Showing posts with label press conference. Show all posts
Showing posts with label press conference. Show all posts
Monday, September 22, 2025
#73SSIFF ✨ Así fue anoche la emocionante presentación de #Couture. La directora Alice Winocour, junto a Angelina Jolie, Louis Garrel, Ella Rumpf, Anyier Anei y Garance Millier, fueron arropados por el entregado público del @sansebastianfes, que aguantó bajo la lluvia, y por los… pic.twitter.com/DgHAhy0gav
— Donostia Zinemaldia - Festival de San Sebastián (@sansebastianfes) September 22, 2025
— Donostia Zinemaldia - Festival de San Sebastián (@sansebastianfes) September 21, 2025
Press Conference "Couture" (O.S.) 2025
Interviews with Alice Winocour and Louis Garrel ''Couture'' (O.S.) 2025
Thursday, August 29, 2024
VENICE, ITALY - AUGUST 29: Angelina Jolie attends a photocall for the movie "Maria" during the 81st Venice International Film Festival at on August 29, 2024 in Venice, Italy. (Photo by Daniele Venturelli/WireImage)
TALY-CINEMA-VENICE-FILM-FESTIVAL-MOSTRA
From left : Italian actor Pierfrancesco Favino, US actress Angelina Jolie, director Pablo Larraín, Italian actress Alba Rohrwacher and screenwriter Steven Knight attend the photocall of the movie "Maria", a biopic on Maria Callas, during the 81st International Venice Film Festival at Venice Lido, on August 29, 2024. (Photo by Marco BERTORELLO / AFP) (Photo by MARCO BERTORELLO/AFP via Getty Images)
Angelina Jolie arrives to attend a photocall for the movie "Maria" at the 81st Venice International Film Festival on August 29, 2024 in Venice, Italy.
Angelina Jolie was all smiles as she arrived by boat at the Venice Film Festival to promote Pablo Larraín's "Maria," in which she stars as the legendary soprano Maria Callas. pic.twitter.com/rJmqr5ZwoZ
“I felt such a privilege to feel like I got to know this woman and got to be inside her skin a moment. I really care for her deeply,” Jolie told The Associated Press a few hours the film’s world premiere at the Venice International Film Festival Thursday. “I think I’ll carry that like a friend.”
Chilean filmmaker Pablo Larraín called on Jolie to take on the role as the legendary soprano in “Maria,” which was recently acquired by Netflix for distribution. The film focuses on the final week of her life in 1977, in Paris. She is deeply isolated, with only her butler (Pierfrancesco Favino) and housemaid (Alba Rohrwacher) looking after her — concerned about her health, the drugs and the devastating ripple effects of her diminished voice.
“When I put her big glasses on and her Greek hair and I sat in my little robe as an older lady, I felt a (Maria) that felt like the private (Maria) that the world didn’t know,” Jolie said. “And I connected to her first and, and kind of loved her.”
Jolie made a grand entrance on the docks of the Hotel Excelsior, on the Lido, posing for photographers in a golden acid-colored Tom Ford jersey kaftan dress with hair long and loose. For the press conference, she’d changed into a slim black maxi dress.
She was reluctant to compare fame in Callas’ time to the present moment.
“I didn’t live then. I guess hard in different ways, easy in different ways,” Jolie said. “She was celebrated as one of the most wonderful artists and she also had food thrown at her and insulted and lied about. So I don’t know. She must have felt... she must have felt very alone.”
Jolie trained for nearly seven months to prepare for the role. The singing in the film is a blend of actor and the real thing.
“My first days, (Larraín) was very good to me in that we started in a more intimate first with very few crew members,” Jolie said. “And we ended at La Scala with everyone. So I had a little time to get my nerve. But this is the hardest thing I’ve ever done. I was terrified.”
Larraín said it was “the only way to do it.”
“Opera requires a very particular style of singing — in the pitch, the color, the breathing, the posture,” he said. “Sometimes it’s a tiny bit of Ange and mostly Maria and then sometimes it’s more, but it’s always there. We needed to do that because it’s the only way that she could properly prepare the character, play it right and then create the right illusion.”
Jolie has twice been nominated for acting Oscars. She won for her supporting role in “Girl, Interrupted,” and was last nominated for her leading role in Clint Eastwood’s “Changeling.” Netflix has not announced specific release plans for “Maria,” but Jolie’s performance already has awards buzz behind it.
