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VARIETY – Ralph Fiennes is in talks to star alongside Rebecca Hall, Mark Strong and Saïd Taghmaoui in John Michael McDonagh’s “The Forgiven.”

Elizabeth Eves will produce alongside McDonagh through their production company House of Un-American Activities. CAA, which arranged financing, is representing the US rights, with IMR International handling the foreign rights and introducing the film to buyers at the Cannes Film Festival next week.

“The Forgiven” is an adaptation of the novel by Lawrence Osborne that deals with the reverberations of a random accident on the lives of an English couple, their friends and local Moroccans who all converge on a luxurious desert villa during a decadent weekend-long party. Production is slated to commence early next year in Morocco.

Fiennes is known for his roles in the Harry Potter series, “The Grand Budapest Hotel,” “Schindler’s List” and “The English Patient.” He will star in Etan Cohen’s “Holmes and Watson” for Columbia Pictures and just wrapped production on “The White Crow” for BBC Films, which he directed.

Hall will also star in “Holmes and Watson.” Strong can currently be seen starring as Max Easton on the Fox series “Deep State.” Taghmaoui starred in “Wonder Woman.”

Fiennes is represented by CAA and Dalzell and Beresford; Hall is repped by WME and Julian Belfrage Associates; Strong is repped by Markham, Froggatt and Irwin and WME; and Taghmaoui is repped by Markham, Froggatt and Irwin and Agents Associés. The news was first reported by Deadline.

Labels: Projects, The Forgiven

THE INDEPENDENT – Actress Rebecca Hall has said she has donated her salary from an upcoming Woody Allen film to Time’s Up, a fund set up to combat sexual harassment and inequality in entertainment and beyond.

Hall, who appears in the upcoming film Allen film A Rainy Day in New York, explained that she made the decision after reading statements from Allen’s adopted daughter Dylan Farrow.

“My actions have made another woman feel silenced and dismissed,” Hall wrote on Instagram. “That is not something that sits easily with me in the current or indeed any moment, and I am profoundly sorry.”

“It’s a small gesture and not one intended as close to compensation but I’ve donated my wage to Times Up,” she continued. “I’ve also signed up, will continue to donate, and look forward to working with and being part of this positive movement towards change not just in Hollywood but hopefully everywhere.”

As the #MeToo movement has gained momentum in Hollywood, attention has focused once again on the allegations by Farrow against Allen, who has continued to make films starring prominent actors in the years since she accused him of molesting her.

In 1992, Allen’s former partner Mia Farrow contacted authorities after her daughter allegedly described sexual abuse by the director. Though Allen has repeatedly denied the allegations and was not criminally charged, Farrow was granted with full custody after a judge found Dylan’s testimony to be credible.

Hall’s announcement arrived the day after actress Mira Sorvino wrote an open letter to Farrow apologising for acting in one of Allen’s films in the 1990s.

“I confess that at the time I worked for Woody Allen I was a naive young actress,” Sorvino wrote in The Huffington Post. “I swallowed the media’s portrayal of your abuse allegations against your father as an outgrowth of a twisted custody battle between Mia Farrow and him, and did not look further into the situation, for which I am terribly sorry. For this I also owe an apology to Mia.”

The Time’s Up legal defence fund was set up by women in the entertainment industry to provide support to victims of sexual harassment at work and has raised more than $16m (£12m) so far.

Labels: Articles and Interviews


DEADLINE – “Never been with anyone else your entire lives – that so crazy,” the couple’s friend says. “Our sex life is really, really great,” she replies. “Compared to what?” another pal chimes in. “The two of you are so perfect and constant and inevitable and boring — aren’t you curious? You must be.”

So sets up Permission, a romantic dramedy starring Rebecca Hall and Dan Stevens as said perfect yet boring pair. Anna and Will have shared so many firsts: kiss, love and only relationship. The aforementioned conversation takes place 10 years into their coupling, at Anna’s 30th birthday party – as Will is about to propose. But the thought of what might have been and could be lingers. So Anna proposes that they try opening their relationship – as a sexual experiment – and they venture out of the purely monogamous boundaries.

Gina Gershon, Francois Arnaud, Morgan Spector, David Joseph Craig and Jason Sudeikis co-star in writer-director Brian Crano’s film, which premiered at Tribeca. Hall, Margot Hand, Giri Tharan and Joshua Thurston produced it. Good Deed Entertainment got Permission in January and will release it in theaters on February 9.

Labels: Permission, Photo Updates, Projects

Another day, another great interview with Rebecca – this time with online magazine The Laterals. The article also comes accompanied by a stunning photoshoot, which has been uploaded to the gallery.

