23 Mar 2018
Netflix Sets May Start For Wash Westmoreland’s ‘The Earthquake Bird’; Alicia Vikander, Riley Keough To Star
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Netflix has teamed with Scott Free on an adaptation of the Susanna Jones novel The Earthquake Bird. Alicia Vikander and Riley Keough are finishing deals to star for Wash Westmoreland, who wrote the script and will direct. The Earthquake Bird is a Tokyo-set female-driven noir thriller that tells the story of young female expat who is suspected of murder after her friend goes missing in the wake of a tumultuous love triangle with a handsome local photographer. The project originally took root at Amazon Studios, but Netflix will make the picture and has set a May production start in Tokyo and Sado Island.
Scott Free’s Kevin Walsh and Michael Pruss will produce alongside Ann Ruark and Twenty First City’s Georgina Pope. Ridley Scott will be exec producer.
With the late Richard Glatzer, Westmoreland wrote and directed Still Alice, as well as Colette, a film Westmoreland unveiled at Sundance where Bleecker Street and 30WEST made a deal to distribute.UTA, Actors in Scandinavia and Tavistock Wood rep Vikander, who’s currently starring in Tomb Raider and just came attached to a Morten Tyldum-directed adaptation of The Marsh King’s Daughter at Black Bear. Keough, who’s coming off Logan Lucky and is upcoming in Under the Silver Lake, is repped by WME and Thirty Three Management.
The Earthquake Bird won several awards including the John Llewellyn Rhys Prize and the Crime Writers’ Association New Blood Dagger Award for newly published authors. Westmoreland seems a strong match for the material: he spent a year studying in Japan around the time the book is set there. He previously co-wrote and co-directed the Sundance winner Quinceañera.
17 Mar 2018
Alicia Vikander Is Up for the Challenge
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After a string of period films, heart-tugging dramas, and art house indies, the Oscar-winning actress opens up about her first action-hero role as Lara Croft in this month’s Tomb Raider, and what she hopes for her future in Hollywood.
Alicia Vikander likes making plans. When she was 12 years old, she looked at the year 2018 on a calendar and thought about what her life would be like then. “I realized I’d be 30, and in my head, 30 was the year you became an adult, so I remember thinking, Hopefully I’m going to have something good by then, but I’m also going to be old.”
Vikander laughs—a lovely husky sound that rings out across the garden of L.A.’s Chateau Marmont, where she sits without a bit of makeup on, relaxed and glowing in cropped Paige jeans and a long-sleeve navy t-shirt. She’s just back from skiing in the French Alps over New Year’s (“It was amazing!”). Her dark wavy hair is air-dried, her tobacco-brown eyes warm, a Louis Vuitton Petite Malle bag tossed casually to one side. It’s the day after the Golden Globes, where Vikander presented the award for Best Motion Picture Comedy to Greta Gerwig for Lady Bird, and the hotel is bustling with postmortem cheer. A sleepy-eyed Dakota Johnson comes up, murmurs,“Morning…” and envelops Vikander in a bearhug. Once she’s gone, Vikander smiles wryly and continues, “The nice thing is, life has only gone better than I’d imagined.”
That’s some understatement. At 29 (her birthday is in October), Vikander is in that moment of early Hollywood megastardom when the fates seem to smile on her every move. Since bursting on the scene in 2014 with four show stopping roles in Ex Machina, Testament of Youth, The Man from U.N.C.L.E., and The Danish Girl (for which she won an Academy Award for Best Supporting Actress), Vikander has become a face of Louis Vuitton; starred opposite Matt Damon in Jason Bourne (2016) and opposite James McAvoy in Wim Wenders’ Submergence (2017); fell in love with her Irish costar, Michael Fassbender, while making Derek Cianfrance’s romantic drama The Light Between Oceans (2016); and capped the whole thing off by quietly marrying Fassbender in Ibiza last fall.
This month, Vikander stars as Lara Croft in the reboot of the Tomb Raider franchise (out today), which, if successful, will officially make her that rarest of Hollywood commodities: a great actress who can also sell gazillions of movie tickets. She is, as one fan likes to put it, “the biggest Swedish export since IKEA.”
“You used to want her to be attractive and sexy, but, nowadays, you want this to be a girl that fights. Someone who’s vulnerable, but funny. Someone who’s OK with people seeing her bad sides.”
Because Vikander is taking on a role that Angelina Jolie made into a worldwide sensation in 2001, it’s tempting to wonder how she feels about stepping into Jolie’s formidable shoes (or boots, as it were), but Vikander sidesteps comparisons. “We’re making a different movie; it’s an origin story,” she says, explaining that Lara Croft 2.0 is grittier and more realistic, based on the Lara Croft of the current video games (themselves rebooted in 2013 to incorporate more hand-to-hand fighting and less running around in short shorts).
“She doesn’t have the big mansion and all the money in the world; she’s not kick-ass yet,” says Vikander. If Jolie’s Croft was all bodacious, unflappable globe-storming heiress, Vikander’s Croft is a scrappy, decidedly more relatable creature. The new Tomb Raider finds her at 21, broke and aimless, working as a bicycle courier in London. She has no interest in taking over the family empire and no idea what she wants to do with her life. Mostly she’s worried about how to pay the rent. Of course, eventually, Croft becomes the force of nature we all know and love, but the fun of the movie is watching her struggle to get there.
Vikander put on 11 pounds of muscle and trained for four months straight to prepare for the role—doing MMA (mixed martial arts), boxing, and heavy lifting until her abs were quilted in brawn and she could choke a man the size of a mountain with her bare hands.
“It’s interesting that a character that has been seen as very sexualized back in the ’90s is very different now,” says Vikander. “If you go out in the street and ask men and women, young and old, what they find attractive, it’s different. You want her to be attractive and sexy, but, nowadays, you want this to be a girl that fights. Someone who’s vulnerable, but funny. Someone who’s OK with people seeing her bad sides.”
In some ways, Vikander’s Lara Croft seems tailor-made for the #MeToo movement. She’s all about strength and grit, taking on challenges. Survival. There is no love story in the film, no steamy shower scenes or sultry pursing of lips before throwing punches. Instead, we see her bruised and bloodied but never down for the count. “She always stands up,” says Vikander. “When things are found to be quite shit, she always sees the bright side. She just keeps on going.”