Angelina Jolie speaks about making sure that she doesn’t disappoint Maria Callas fans with Pablo Larraín’s “Maria.”
“Maria,” the third in Pablo Larraín’s biopic trilogy after “Jackie” and “Spencer,” stars Angelina Jolie as Greek-American soprano Maria Callas, drifting in the last week of her life on a diet of downers and a stream of self-absorption. Callas died of a heart attack in 1977, three years out from her last singing appearance, though the film sees Jolie as Callas rehearsing for an imagined performance that will never come due to the state of her voice — and for a camera crew, dreamed up in a fog of pills, led by Kodi Smit-McPhee.
“Maria” frames Callas as a survivor through childhood and failed relationships and into her last days, though in the film’s present, she’s frightfully thin (“A lot of me is being taken away,” Callas tells her sister at one point) and eliciting worries from her Paris house staff (Pierfrancesco Favino and Alba Rohrwacher). Both abet and confront her dependency on methaqualone and other pills and make for an upstairs-downstairs dynamic in the screenplay.
Alongside Larraín and her co-stars, Jolie held court during a Venice Film Festival press conference Thursday afternoon, shortly after the movie’s first press and industry screening. Asked about whether she hopes “Maria” puts her back in the Oscar race, Jolie said, “For me, the bar in this where I would know if I did good enough are the Maria Callas fans and those who love opera, and my fear would be to disappoint them, so of course all other things and in my own business if there’s a response to the work, I’m very grateful, but in my heart to disappoint the people who love her and who she means a lot to, and her legacy, I came to care for her. I didn’t want to do a disservice to this woman.”
With “Spencer” screenwriter Steven Knight shifting timelines and cinematographer Ed Lachman ebbing between time periods in black and white and color, Callas looks back on her early life and more recent past, including her relationship with Aristotle Onassis (Haluk Bilginer), who left her for Jacqueline Kennedy. Jolie spent more than half a year studying opera and training her voice, and the film uses a multilayered track to meld the actual voice of Callas in her prime with Jolie’s more novice soprano, but if there are seams here, you can’t feel them. At times, Jolie was singing out loud by herself in front of up to 500 extras during flashbacks to a younger, less deteriorated Callas. Jolie, when asked for her favorite opera or karaoke song, said, “I’d never sung before, so I’ve never done karaoke.”
“Everybody here knows, I was terribly nervous,” Jolie said, pointing to the cast and crew. “I spent almost seven months training because when you work with Pablo, you can’t do anything by half, he demands in the most wonderful way that you really do the work and learn and train, but my first time singing? I remember being so nervous, my sons were there, they had to lock the door to make sure no one else was coming in. I was shaky. Pablo started me in a small room and ended me in La Scala. I was frightened.
Asked about her own music taste, Jolie said, “I was more punk. I loved all music but I probably listened to The Clash more than most, and as I’ve gotten older, classical music, opera. I think there’s something I still love about the same music I did when I was younger. I’ll still listen to The Clash, when you’ve felt a certain level of despair, of pain, of love. At a certain point there are only certain sounds that can match that feeling, and to me the immensity of the feeling encapsulated within the sounds of opera, there’s nothing like it. And that feeling that would move all of us if we were to hear it, would be the only sound if we were to explain that pain.”
“Most of the stories that she sung,” Larraín said, “were tragedies, and 90 percent of the operas she sung end in death on the stage. How do we make a movie where the main character slowly becomes the sum of the tragedies that she sung? And the angle was a celebration. I didn’t want to make a dark movie about a tragic situation. It’s more like a movie where a woman that has spent her life singing for others, taking care of others, worrying about her relationships, now she’s ready to take care of herself and find her own destiny.”
Throughout the press conference, Jolie fielded questions she danced around about how her own widely publicized personal life influenced her performance as a woman who was stalked by fans and paparazzi throughout her career. “There’s a lot I won’t say in this room that you probably know and assume,” Jolie said. When asked how much she related to Callas, who here is lonely and raked-over by critics, Jolie said she shared in Callas’ “vulnerability,” but little more to that effect.
Angelina Jolie says honoring Maria Callas’ legacy and her fans is more important than Oscar buzz for "Maria."
“If there’s a response to the work, I’m very grateful, but … I really came to care for her, so I didn’t want to do a disservice to this woman.”https://t.co/2uW76PMMbo
Much of the singing heard in the film is Maria Callas performing in her prime mixed with slight elements of Jolie’s singing. The work also required a phenomenal degree of courage and vulnerability from the actress, according to Larrain, because she was often required to sing exceedingly challenging opera pieces, without instrumentation, in front of as many as 500 extras and crew.