THE LATERALS – Many of the films Rebecca Hall is famous for involves fiercely resolute women: Vicky Cristina Barcelona, The Prestige, Christine, and The Town. It is obvious she is beautiful. But what you might miss is her steely opulence, which has nothing to do with good looks. It’s about captivating you, which she brilliantly uses as theatrical leverage. However, what we find most remarkable is her skill at creating a mixture of imperfections, masterfully blending her role and herself. Characters are simply strangers she aims to figure out. Rebecca delves in and finds their light, their madness, what keeps them charged—and then composes a finite presentation that propels itself off screen. Her goal isn’t to win your affections, she wants you to question them.

Although Rebecca Hall has deep familial roots in the arts, it never defined her. Instead, it instilled a grounded sense of independence. Her unusual upbringing—a renowned English director for a father, an American opera singer for a mother, life in the countryside of Sussex, and a private girl’s school—all provided her insight. Perhaps that is why she seamlessly connects with her roles, and with you. Rebecca was only 10 years old when she made her professional debut on a UK television show. Some of her more notable work thereafter was in the theatre, where her performances earned her a number of accomplishments including the Ian Charleson Award and a role on Broadway. Her dossier spans a variety of genres that’s as complex as her skillset. With plenty more scripts on the horizon, we have much more to look for in Rebecca Hall—Holmes and Watson with Will Ferrell and A Rainy Day In New York with Jude Law—just to name a few. Regardless of what role she’s in, you won’t want to look away.

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Labels: Articles and Interviews, Photo Updates, Photoshoots

I’ve added scans of Rebecca’s cover feature in the latest issue of Off Camera to the gallery. The magazine is an online documentation of an in-depth interview hosted by director and photographer, Sam Jones. The show airs on DirecTV, but the full episode is available for purchase here. I’ll do my best to capture the whole episode, as well as publish the transcript from the interview in our press archives.

Labels: Magazine Scans, Photo Updates

With huge thanks once again to the lovely Emily, I have added further coverage of Rebecca’s appearances at the 74th Venice Film Festival, which ended earlier today. Doesn’t she look incredible?


Labels: Appearances, Photo Updates

As you’ll no doubt know already, Rebecca is part of the competition jury at the Venice Film Festival – which commenced a few days ago. Not only is this a fantastic honor for Rebecca, but it also means we get to see her quite often during the course of the festival, looking incredible at various premieres, photocalls and private dinners. Our first batch of photos have now been added to the gallery – and more will follow soon. Huge thank you to Emily for her donations.


Labels: Appearances, Photo Updates

THE NEW YORKER – Rebecca Hall made her New York stage début, in 2005, at the Brooklyn Academy of Music, playing Rosalind in “As You Like It,” and if you were lucky enough to see her in the role it is unlikely that you have forgotten the experience. Hall, who was twenty-three at the time, exquisitely conveyed the sometimes tremulous combination of knowingness and naïveté that characterizes Rosalind, Shakespeare’s most winning comic heroine. Hall’s performance felt perfectly naturalistic—her Rosalind was absolutely real and present—and, at the same time, her delivery showed an adept grasp of Shakespearean verse: if you knew and loved Rosalind’s lines, it was thrilling to hear the subtlety with which Hall delivered them. It also did not hurt that Hall looked perfect for the part: like Rosalind, Hall is “more than common tall,” which meant that she was able to stand eye to eye and equal to equal with Orlando, her eventual beloved, played by a promising newcomer named Dan Stevens.

The production also showed the mastery of its director, Sir Peter Hall, the founder of the Royal Shakespeare Company, the former head of London’s National Theatre, and Rebecca Hall’s father. Given Shakespeare’s dramatic fascination with the relations between fathers and their offspring, and with the complicated questions of lineage and inheritance, the casting choice looked less like nepotism and more like a fruitful artistic convergence. “My father was a real Shakespearean fascist, in that he had a view about how it should be done, in terms of how you speak the verse,” Hall recalled recently. “But, at the same time, he taught me that, instead of being restrictive, understanding how to play the verse gives up the meaning. Like, if you have a breath at the end of a line and the sentence isn’t complete, then you’ve got to find a reason why there’s a pause for thought there. And your reason is what gives you interpretation. So within those parameters, he gave me complete freedom.” Hall’s key to unlocking the character of Rosalind was in identifying the character’s trepidation—the fear experienced by someone who is cognizant of the demands entailed by the complexity of adult love, and finds herself on the brink of it for the first time. “Isn’t that, on some level, the experience of first love, and isn’t that what the whole play is about—how terrifying it all is?” Hall said.

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Labels: Animal, Articles and Interviews, Projects