ON CONVEYING LARA CROFT’S STRENGTH IN TOMB RAIDER:
“We wanted to base most of the action in reality. She’s a girl my size having to become a survivor and overcome a lot of obstacles, and I wanted it to be believable that she could do it. All the action scenes when I had to fight with a man bigger than me—we had to figure out how I could actually kick his ass. I wanted to show young girls that it’s cool to be a girl who’s really strong and that watching her, you feel like OK, she might be able to climb that wall. She might be able to lift her own weight.”
ON LIFE WITH HUSBAND MICHAEL FASSBENDER:
“I’m a big romantic, and I always have been.”
ON HOW HER FRIENDS SURPRISED HER FOR HER BACHELORETTE PARTY:
“I was there [in Paris] for the Louis Vuitton show and suddenly got a text that says, ‘Go out. We need you right now.’ They kidnapped me for 24 hours!”
ON HER HOPE FOR MORE WOMEN IN LEADING ROLES:
“I think it’s an interesting time now, because, sadly even if there are some stories being highlighted with female leads, it’s still—you know, I did five films in a row where I was the lead, and I didn’t have another woman to work with. It was still just men in it, even though they had a female lead. So being an actress wanting to work with women? It’s an exciting time now, because I think the awareness will bring a change.”
April issue of Marie Claire
13 Mar 2018
HUNGER 14 COVER STAR ALICIA VIKANDER TALKS TOMB RAIDER AND TIME’S UP
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Alicia Vikander has a mantra. “When things are hard,” she begins, slowly, “I say, ‘Yeah, but it’s not tougher than ballet school.’” Alicia enrolled at the Royal Swedish Ballet School at nine, and danced with companies until she was 19, which amounts to a childhood spent in permanent discipline. “One thing you learn in a school like that, if it doesn’t break you, is that no one does [the work] for you.”
It’s a rather worldly lesson to have internalised as a child, but as preliminary training for Hollywood, you’d hazard the lesson was invaluable. Today, the 29-year-old Oscar winner still has the physical mannerisms of a dancer: she sits, back straight on her chair, legs crossed, occasionally grasping her feet and rocking from side to side. Her first English-speaking role was only “six or seven years ago”, and she speaks slowly and carefully, though it doesn’t seem like the uncertainty of the non-native speaker, but instead a deep-rooted thoughtfulness.
“EXTREMELY IMPORTANT ISSUES ARE BEING BROUGHT UP ABOUT EQUALITY, SAFE WORKPLACES AND EQUAL PAY.”
For there is plenty for Alicia to reflect on. Next week, her latest film, Tomb Raider, will be released; she, of course, plays the video game riot grrrl Lara Croft in the new adaptation, directed by Norwegian director Roar Uthaug, and co-starring Dominic West and Kristin Scott Thomas. It is one of the last projects Alicia had committed to before she won an Oscar for Best Supporting Actress in 2016, for her role as Gerda Wegerer in The Danish Girl, which means that she is now, for the first time in two years, picking new projects, working out who she wants to be next. She recently took four months off – the first break in five and a half years when she didn’t have something else in preparation – and travelled to Japan: “Number one on my list until I went – and I want to go back and see more.” She is reading, greedily. “I don’t want to say what,” she says, coy, granting only that she enjoyed Yuval Noah Harari’s Sapiens and Homo Deus. She is tentatively interested in producing. “I love filmmaking, so as an actor it’s been wonderful, but you come in at a later stage in the process. But to be there and develop an idea and move forward – that’s what I put a lot of time into thinking about right now.”
And, crucially, Alicia is re-examining Hollywood itself, which is volatile and pitching wildly. In October 2017, the sexual assault allegations made against producer Harvey Weinstein kickstarted the #MeToo movement that has galloped around the world. Hollywood is in a period of painful self-examination; meanwhile, its women are righteously furious. In January, more than 300 Hollywood actresses, including Natalie Portman, Reese Witherspoon and Shonda Rhimes, launched Time’s Up, an anti-harassment initiative pledging a fund of more than $13 million to help women everywhere take aggressors to court; at the Golden Globes actresses wore black to symbolise the new mission. The BAFTAs prescribed the same dress code, and in February, Uma Thurman spoke, powerfully, about her treatment by Weinstein and his antic auteur Quentin Tarantino.
“I’VE NEVER FELT SUCH SUPPORT FROM WOMEN. IT’S WONDERFUL.”
Alicia worked with Weinstein on period drama Tulip Fever: a unilateral disaster that was delayed time and again, and ultimately grossed only $7 million of the $25 million it cost during a limited US release. She wasn’t aware of any accusations levelled at the producer, and says she has never been “put in any situation like that”. “We were just really disgusted and shocked,” she says, quietly. “It felt horrible.”
Alicia talks about the importance of amplifying victims’ stories, and is determined that we must not “put the focus on [perpetrators]”. “It’s been wonderful to see that, more and more over the weeks and months, the focus is on the women and what they’ve gone through, and what the change can be,” she says. She observes that equality in Hollywood, and everywhere, is not just about optics, but also the measurable, visible things like appointing female directors and producers. “Extremely important issues are being brought up about equality, safe workplaces and equal pay. But also, I think, that in any industry, we women have been taught that you have to elbow your way in, because there are no spots for us, so in a big group, it’s only going to be one woman who gets a shot. That’s imprinted. And suddenly, I’ve never felt such support from women. It’s wonderful.”
Notably, she was also part of a group of 900 actresses in Sweden who pulled together a live staging of anonymous stories of sexual harassment and assault – three weeks after the Weinstein news broke – which was attended by politicians and was broadcast live on Swedish television. “It was incredible,” she says. She has been fortunate to work with female directors, such as Swedish filmmaker Lisa Langseth, with whom Alicia has collaborated on three films; Alicia hopes that one day she can be a mentor to a younger actress in the way that Langseth has been to her.
“CHANGE IS ABOUT INITIATIVES LIKE TIME’S UP AND 50/50 BY 2020, IT’S ABOUT MAKING SURE YOU INCLUDE WOMEN IN ALL DEPARTMENTS, ABOUT REALLY MAKING AN EFFORT TO NOT ONLY HAVE WOMEN IN FRONT OF THE CAMERA, BUT ALSO BEHIND.”
“I’ve been really lucky; my first three films were all directed by a female director. I’ve had some really cool women to look up to. I think the sisterhood really creates a mentoring environment. Change is about initiatives like Time’s Up and 50/50 by 2020, it’s about making sure you include women in all departments, about really making an effort to not only have women in front of the camera, but also behind.”