Jolie has described the process of learning to sing opera as “the therapy I didn’t realize I needed.”
“I had no idea how much I was holding in and not letting out,” she explained. “And so the challenge wasn’t the technical, it was an emotional experience to find my voice, to be in my body, to express. You have to give every single part of yourself.
“I got very lucky, because the best way in was that I got to be taught by Maria,” Jolie explained. “When she approached her work, she said the first thing you do — she called it straight jacketing — you don’t think about how you feel or what you want. You just try to understand the music and the intention of the composer. And you are disciplined, and you do the work exactly as intended, and you practice and practice. So I did that. Then she said, and the final thing is you let your personal and your emotions come in, only then and only when you’re ready. And then I was so fortunate to be with Pablo, where he protected me. So when I was able, I would let that emotion in, and I could try to do something I’d never done before.”
“I think when your life is full, when you felt a certain level of despair, of pain, of love, at a certain point, there are only certain sounds that can match that feeling,” she said.
At the press conference in Venice, Jolie admitted to other parallels between herself and the late opera star, acknowledging that her recent absence from the spotlight and led many to frame Maria as her return to star-driven filmmaking.
“I needed to be home more with my family these last years, and in that time I’ve become more grateful to have the opportunity to just be an artist and play and be among all of you — to just be in this creative world. She added: “I’m grateful to be able to be an artist in any way.”
VENICE, ITALY - AUGUST 29: Angelina Jolie is seen at the 81st Venice International Film Festival at Darsena Excelsior on August 29, 2024 in Venice, Italy. (Photo by Ernesto Ruscio/Getty Images)
Italian actor Pierfrancesco Favino speaks with US actress Angelina Jolie at the Excelsior pier during the 81st Venice International Film Festival at Venice Lido, on August 29, 2024 . (Photo by Alberto PIZZOLI / AFP) (Photo by ALBERTO PIZZOLI/AFP via Getty Images)
Angelina Jolie arrives to the Venice Film Festival press conference for “Maria.” pic.twitter.com/1SH5wFbJP8
11:00 am Press conference of the film LEOPARDI IL POETA DELL'INFINITO (Out of Competition)
11:40 am Press conference of the film SEPARATED (Out of Competition)
12:20 pm Press conference of the film DISCLAIMER (Out of Competition)
1:00 pm Press conference of the film APOCALYPSE IN THE TROPICS (Out of Competition)
1:40 pm Press conference of the film RIEFENSTAHL (Out of Competition)
2:20 pm Press conference of the film MARIA (Venezia 81)
3:00 pm Press conference of the film EL JOCKEY (Venezia 81)
3:40 pm Press conference of the film SEPTEMBER 5 (Orizzonti Extra)
4:30 pm Masterclass Sigourney Weaver (Golden Lion for Lifetime Achievement)
5:30 pm Red carpet of the film DISCLAIMER (Out of Competition) *pre-recorded
7:00 pm Red carpet of the film MARIA (Venezia 81)
9:30 pm Red carpet of the film EL JOCKEY (Venezia 81)
LIVE: Angelina Jolie and stars of 'Maria' arrive at Venice Film Festival https://t.co/JMBaWgnvjj
At a press conference for @BulletTrain in Berlin, stars Aaron Taylor-Johnson, Brad Pitt and Brian Tyree Henry talk stunts, fights and injuries on the set of their action comedy pic.twitter.com/EJIfJ3jC6b
BERLIN, GERMANY - JULY 19: (L-R) Actors Brad Pitt, Brian Tyree Henry and Aaron Taylor-Johnson attend the "Bullet Train" photocall at Akademie der Kuenste on July 19, 2022 in Berlin, Germany. (Photo by Sebastian Reuter/Getty Images for Sony Pictures)
He's OK with putting his hand on Brian Tyree Henry but avoided Joey King who puts her arm around everyone. He kept his right hand firmly in his pocket. Brad was noticeably exercising similar caution on the Paris red carpet.
Aaron Taylor-Johnson also avoided putting his arm around Joey. Brad and Aaron know there are those looking for things that can be manipulated for whatever purpose. They are both in cherished long-term relationships they wish to guard and protect and don't want to have to deal with gossip linking them to anyone else.
