine of Harry Potter.

Colony, Florian Gallenberger, is a thriller set during the Chilean coup of 1973 Watson will play the pair of Daniel Brühl, actor Good Bye Lenin, Inglorious Basterds and Rush.
(Google Translate)

Lucila Gandolfo, actriz con dos obras en cartel, acompañará a Emma Watson en un film sobre la Colonia Dignidad.

De modo abrupto, su díptico sobre una docente bostoniana traída por Sarmiento a la Argentina se despide este fin de semana. La ogresa de Barracas y La maestra serial podrían haber continuado en la cartelera porteña ya que las críticas, los premios y el público acompañaron este notable trabajo de Lucila Gandolfo, donde no sólo actúa, sino que también canta y, además, en el primero de estos espectáculos, habla en inglés durante toda la función [la obra cuenta con subtítulos en español].

De todos modos, se trata de una buena noticia, ya que la actriz parte a Europa para filmar junto a Emma Watson. Lucila fue citada para la audición de una película alemana donde buscaban actrices que hablasen perfecto inglés. La intérprete argentina fue seleccionada y viajará la semana próxima a Luxemburgo y a Berlín para sumarse al rodaje de esta película centrada en la Colonia Dignidad, donde compartirá escenas con la heroína de Harry Potter.

Colony, de Florian Gallenberger, es un thriller que transcurre durante el Golpe de Estado chileno de 1973. Watson interpretará a la pareja de Daniel Brühl, el actor de Good Bye Lenin, Bastardos sin gloria y Rush.

Variety y The Guardian se hicieron eco de inmediato en las últimas horas del nuevo trabajo de Emma Watson, quien demostró con su discurso ante la Asamblea de las Naciones Unidas que es mucho más que una talentosa actriz. En Colony, el personaje de Watson busca encontrar a su pareja, a quien cree que ha sido tomado prisionero por la policía secreta durante el golpe. Participarán de esta producción dos argentinos más, César Bordón, a quien se lo puede ver en Relatos salvajes, y Marcelo Vilaro.

Becada por el Fondo Nacional de las Artes para estudiar en la Royal Academy of Music de Londres, Gandolfo estudió además comedia musical en el Boston Conservatory. Agustín Alezzo la convocó para la primera y la segunda versión de Master Class, donde compartía el escenario con Norma Aleandro, quien luego la dirigiría en Cinco mujeres con el mismo vestido. A su regreso de Europa, la intérprete ofrecerá, con Pablo Bronzini en el piano, un espectáculo de cuplés, foxtrots, tanguitos y rancheras. Madre compráme un negro, concierto varieté se presentará el jueves 23 y 30 de octubre en Clásica y Moderna. ß Laura Ventura.

Posted By: Alsu Октябрь 11, 2014 Leave A Comment

How is Miles’ physicality shifting now then, with him both training to be a boxer in “Bleed For This” and a pianist in “La La Land”?
Yeah, he’s definitely getting into roles that require more and more training. He had to become a jazz drumming virtuoso for this movie, and he has to become a drummer and play the piano for the next. We joke he’ll have to become Gene Kelly for “La La Land”, but more like Gene Kelly meets Thelonious Monk.
The great thing about him is that he breathes those challenges. I was pretty confident that he had what it took for this role in “Whiplash” beforehand. It’s funny, because when you first meet him he just seems like a jokester and a party boy—you’re like, «How did you play ‘Rabbit Hole’?» Then you get to know him just a tiny bit more and you see underneath there’s this whole other person with drive and focus. I think he’s more similar to the guy you see in “Whiplash” than people think.

You’ve tackled polar opposites tone-wise with your music-driven films, [Chazelle’s debut] “Guy and Madeline on a Park Bench” and “Whiplash”. Where on the spectrum are you falling with “La La Land”?
It’s gonna be this MGM-style film with big song and dance numbers. The models are “Singin’ In The Rain,” “The Star is Born,” “Gentleman Prefer Blondes,” “Meet Me in St Louis,” etc., but also the French New Wave, Jacques Demy, “Umbrellas of Cherbourg.” Definitely a completely different register than «Whiplash,» but hopefully—I like movies that go for broke, so hopefully it’ll have the same energy. The mood will be different, though.

You’re starting that next year?
Yeah, March-ish.

Are you going for the MGM-style pre-record for the musical numbers, or trying to capture them live?
Eh, it was good enough for Fred and Ginger it should be good enough for us. I think the problem is that people have forgotten how to pre-record. So you see a lot of musicals where you can really hear the pre-record; it sounds like someone pressing «play» on a CD, because they’ve designed the number as if it’s going out on the radio. But if you look at Fred and Ginger or Gene Kelly’s stuff it’s much different. They recorded dialogue differently back then, studio controlled, all that stuff, and they did the singing differently—much more conversational, a little more distance and less goosed up. So everything feels more of a piece.
But for the kind of dance numbers that we’re going to do in this movie there’s no possibility—and no point—to do them live. In “Whiplash” there’s hardly anything that’s live and we managed something there. You just have to know how to do it properly. The thing about musicals is—if you screw them up, there’s nothing worse, but if you do them right, there’s nothing better. They’re this huge risk/reward genre so you can really fall on your face, but if you get it right the sky’s the limit. It just lifts off the screen, and it’s why a lot of those old MGM movies still feel just as fresh today as they did back then. I guess I’m both scared and excited to do the next one.

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