Alicia grew up in Gothenberg, the only daughter of actress Maria Fahl Vikander, and Svante Vikander, a psychiatrist, who separated when she was two months old. She lived between their two homes and says she is very close to both parents, though undeniably it was her mother who shaped her identity. “My mum brought me to the theatre – it’s hard to say what’s nature or nurture. It’s a wonderful thing to grow up and see your parent doing something that they love, and that’s just been so clear as long as I’ve been alive.” She saw her mother perform this summer, when she was back in Sweden for a fleeting visit. “I saw my mum’s play. It was awesome. I sat there and was so proud. She’s fucking good.”
As a child, Alicia acted in small theatre productions and attended the Royal Swedish Ballet School, before an injury forced her to give up dancing. She auditioned for drama school twice, but failed to get in; she started appearing in short films and TV dramas in Sweden, winning a rising star award at the Stockholm Film Festival in 2010, for her feature film debut in Pure, directed by Langseth. Her first mainstream Hollywood role was as Princess Ekaterina in Joe Wright’s Anna Karenina, alongside Keira Knightley, Jude Law and Aaron Taylor-Johnson, after which came a roll call of modern classics including Ex Machina, The Man from U.N.C.L.E., The Danish Girl, and The Light Between Oceans, where she met her husband, the actor Michael Fassbender. The two married in Ibiza last autumn.
“DUE TO ALL THE ACTION SCENES THAT [THE CHARACTER] HAD TO BE PUT THROUGH, I WANTED IT TO BE PLAUSIBLE THAT A YOUNG GIRL COULD FIGHT A MAN WHO’S OBVIOUSLY BOTH STRONGER AND BIGGER.”
At 29, she seems an old soul, though a mischievous spirit whirrs beneath the surface. She grins when she talks about shooting Tomb Raider, calling co-star West “a hoot”. “There was never a quiet moment on set.” Playing an action heroine was like professional playtime, and she gained five or six kilograms of muscle to play the role: “Due to all the action scenes that [the character] had to be put through, I wanted it to be plausible that a young girl could fight a man who’s obviously both stronger and bigger.” Learning to do a pull-up was exhilarating. “To feel like you have that strength is pretty cool.” Though she didn’t keep up the superhuman regime. “I realised it takes about four months to gain anything, and only three weeks to [lose] it all!” she exclaims with frustration.
Alicia trained with a mountain of a man called Magnus, a “cool guy”, who’d tease her. “I love to drink wine and eat food, and Magnus would sit next to me with his glass of wine and his dessert.” She gave up drinking for seven months, and ate and ate: “Three eggs at 7am, and two fillets of fish, a bowl of rice and veggies at 10am, at 1pm, at 4pm, and at 7pm. I ate more than I’ve ever done in my entire life.” She scorns people who ask her if she gave up carbs. “There was no getting rid of carbs. It was about eating good, and clean.” The physicality reminded her of ballet school. “When I danced, I liked that side of it.”
But she did miss menus, and wine. Cooking equals relaxation, having time to “choose ingredients for two hours and read up on some different recipes and make your own mix and then have friends come over, make sure they drink lots of wine, listen to music, and be in the kitchen for four hours. It’s my dream day.” Her knockout recipe is a bouillabaisse, homemade bread and homemade aioli; she also makes a mean pie. “My own dough – savoury pies and sweet pies.” When she’s on the junket carousel, turning up and finding she has a kitchen changes her mood. “It suddenly makes me feel like I have time off.” She’s delighted with her suite at the Ham Yard Hotel in Piccadilly, which is where we’ve met: she points to a small kitchen off the living room, smiling.
The character of Lara Croft was meaningful to her. “I was a kid who liked playing video games. But when I was growing up, no girls did, and I always hid it. I didn’t have a Playstation, but I went to friends’ houses. I remember that I’d never seen a female protagonist in a video game ever. I tried to play it, and was a bit too scared. I mainly spent time practising in the manor [in the game], running around. But then I did go back and play it in my late teens.
“And as a child I loved to go to the cinema, watch the big movies, the adventures – that genre specifically. I loved Indiana Jones, I grew up with the Mummy films, I loved those films. To be able to be a part of Tomb Raider was like a childhood dream.”
12 Mar 2018
‘Tomb Raider’ Kicks Off – International Box Office
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Warner Bros and MGM launched the Alicia Vikander-starrer in nine Asian markets this weekend, kicking off with $14.1M on 3,425 screens. The latest adaptation of the best-selling video game franchise comes 15 years after we last saw Lara Croft, played by Angelina Jolie at the time. This outing, directed by The Wave’s Roar Uthaug, is an origin story for the heroine who sets out to solve her father’s mysterious death. Kristin Scott Thomas, Walton Goggins, Daniel Wu and Nick Frost co-star.
The second film in the original series, 2003’s Cradle Of Life, dropped markedly from the 2001 first pic, both domestically and internationally. This one, with Oscar-winner Vikander, is rolling out overseas ahead of domestic and comes at a time ripe for kick-ass female heroines. Offshore now has two in rapid release following last weekend’s opener Red Sparrow which had solid holds this session. Crowding matters, there’s another upcoming actioner (particularly destined to appeal to Asian audiences) in the form of Pacific Rim: Uprising.
Looking at comps in like-for-like markets, the Tomb Raider opening was on par with Jolie-starrer Salt, 10% ahead of Resident Evil: The Final Chapter, 44% above Ghost In The Shell, 82% bigger than the original The Hunger Games and more than double last week’s Red Sparrow and each of the Divergent movies.
The debut this weekend ranked Tomb Raider as the No. 1 film in Asia (outside China and Vietnam which open next session). Its best performance was in Korea where it was No. 2 with $2.9M on 800 screens behind local pic The Vanished which had an extra day. It dominated the Top 5 films in release in Indonesia, Taiwan, Malaysia, Hong Kong, Thailand and the Philippines.
It’s early days and next weekend will be telling. The coming session sees 45 markets added including the UK, France, Germany, Italy, Spain, Russia, Brazil, Mexico and China.
ALICIA VIKANDER – MOMENTUM
By Brittany Santos
When Alicia Vikander began her journey to gaining four kilos of pure muscle and becoming Lara Croft, good pal, and fellow Swede, Alexander Skarsgard was her ‘gymspiration.’ “I told my trainer I wanted to look like Alexander in Tarzan,” she giggles cheerfully. “He was my end goal.”
The pap shots of Vikander, alongside new husband Michael Fassbender, on a boat in Ibiza reveal her abs of steel, clearly showing the Oscar winner achieved her end goal. But will that be enough to please loyal fans of the Tomb
Raider universe, many resolutely loyal to Angelina Jolie’s previous efforts as the video game vixen? Vikander appears optimistic, and breathtakingly stunning as always.