BERLIN, GERMANY - JULY 19: (top left to right) Actor Brad Pitt, actor Brian Tyree Henry, Bene Schulz, Luis Freitag, Aaron Taylor-Johnson, Joey King, (Bottom left to right) Julian Braun, Tim Schaecker and Jacob Rott attend the "Bullet Train" photocall at Akademie der Kuenste on July 19, 2022 in Berlin, Germany. (Photo by Sebastian Reuter/Getty Images for Sony Pictures)
Monday, August 17, 2020
"He's very unique, and that's a fun thing to see these days!"
Press day was August 3. Brooklyn is wearing the same outfit and braids she had on for the press conference. Angelina changed her outfit for the junket portion.
"I saw somebody show my kid one (TikTok) the other day. I'm just late to the game. I was never up with the latest cool things." Since this was taped August 3, it wouldn't have been one of the cousins.
While talking about how she is artsy outside of the acting world, Angelina Jolie said she loves watching her children grow up into creative individuals.https://t.co/y4OVQoB02L
It was really cool & so much fun to be able have these @IvanMovie Zoom Press Junket Gallery on Monday with all the wonderful & talented people 💋
・・・
The One and Only Ivan is streaming exclusively on #DisneyPlus starting August 21 💜 🐓 🐕 🦍 🦜 🐘 #OneandOnlyIvanpic.twitter.com/4HZINanlav
LONDON, ENGLAND - OCTOBER 10: Angelina Jolie attends a photocall for "Maleficent: Mistress of Evil" at Mandarin Oriental Hotel on October 10, 2019 in London, England. (Photo by Mike Marsland/WireImage)
She looked me in the eye and answered my question 🥺
More from Maleficent Mistress of Evil premiere, press con, press day
Behind the horns: Los Angeles. Get an exclusive look as Angelina Jolie prepares for the world premiere of #Maleficent: Mistress of Evil. 😈 pic.twitter.com/r5g10zhBDq
— Maleficent: Mistress of Evil (@Maleficent) October 2, 2019
The NASA T-shirt is a favorite and may be a new one Brad just bought from JPL.
We see one of the kids' unusually empty and uncluttered bedrooms. It doesn't appear as though anyone has slept in it or is staying in it as there are no personal belongings visible at all. Nothing on the night table. Nothing on the floor. No bag or backpack lying around that they would have carried for the quick trip back.
Most of the stuff strewn about and in suitcases are hair, makeup, nails, video paraphernalia.
No bath soap or shampoo around the tub. Almost everything all over the bathroom apparently belongs to the hair, make-up, video pros.
The items on the bath counter also appear to belong to the pros.
She walked in from the garden holding a cup but there's no sign that the kitchen was recently used. No sign that breakfast or lunch was prepared or eaten here. The stove and counters are clear. It doesn't look like the sink was used to wash anything recently -- the soap dispensers are far to the side.
The lawn is lush. No bald spot where the water slide would have been. It has not been covered by the slide for a while -- not for at least the last part of summer.
Only the one Cadillac Escalade is visible where the driveway is normally filled with parked family cars. The other garage door is blocked.
The obvious conclusion from the visible evidence is that they aren't staying in the DeMille. It appears they just came over with some pets to be filmed preparing for the premiere. The press conference and press day was Sept. 29 so they would have arrived back from London Sept. 28 or earlier. At the time the video was filmed they would have been in L.A. for at least 2 nights. There is no sign that they were in the DeMille for more than a few hours. It is almost entirely devoid of personal stuff they would be using daily. There are signs they have not have been staying there for some time even before they left for London. And that is likely why she agreed to open it up for the video -- she would have balked at displaying it if it was their current home. They are evidently all staying in their compound on Briarcliff. She was last seen in L.A. on Sept. 4 shopping at Gelson's down the road, first seen in Thorpe Park on Sept. 15, and last seen filming Eternals on Sept. 20. Brad had to stay behind for now, but given their recent rate of progress, this may be the last premiere he misses. There are 3 or 4 coming up next year depending on when they slot Those Who Wish Me Dead.
Maleficent Mistress of Evil and Ad Astra world premieres
Los Angeles and Venice, their big security sticking close to them.
“She’s naturally gifted,” Voight told PEOPLE on the carpet. “She has
that kind of poise as a person and an actor that I witnessed growing up
with the great stars of the ’40s. She has a certain persona that is hers
alone, and she sits in it very comfortable.”
He continued,
“She’s very strong. And that persona is very rare. So you have these
great ones, as I say, when you see Angelina, you know what’s coming, you
know who she is. She’s like one o those people like [Humphrey] Bogart
or Katharine Hepburn. She’s one of those guys.”
