Monday, March 26th, 2018
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EXCLUSIVA I Alicia Vikander protagoniza #InmersiónLaPelícula junto a James McAvoy. "Es la mejor historia de amor adulto que jamás he leído". Entrevistamos a la actriz que interpreta a Danny, "una biólogo matemática". En cines 6 de abril.

Opublikowany przez Atresmedia Cine na 25 marca 2018

Friday, March 23rd, 2018
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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.


Saturday, March 17th, 2018
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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.”
“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.”
“I’m a big romantic, and I always have been.”

“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!”

“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

Thursday, March 15th, 2018
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Alicia Vikander, star of the new “Tomb Raider” movie, shares what her workout regimen was like.

Wednesday, March 14th, 2018
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Tuesday, March 13th, 2018
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Hunger Magazine

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.
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.
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.
“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.

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.”