With a dark purple shirt hiding the fruits of her gym effort – although she claims it’s more or less gone – the actress is understated, yet glamorous. Her light chocolate locks hang loosely past her shoulders while her dewy olive complexion and dark oval eyes cut a dazzling effect. She’s warm and chatty, but a glacial underlay is always present. And ever consistent, she remains steadfastly rooted in her desire to keep married life and all its details firmly under wraps. When it comes to Lara however, Vikander is entirely forthcoming, especially regarding her nerves for the upcoming big bucks epic which could make, or break, her fledgling superstar career. But the 29-year-old is keen to distance her version from the Jolie vehicle, claiming her origin story is an entirely untapped chapter in Croft’s life and will set the new movie on a different plane from its predecessors.
In a fun chat, Vikander talks about her reluctance to sign on and why Jolie is an inspiration. She also chats working out, Wonder
Woman, plans to direct, feminism, her Oscar and social media.
STRIPLV: Your career keeps gathering momentum with the Oscar for The Danish Girl, your Bourne film, and Light Between the Oceans. Now you’re starring in Tomb Raider. Playing Lara Croft, she’s one of the first feminist icons in video games and then Hollywood movies, to have an action franchise revolve around this bad ass; I assume a large part of the appeal for you?
VIKANDER: Yes, absolutely. I played the games with friends of my parents’ children, on their PlayStation and then grew up watching Angelina in the movies. You know, we know that video games are a very male-dominated world to have a female protagonist in this way was so intriguing to me.
STRIPLV: Is it important to you to play strong-minded and determined women?
VIKANDER: If possible, yes. I feel drawn to characters who have a lot of willpower and spirit, and I like to be able to go on a journey with them. The most important thing is to find a good project and make a film that you will enjoy being part of and create something that the audience will enjoy.
STRIPLV: Taking this on, were you concerned or are you still concerned by the comparisons with Angelina?
VIKANDER: I could never compete with what Angelina did. She’s perfect! She made her into an icon because she is an icon. But this is our different interpretation; we’re focused on the reboot of the game, which came out a few years ago. It’s the origin story; we’re not trying to copy or reinvent what she did.
STRIPLV: Explain how that works here?
VIKANDER: Based on [the] reboot game which came out four years ago, it’s an examination of how she becomes who she was to become, how she morphs into the Tomb Raider, so we see Lara at a very different part of her life. At this moment, she’s trying to understand who she is and what path to take and you get to learn how and why she goes on to become this icon. She’s the action hero, or she will become this action hero, but also a very relatable young girl who’s ordinary in so
many ways. She’s living in East London at the beginning, living her life and just trying to find her place on her way to her destiny. She still has the same fire and drive and spirit but without all the experience under her belt. (Laughs)
STRIPLV: Surely you were hesitant?
VIKANDER: You know, I was skeptical when they first spoke to me about it because why would you want to tinker with something already done. It’s done. Even when I told my mum about the movie, she immediately said, “Oh that’s the Angelina Jolie movie, yeah she was great.”
STRIPLV: What changed your mind?
VIKANDER: I met Roar and the producers and got a very concrete sense of what they were after and what they planned to do based on the new game which I had never played before; I had only played the older version. And getting to play the newer game, I realized there was this untold story to tell which separates it from the previous movies and that spoke to me. And that was it really.
STRIPLV: Do you like the idea of playing a very physical role in a big action film like this?
VIKANDER: Yes. I’ve always been such a big fan of these kinds of action and adventure movies, and I had been a big fan of the video game of Lara Croft, too. When I was a teenager, I would always watch the Indiana Jones movies and then, of course, it was such a thrill to be playing in the Jason Bourne film even though my character didn’t get to do action scenes herself. So playing Lara Croft is something I would never have dreamed of doing. But that’s how incredible and unpredictable this business can be.
STRIPLV: Did you meet with Angelina?
VIKANDER: I haven’t, but I’m an admirer of her and her career. I’m inspired what she has achieved, and if I could do half of what she’s done, I would be so happy. Her path, she did a lot of varied, really complex character studies in these fantastic independents and moved on to these big blockbusters and is now making her own movies, producing and directing. She’s an inspiration to me and so many working in this industry.
STRIPLV: You’ve just produced Euphoria. Are you planning on directing?
VIKANDER: I don’t know. I like the idea of it, but the reality is entirely different, and it really would have to be the right story that I felt passionately connected to.
STRIPLV: What obstacles did you encounter while producing?
VIKANDER: Producing Euphoria was such a daunting challenge, but I was surprised how natural and quickly it came to me. I felt very comfortable in that role and I also liked being involved from the ground floor up. Sometimes as an actor, you can come onto a movie a week before they start shooting and you’re very detached and removed from the inception. Whereas here, I was there from the beginning, witness to this birth of a wonderful project. The entire journey was an education. Each task as a producer was a first for me, and there were the inevitable bumps along the way, it’s a learning curve that you appreciate and assimilate.
STRIPLV: Did you ever dream that one day, you’d be headlining a huge action blockbuster like this?
VIKANDER: I love going to the movies, it’s one of my passions, actually going to the movies and staring up at the screen. There’s a magic to it. And much of that enchantment comes from movies like Indiana Jones and The Mummy, real cavalier hero adventures. I must have seen The Mummy 20 times by now, and just dreaming one day being that hero; I’ve always wanted to be that.
STRIPLV: The training, how awful was it?
VIKANDER: Not awful at all. (Laughs) I learned more about physicality than I ever realized and I’m shocked how my body reacted to this training and lifestyle.
STRIPLV: Have you kept up the regime?
VIKANDER: No, it’s slipped a little by the wayside. Six days a week in the gym, a couple of hours a day— that is very grueling and rigorous. Without my amazing trainer, Magnus, I don’t have the discipline to do it on my own.
STRIPLV: But you’re quite used to it from your days as a dancer. Did that help at all?
VIKANDER: It’s a different world. But that’s a big reason why I wanted to do something like this, I’ve been after a role with high endurance physicality, and it doesn’t get more physical than Lara.
STRIPLV: What was the specific training?
VIKANDER: A lot of weights, lots of lifting. A combination of boxing, MMA, climbing and lots of high interval training.
STRIPLV: All the fun stuff!
VIKANDER: Yes, all the fun stuff.
STRIPLV: And you can lift your own weight now, can’t you?
VIKANDER: I never thought that would be possible. I’m not sure if I can do it now, but that was a very empowering moment.