That is high praise coming from Voight, who won the Oscar in 1979 for his role in Coming Home. Jolie followed in her father’s footsteps, winning the Oscar in 2000 for her performance in Girl, Interrupted and later received a second Oscar nomination in 2009 for Changeling.
Aside from his famous daughter’s acting chops, Voight said he also
admired Jolie’s commitment to humanitarian issues and her work as a
special envoy for the United Nations High Commissioner for Refugees.
“She does a lot of
good around the world with the refugees. Her heart is always on display
when she’s with those suffering people,” Voight told PEOPLE. “She’s
tremendously compassionate, and she’s a fighter for those people. She’s a
defender of those people.”
He added, “She’s terrific.”
Exclusive: Bebe Rexha admits she was starstruck by Angelina Jolie at the #Malificent premiere, and honestly, how could you not be? 🧐 https://t.co/FBzqvJu6V1
— Maleficent: Mistress of Evil (@Maleficent) October 1, 2019
My 8yo daughter joined me at ‘Maleficent: Mistress of Evil” premiere tonight. Angelina Jolie spotted her, spoke directly to her ... and I’m going to need some time to recover. pic.twitter.com/W6JIzV9U4b
Jolie also made sure to credit the men of “Maleficent,” such as
director Joachim Rønning, co-writers Micah Fitzerman-Blue and Noah
Harpster, and actor Chiwetel Ejiofor, with allowing their female
colleagues’ strengths to flourish. The feeling was mutual for Ejiofor,
who plays a new character, a dark fairy named Conall.
“She just
brings such a complete, just everything to it — this real,
all-encompassing energy and real knowledge of what she wants to do,” he
told The Times. “Her projects really do represent her worldview ... I
admire her so hugely as an actress but also as a force in the world.”
A force, indeed: A running theme ahead of the screening was Jolie’s
immense influence on the film, which seemed to reach as far as
Maleficent’s enveloping wingspan — from its fantastical costumes to its
girl-powered soundtrack.
“She’s pushing everyone around her to be
the absolute best,” Rønning told The Times. “It was in every part of the
process. ... spending months with the screenwriters, getting it right.
The angle of her horns, of course, the wardrobe, the color of her lips —
hours and hours of relentless hard work.”
Come the next “Maleficent,” Rønning may be out of a job, as Jolie
told reporters her next ambition is directing, and she’s already begun
to think like a visionary. Like any committed mother — or producer —
Jolie always had the final say. And all agreed the story was better for
it.
“We’d write her some line of dialogue that we thought would really
kill, and she would say, ‘You know what? I think I’ll do that with a
look,’” Fitzerman-Blue said. “And she can.”
"It was great. I have to say, I was really thrilled when I heard
about it," Riley said of returning to the sequel. "As we got back
together and we were all dressed up in these crazy costumes, it was like
it was yesterday. I mean Elle [Fanning] had obviously gone from being a
14-year-old to a 21-year-old. We hung out more this time. We had a lot
of fun, gossiping and messing around and it was great to work with Angie
again."
"The first time I was just beginning to enjoy myself and relax when
it was all over, because it was kind of not intimidating, she's not
intimidating, but she's Angelina Jolie," he continued. "When she looks like this it's really something, you know. So I think I was quite daunted by the whole thing."
"So this time I was like, 'Well I'm just gonna, you know, I'm in it.
I'm gonna enjoy myself,'" he added. "That's not to say I didn't enjoy
the first one, but I really, this from day one was like, 'I know what's
going to happen.' I'm not the least experienced on set anymore. So it
was cool. I enjoyed it."
"We had a lot of fun doing it because Angie sort of felt that our
relationship was one of the things that people did enjoy about the first
one and how we could, you know, make even more out of it and more out
of this sort of this old married couple relationship," he said. "They
bicker with one another, but, you know he adores her."
"I think she hasn't noticed him yet, but maybe that's just
Maleficent," he added. "And you know that he saw her right from the
beginning of the first one that there was something more to her than
this angry, hurt [creature] and that she loved Aurora and I think she
just developed that more. He's got more confidence to just suggest
things to guide her in the human world. And what's the worse she can do?
Turn him into a mealworm or something? She'll cool down."
We don't want to spoil anything, but Maleficent turns Diaval into a
new creature in the sequel. We won't tell you what, but it's absolutely
epic.