STRIPLV: Wonder Woman was the biggest hit of the year and a huge step for women in the industry.
VIKANDER: I went to see that while we were shooting, and I think to see the opening sequence with all women in this amazing fight scene, I was blown away
by the idea that I don’t think I had ever seen that before, which I was sort of taken aback by that revelation.
STRIPLV: Tulip Fever saw you play another period piece. Do you enjoy these kinds of historical dramas?
VIKANDER: I love exploring different times. It’s exciting to do the research and understand how people behaved in different ways and there were different sets of rules governing their behavior. You try to put yourself in the position of a woman in past times whose world was much more restricted, and you try to imagine how you would feel and how you might want to rebel against those limitations. It’s very fascinating.
STRIPLV: Do you become very philosophical or caught up in the lives of a woman like Sophia or other women characters like the one you played in The Light Between the Oceans?
VIKANDER: I become very invested in my characters, and I try very hard to understand their emotional world and their psychology. What’s interesting for me is being able to push myself and get outside of my comfort zone. It may seem strange, but I usually look for roles which scare me and make me worry about whether I can really pull it off. I feel that the more I challenge myself, the more I will evolve as an actor and as an individual.
STRIPLV: How do you view the evolution taking over Hollywood?
VIKANDER: Society is changing for the better, and as long as the conversation continues and continues to continue, positive change will come from that. We cannot accept the norm for what it’s perceived to be. Diversity is the key to telling all stories and where is diversity without women also telling those stories? And I want to actively be involved and do whatever I can in my power to working with incredibly talented women, propelling this shift.
STRIPLV: It’s nearly two years since you won your Oscar but I know you left it behind in LA the day after. Firstly, how could you do that and have you been reunited?
VIKANDER: Well yes, it’s nice, we’re reunited now after a long-distance relationship. It’s tough. (Laughs) Because I was working so much, I envisioned it getting lost with all the travel and it’s also really heavy, there’s no way I could drag it around. So I thought it was a safer option to leave it with my friend’s daughter who I knew would be so careful and caring of him. She was always sending me updates and messages, lots of Facetiming, letting me know he was OK, so that was sweet.
STRIPLV: So your Oscar’s with you in London now? Is it on the mantelpiece?
VIKANDER: I still haven’t decided where he’s going to go. He’s quite eye-catching, you need the right spot.
STRIPLV: You’ve said in the past how you were looking to take some time off, but it doesn’t seem like you’re going to be able to do that?
VIKANDER: I don’t think so. Even after the Oscars (where she won for best-supporting actress for The Danish Girl) I had to rush back and go back to work on the Bourne film. But I still find time here and there where I can turn off my phone and disappear for a while and do yoga and enjoy my time away from the movies. And when I wanted to take several months off I got a call from Wim Wenders (for his new film, Submergence, with James McAvoy) and how was I going to say no to a legendary director like that?
STRIPLV: Do you have any fear when to comes to the added pressure of becoming a major star?
VIKANDER: When you’re working, you never think about any of that. And when I have some free time, I spend it with friends and family I’ve known for many years, and I never feel strange or as if people are treating me differently.
STRIPLV: What’s the oddest thing about traveling so much?
VIKANDER: Once I had a Skype dinner with my friends. We each decided to buy a bottle of wine and cook something for ourselves and then sit at a table and Skype each other. The whole thing started as a joke, but it actually worked. We had such a good time that when it was over, we thought we would all go out for a drink together until of course we quickly realized that we were in different parts of the world. But it was a great night anyway!
STRIPLV: Alicia, you’ve been traveling and working virtually non-stop the last several years. Does it ever seem like a dream?
VIKANDER: Sometimes, but it’s one of those beautiful dreams that keeps unfolding. I love the work that I’m doing, and it’s hard to say no to all these projects that are coming my way because you remember how hard you fought to reach this point. There’s also this fear inside you that tomorrow it’s all going to be over which is something that probably stays with you as an actor your entire life. It’s the nature of the job. And I will always have moments when I’m nervous about how audiences react to my work. It keeps me focused.
STRIPLV: Do you still get nervous when beginning a new film?
VIKANDER: Not as much as before. I remember when I was starting to work on The Danish Girl and Eddie (Redmayne) would keep telling me: “Oh, sit down and relax.” This really made me feel so much more at ease that I could finally bring to the camera the level of performance I wanted to give. I always place very high
expectations on myself.
STRIPLV: You mention Facetiming, but I know you’re not a fan of social media. Has that changed?
VIKANDER: No, not at all. I’m not interested in it; I stay in touch with my friends and family, so I fail to see the need, at least in my life.
STRIPLV: Did you ever have any accounts?
VIKANDER: I did have Facebook, which I used for a while but my interest sort of waned. And I did have Instagram, but I didn’t like the idea of posting pictures every day, there’s a pressure there to post good ones and I lost interest. I’m just not good with it. And I like privacy; I like keeping things to myself.
STRIPLV: Do you think it will be difficult to keep your private life with Michael Fassbender from receiving too much attention?
VIKANDER: It’s something that I’ve chosen not to speak about, and I think that is the best way to deal with it. He’s an amazing actor and the rest I want to keep private.
STRIPLV: Do your parents also still play a big role in your life?
VIKANDER: We’re very close. They know me very well, and I have a lot of confidence in their opinions. It was my father who called me and convinced me to do The Danish Girl because he said it was the best script he had ever read.
STRIPLV: You’ve become close to fashion designer Nicholas Ghesquiere. Do you consider yourself a fashionista?
VIKANDER: I love to wear designer clothes on special occasions and I’m very interested in design and the sheer beauty and art that goes into fashion. But at home, I’m much more comfortable sitting around in my pajamas.
STRIPLV: Your parents separated when you were very young. Obviously, you’ve stayed close to both of them?
VIKANDER: Yes. They’re both very important in my life, and I always maintained a close relationship with my father. He was the one who convinced me to play in A Royal Affair (the 2012 Danish film which won a Best Foreign Film Oscar nomination) because he loved the story so much. It meant that I had to study Danish for eight weeks, but I saw that as a great challenge, and I’m glad that I did it.
STRIPLV: Was it difficult to grow up with two sets of families?
VIKANDER: No, because there was always so much love in each house. I always felt a sense of security and support from both my parents. I never saw them living together, so I grew up thinking that this was the normal situation that they were apart.
STRIPLV: You grew up first wanting to become a ballet dancer. Was acting a natural transition for you?
VIKANDER: After working in Swedish TV I went to study law and I was very interested in becoming a producer. But then I had the chance to do this very important Swedish film, Pure, and that changed everything. After that, I thought that acting was something I loved doing and that I would probably be able to earn my living that way.
STRIPLV: It’s amazing to look back at how far you’ve come since you initially started out wanting to become a dancer growing up in Sweden. What are your memories when it comes to dancing?
VIKANDER: I trained as a ballerina until I was injured and had to have surgery on my foot and I still have problems with my foot and my back today. But I never had the kind of commitment I would have needed to become a professional dancer. My mother was an actress and when I started getting serious about acting, I did so without knowing whether I would ever even get the chance to work outside of Sweden. My dream was to go on stage at the Royal Theatre in Stockholm and try to earn a living working in Swedish films. I was very realistic when it came to my ambitions. But then I saw (fellow Swedish actress) Noomi Rapace play in The Girl with the Dragon Tattoo which had international success and opened doors for her, and that was when I started thinking that it might be possible to have a career abroad. I moved to London and I worked very hard on practicing my English because I knew that being able to speak the language without an accent would be my biggest challenge competing against other actors in the US and the UK. I’ve worked with some very good English teachers over the last several years, and I still feel I can improve.
STRIPLV: How badly do you miss your life in your native Sweden?
VIKANDER: Sweden will always be a huge part of me. But you know the funny thing? You only start to appreciate your cultural heritage when you’re traveling, and you’ve left your country, which is what happened to me. I’m very glad to have this wonderful opportunity to live and work in so many different cities and see things from a different perspective, but I still feel very close to my country and that special feeling you have for your own culture. That will never change.
STRIPLV: Do you look forward to going back to Sweden whenever you get the chance?
VIKANDER: Yes, but it’s been very hard because I’ve been working so much. I sometimes get homesick for my family and friends but when you’re traveling so much and living in hotel rooms your life becomes very different. I would still love
to go and spend some time on these beautiful islands that we have in Sweden. It’s very peaceful there.
STRIPLV: What’s the most difficult aspect of your life in the film business?
VIKANDER: It’s being out of touch with my friends and family for long periods of time. It’s almost impossible to plan getting together because you never know exactly where you’re going to be because new projects are constantly popping up and you’re often shooting in different parts of the world. I’ve spent the last four or five years living out of three suitcases and going from one hotel to another. But that’s also what makes this life exciting because you don’t know what lies ahead for you.
STRIPLV: You have an advantage in that your English is excellent.
VIKANDER: Thank you! Being able to speak English very well is definitely the most important thing if you want to be able to work internationally. When I did Anna Karenina, I worked very hard on trying to get my accent right. That was a very important step for me because all the work and effort I put into perfecting my English enabled me to keep working in American or British films and it’s like the whole world has opened up to me now and given me a career outside of Sweden.
STRIPLV: You’ve become a fashion icon of late. Designers seem to be rushing to offer you fabulous outfits for every event?
VIKANDER: I love fashion, and for me, these designer outfits are works of art. When you look at the stitching and the attention to detail you can see the handwork that goes into it, the workmanship is incredible. I never had that much money to buy myself clothes like that, and now that I’m able to wear these beautiful outfits it’s unbelievable.
STRIPLV: Do you try to dress very chic when you’re not attending big events?
VIKANDER: (Laughs) I’m starting to pay more attention. But usually, I’m a jeans and T-shirt girl during the day. I’m trying to shop around more for myself and look for interesting pieces whenever I get the chance.
STRIPLV: Do you ever feel like you’re caught up in some strange whirlwind that is taking hold of you?
VIKANDER: It does feel like there’s momentum of its own. It’s a lot of fun, though, and I don’t want it to stop, at least not now! (Laughs)
2 Mar 2018
Alicia Vikander Is ELLE UK’s April Cover Star
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Oscar-winning actor Alicia Vikander is starring in the highly anticipated blockbuster Tomb Raider.
Gracing the cover of ELLE UK’s April issue, which comes out March 7, she opens up about harassment in the film industry, married life, and how she prefers to avoid the limelight.
On harassment in the film industry
‘I’ve been very fortunate that I haven’t had any sexual harassment on set. But I’ve been in situations where people in power have put me on the spot, or made me feel stupid and young when I wasn’t able to express myself publicly. Once, an older female co-star actually said on my behalf, “That’s not OK.” I can now speak up and say that is not fine, and I’ve been given the fortunate position now of not being, in the same way, afraid of losing my job, which was deep down the reason you don’t want to be trouble. You don’t want to be difficult…’
On moving to Lisbon with her husband, Michael Fassbender
‘When I met my husband three and a half years ago, he had mentioned he’d been to Lisbon and loved it, and I knew friends who were moving out there. And that was a time when I was just starting to feel really at home in London, but after Brexit I think I was like, “Meh, you know what, I want to stay in Europe”.’
I’VE BEEN VERY FORTUNATE THAT I HAVEN’T HAD ANY SEXUAL HARASSMENT ON SET
On her first meetings with Michael Fassbender – on the dancefloor at Toronto International Film Festival, and then on the dancefloor after the BAFTAs:
‘The first two times we met, we didn’t chat, we only danced.’
On training for Tomb Raider
‘For three months before filming, I started every morning with an hour’s workout. Then there was a lot of eating going on; I had to have five meals a day. I wanted Lara to be strong. I’m very petite myself, and I wanted the audience to find the action sequences plausible – to believe that she could do it, that she could lift herself up with her own bodyweight.’
On the new Lara Croft
‘Sure, Lara is a sex symbol in some ways but for me, what makes a woman or a man attractive is someone who dares to speak up, who dares to show their personality. It’s tough being a young girl at this time, you know? I’m now working in an industry which lives on creating an image, a fantasy and I feel like I need to show younger women that is what it is.’
I HAD TO HAVE FIVE MEALS A DAY. I WANTED LARA TO BE STRONG.
On how her Swedish culture means she naturally prefers not to stand out
‘You shouldn’t be too good, or do something different… In a way it’s great to grow up with that, as it makes you very grounded, but also a bit scared of standing out and making a big leap away from the rest of the group.’
Read the full interview in the April issue of ELLE UK, on sale March 7.
25 Feb 2018
Alicia Vikander is a Diamond in the Rough
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Academy Award winner Alicia Vikander made a name for herself in nuanced art films Ex Machina and The Danish Girl. Now she’s leaping into action (and putting her ballet training to use) as fierce treasure hunter Lara Croft in Tomb Raider.
If the world can be divided into two types of people—those who like to chat to the person sitting next to them on a plane and those who don’t—you could reasonably assume that Alicia Vikander might be among the latter. For one thing, she’s famous. In fact, this month the Academy Award-winning Swedish actress will make the leap to action star as Lara Croft, the heroine in the Tomb Raider reboot, a role played by Angelina Jolie back in 2001 and based on the wildly popular video game series. Vikander is also intensely private, with a knack for dodging even the most innocuous questions. Asked about the last time she broke a rule, for instance, she laughs at a memory, then shakes her head: “No, I don’t want to say that to you.”
Yet, as it turns out, the 29-year-old actress will not only engage her seatmates, she’ll also offer them gifts—or at least that’s what she did on a recent trip to Los Angeles from Lisbon, where she lives with husband Michael Fassbender. “I finished the book Homo Deus on the plane. It was fantastic, and I gave it to the guy next to me,” she says, referring to Yuval Noah Harari’s sequel to the intellectually digestible bestseller Sapiens: A Brief History of Humankind. “Hopefully, he’s read it by now.”
Today, wearing jeans and a black moto jacket, Vikander is sitting in a makeshift dressing room at a Hollywood studio, getting primped for a photo shoot. She’s doing publicity for Tomb Raider, which is why the enormous space is littered with Egyptian sarcophagi and other faux relics. It’s a change of pace for Vikander, who in 2016 won a best supporting actress Oscar for The Danish Girl, in which she gave such an eruptive performance as bohemian artist Gerda Wegener, the wife of one of the first men to undergo gender-confirmation surgery, that she practically stole the film from co-star Eddie Redmayne.
While Vikander is happy to go from serious drama to action adventure, she did have early concerns about originality. “When I got the phone call, I thought, ‘Oh, haven’t they done Tomb Raider?’” she recalls as a makeup artist dabs gingerly at her face. “Hearing that this was going to be something different attracted me to the part.”
Billed as an origin story and directed by fellow Scandinavian Roar Uthaug (who made the 2015 noirish disaster film The Wave), this installment aims to avoid the hot-girl-with-guns trope. “Lara Croft has been this sex symbol, but films from back then, oh, my God, the view they had of women and power is so different,” says Vikander. “She had to be brought into our time.” Whereas Jolie went for full-throttle butt-kicker with a sultry twist, Vikander will satisfy the modern demand for flawed superheroes. Armed with a modest hunting bow, she’s a more human protagonist, searching for purpose after the disappearance of her adventurer father (played by Dominic West). “This is a girl trying to figure out what path she’s going to take in life, and there’s a lot of pressure on her,” says Vikander. “She’s like me when I was 20.”
During that phase of Vikander’s life, she was an aspiring actress living in a Notting Hill London flat with members of Icona Pop, the Swedish electropop duo whose breakthrough hit, “I Love It,” had yet to be released. She had just given up ballet after nine years of intensive training, three of which were spent at the distinguished Royal Swedish Ballet School in Stockholm. “I realized it was so easy to be in that bubble and never get out,” she recalls. “Once, my New Year’s resolution was to find friends outside of the school so I could see what’s beyond the grounds. I’d see a cool girl and say”—feigning honking enthusiasm—“‘Where are you going? A party? Okay, great!’” To this day, the people she met during her version of Rumspringa remain her closest friends.
Vikander’s acting career got off to a bumpy start. In 2011, she flew to L.A. for the first time to audition for the lead in Snow White and the Huntsman, but she lost out to Twilight’s Kristen Stewart. “I thought [the experience] was just going to be a story for my grandchildren,” Vikander recalls with a smile, “telling them about that one time I was in Hollywood pretending to be in a film.” But she kept on, and the roles started coming: Kitty in Anna Karenina (2012), a humanoid robot in Ex Machina (2014), an unwitting spy in The Man from U.N.C.L.E. (2015), her Oscar-winning turn in The Danish Girl (2015), a cyber-ops boss in Jason Bourne (2016) and a Dutch ingénue in last year’s Tulip Fever.
But Vikander’s acting bug can be traced back much farther than this. Growing up in Gothenburg, the daughter of divorced parents, she often accompanied her actress mom to the theater, where she guesses she saw Romeo and Juliet 20 times or more. “I probably knew a big part of the Shakespeare catalogue but, sadly, I didn’t remember it when I did my scenes while applying to theater school,” she says, letting out a disapproving yell as a stylist tugs too vigorously on her ponytail. As a teen, she had posters of Bruce Willis and Leonardo DiCaprio on the wall. “I took a lot of pride that I had him as my favorite before Titanic,” she says.
Though she didn’t get into theater school, Vikander winces at the notion that she is untrained. “What we learned in ballet school was to find our characters deep down and develop them,” she says. “We had to get so aware of small movements, how to tilt your head and flicker your eyes.” Even today, despite billboards advertising her buffed-up Tomb Raider physique, you can see the nimble grace of a former ballerina as she navigates puddles in the back alley where today’s photo shoot is taking place.
For a while, Vikander had toyed with the idea of going into law, but a call from Swedish writer-director Lisa Langseth put an end to that. Though it took about 15 auditions before she landed the role in Langseth’s 2010 film, Pure, she clearly impressed the filmmaker. “Alicia was one of hundreds of girls who passed the camera, and she was so intelligent and sensitive and strong,” Langseth says. “Physically, you could push her very hard. A lot of people, no. They say, ‘I can’t do one more take.’ Alicia would never say that.”
In Vikander’s homeland, the word lagom has come to define a core tenet of the country’s cultural attitude. Loosely translated, it means “just enough, adequate,” and like hygge, the Danish concept of coziness, it’s being touted in the U.S. as a lifestyle trend. When I raise the subject, Vikander sits up in her chair. “Lagom is like the middle of middle grounds,” she says, with a hint of disdain. “You never want to give yourself credit. There is something similar called tall poppy syndrome, which is if one poppy grows a bit taller than the others, you chop it off. Like, you shouldn’t really stand out.” The word is fine as a response to a cup of tea, she continues, “but you wouldn’t let it define your emotion for somebody you love.”
Certainly, lagom doesn’t define Vikander. “I’d rather have the far ends of the spectrum,” she says. “I’d rather have had it been awful and then fabulous.” Tall poppy syndrome, too, doesn’t fit. Along with achieving A-list status as an actress, Vikander has established herself as a brand ambassador and muse for Bulgari and Louis Vuitton. Last October, she further raised her celebrity profile following her secret wedding to Fassbender, whom she met on the set of the 2016 drama The Light Between Oceans. Predictably, she refuses to say anything that isn’t tabloid-proof about the relationship. “I wanted it to be extremely private,” she says. “Of course, marriage is beautiful, but it’s not the big thing. People don’t seek marriage. They seek love.”
Speaking of work, Tomb Raider is a sharp left turn compared to the more serious projects that conferred so much prestige in such a short amount of time. Yes, she’s adding to her arsenal the usual action-movie war stories—being blasted repeatedly with cold water until her lips were too blue to film, needing extra time to cover up cuts and bruises before being red-carpet ready—but none of that would have fazed her after a decade of toe tape and pliés. Still, Vikander doesn’t really seem to be the gamer-movie type, which may be why she took the part.
“The beauty of my work is that I can step into both a character and a world that is completely different from anything I’ve been in before, and even if this has more lightness to it than some of my dramas, it’s still the same kind of intense dedication,” she says. “I hadn’t done a big franchise. When I was 10, I watched the Indiana Jones movies. I was a huge fan of Greek and Egyptian mythology. The kid in me gets excited about being part of this genre.”
Vikander’s friend and Tomb Raider co-star Walton Goggins, who plays villain Mathias Vogel, believes the film adds another dimension to her career. “I don’t know that she’s been given the opportunity to show this kind of playful accessibility,” says the Vice Principals star. “It’s not so dissimilar from what Matt Damon did with the first Jason Bourne movie: a person who has these extraordinary capabilities, but is also so relatable.” The film was shot over five months last year, mostly in Cape Town, South Africa, but also London. Goggins recalls bringing his 7-year-old son to the set. “By the end of the second day, he looked at me and said, ‘Daddy, I want to be Lara Croft.’”
That said, Vikander is hardly retreating from the arthouse fare that launched her career. She’ll soon appear alongside James McAvoy in Submergence, based on the story by J.M. Ledgard, about a biomathematics professor and a British spy, which premiered at last year’s Toronto International Film Festival. It’s directed by Wim Wenders, which is especially thrilling for Vikander, who as a teenager hunted for a fuzzy pink sweater to match the one worn by Nastassja Kinski in Wenders’ 1984 classic, Paris, Texas.
Vikander is sometimes compared to Jessica Chastain, in that she appeared to go directly from obscurity to ubiquity. In eight years, she’s made 21 movies—an average of almost three a year. She did, however, allow herself a short break over the holidays, which were spent skiing in Chamonix with Fassbender and some friends. The keen amateur cook took charge of New Year’s Eve dinner, preparing a bouillabaisse, homemade bread and aioli. “I got back after the slopes in the afternoon and spent, like, three or four hours in the kitchen,” she says. “I love nesting. It’s proof that I am off.” Right now, though, “It’s back to school.”
In January, Vikander attended the Golden Globes, where she was excited to meet Reese Witherspoon and Natalie Portman. They had been emailing for weeks about Time’s Up, a legal defense fund initiated by women in the entertainment industry to provide support to those who have experienced sexual harassment or assault in the workplace. Vikander is among the original signatories of the open letter announcing the campaign at the start of this year. “I was extremely excited to be standing united with all these other women,” she says, and not only in the context of the protest. “I’ve been longing to work with women and not be the only woman in the room, which so often happens on film shoots.”
To that end, Vikander has started her own production company, Vikarious. Her first film is Euphoria, an eerie drama that reunites her with Lisa Langseth. It’s about two estranged sisters (Vikander and Eva Green), one of whom has some very unorthodox plans for their trip through Europe. The hope is that Euphoria and the films that follow it will bring about change in the film industry.
“Something that Natalie and Reese said got to me, which is that women so often have to be competitive [with each other], because we’ve been fighting for the same few jobs,” Vikander says, shaking her head matter-of-factly. “The time’s up for that, too.”
16 Feb 2018
Alicia Vikander To Star In Morten Tyldum-Directed Thriller ‘The Marsh King’s Daughter’
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Alicia Vikander To Star In Morten Tyldum-Directed Thriller ‘The Marsh King’s Daughter’; STXintl Handling In Berlin
In what shapes up to be one of the hot titles in the upcoming Berlin sales market, Black Bear Pictures will finance and produce with Anonymous Content the Morten Tyldum-directed dramatic thriller The Marsh King’s Daughter. Oscar-winner Alicia Vikander has come attached to play the lead role. STXinternational has closed a deal to handle international territories at Berlin. Pic is an adaptation of the international bestseller by Karen Dionne that was published last summer by G.P. Putnam’s Sons.
The scripted adaptation is by Elle Smith and The Revenant scribe Mark L. Smith. Vikander will play Helena Petterier, who on the surface leads an ideal life with a great husband and a young daughter. She keeps secret her shocking backstory: her mother was kidnapped as a teen, and she was the product of the relationship between captive and tormentor. She lives for 12 years in a life carefully controlled by her kidnapper/father, until he was caught and sent to prison. An escape that leaves two prison guards dead forces her to confront her secret history and she becomes determined to bring down her father, who gave her all the tools she will need. He is the one called the Marsh King, the man who kept a woman and her young daughter captive in the wilderness for years. Sensing the danger this monster poses for her husband and young daughter, she vows to hunt him down. Vikander will be next seen in action mode as she plays Lara Croft in Tomb Raider.
The film puts Teddy Schwarzman’s Black Bear back in business with Tyldum; Black Bear financed and produced The Imitation Game, which got eight Oscar nominations including Best Picture. Black Bear, whose most recent film is the Oscar-nominated Dee Rees-directed Mudbound, is producing with Anonymous Content, the company behind Spotlight and The Revenant. Schwarzman, Keith Redmon, Tyldum and Mark L. Smith are the producers. Bard Dorros of Anonymous Content and Vikander are the exec producers.
STX Entertainment division STXinternational is handling international distribution and will distribute in the UK and Ireland.
“The Marsh King’s Daughter is one of the most hypnotic thrillers you’ll ever experience, much in the vein of The Girl With the Dragon Tattoo and Gone Girl, and who better than Morten Tyldum to direct this psychologically gripping story into a complex yet riveting tale about captivity and redemption,” said David Kosse, President of STXinternational. “We are thrilled to introduce this exceptionally compelling project from such an esteemed team of filmmakers and talent to our international partners in Berlin.”
Vikander is repped by UTA, Tavistock Wood and Actors in Scandinavia. Tyldum is represented by WME, Anonymous Content, and Bloom Hergott. Elle Smith is repped by Rain Management; Mark L. Smith is repped by WME, Anonymous Content and Syndicate Entertainment; both are also repped by attorney Mark Temple. Dionne is repped by Folio and WME.