As many of you know already, Rebecca has been in Park City, Utah for the past few days promoting her role in the upcoming Christine-in which she plays the title character, Christine Chubbuck. The critical response to her performance has been overwhelmingly positive (many calling it the best of her career so far). It’s always great to see her receive high praise–and it’s no less than she deserves. Hopefully we’ll be seeing some material from the film very soon.
INDIEWIRE – The equally somber and shocking tale of Christine Chubbuck, the 29-year-old Sarasota news anchor who shot herself on live television during a broadcast in 1974, has an inherent appeal. That much has been demonstrated at this year’s Sundance Film Festival, where the story has been featured in two projects — Robert Greene’s meta-documentary “Kate Plays Christine” and Antonio Campos’ more straightforward narrative “Christine,” starring Rebecca Hall in the lead role. While Greene’s project delves into the dicey moral territory of recreating Chubbuck’s suicide, Campos’ version doesn’t hesitate.
An expertly crafted noir-like depiction of Chubbuck’s descent into psychological duress, Campos’ grim character study makes up for an occasionally stifling icy tone with a stunning lead performance by Hall, who turns the would-be suicidal anchor into a figure worthy of empathy rather than outright pity.
Like Campos’ earlier features “Afterschool” and “Simon Killer,” the new movie revolves around a tormented figure gradually led to a violent act. While the other movies treated this descent with a certain degree of remove, Hall brings an urgency to the material by making Chubbuck’s poker-faced figure into a vehicle for media criticism. In a captivating opening scene, she sits in an empty studio, pretending to interview Richard Nixon as she addresses an empty chair. The image succinctly illustrates her desire to report on major issues taking place in the world around her, and the absence of interest from the station to pay much attention.Read More
DEADLINE – Rebecca Hall and Chloë Sevigny have joined the cast of Oren Moverman’s The Dinner, alongside the previously announced Richard Gere, Steve Coogan and Laura Linney. The film, based on the worldwide bestselling novel by Herman Koch, will start shooting in New York on January 21. Moverman, whose last film Time Out Of Mind also starred Gere, has adapted the novel and will direct.
Cotty Chubb, Lawrence Inglee, Eddie Vaisman and Julia Lebedev are the producers of the film, which is a Code Red, ChubbCo and Blackbird production. Code Red is fully financing and Protagonist Pictures is handling international sales. Exec producers on the project are Leonid Lebedev, Angel Lopez, Olga Segura and Eva Daniels.
The Dinner starts as Paul and Claire Lohman (Coogan, Linney) get ready for a dinner with Paul’s politician brother Stan (Gere) and his wife Barbara (Hall). Tensions already exist between the two brothers – Stan is a smooth-talking celebrity who is the favorite to win the governor’s race, while Paul has a chip on his shoulder and is currently not working. But, as the evening in a chic restaurant progresses, dark secrets emerge about their respective children. A monstrous crime has been committed by the Lohman kids and the two couples are divided about how to handle the situation.
“Herman Koch’s The Dinner is an extraordinarily provocative, conscience-bending ride that takes on culturally relevant issues and turns them into an intricate menu of human passions and primal fears,” said Moverman in a statement. “I am honored to be tackling this international phenomenon as an American film with our family of talented artists and brilliant actors. “
Moverman’s Love & Mercy, which he wrote and produced, was recently nominated for an IFP Gotham award for Best Adapted Screenplay. His first feature The Messenger received Oscar nominations for Moverman’s script (with Alessandro Camon) and Woody Harrelson’s performance. He also co-wrote I’m Not There with Todd Haynes and produced the recently shot Oppenheimer Strategies with Inglee. The latter film also stars Gere with Israeli director Joseph Cedar making his English-language debut.
The first still photograph of Rebecca in the title role of news reporter Christine Chubbuck has been released, and can now be found in the gallery. With Sundance around the corner, it seems logical that a trailer may be on its way very soon.
Film Productions > Christine (2016) > Stills
If you don’t wish to read on further, the news is that Rebecca’s upcoming film, Christine, will screen at the Sundance Film Festival in January. Can’t wait for further news from this one! You can view the full article and line-up for the festival by clicking the source link below.
VULTURE – If you’re sick and tired of talking about all the great films that have come out this year, why not take a gander at the films you’re going to be talking about next year? The Sundance Film Festival just announced its lineup of the dozens of films that will be competing in the four competitive categories at January’s festival, as well as the ten films playing in the noncompetitive NEXT category. Highlights of the dramatic slate include The Birth of a Nation, a period piece about Nat Turner’s slave rebellion; Southside With You, the story of Barack and Michelle Obama’s first date; and Christine, a Rebecca Hall–led biopic of news anchor Christine Chubbuck, who committed suicide on-air in 1974. (Coincidentally, Chubbuck is also the subject of a film in this year’s documentary competition, Kate Plays Christine.)
Christine / U.S.A. (Director: Antonio Campos, Screenwriter: Craig Shilowich) — In 1974, a female TV news reporter aims for high standards in life and love in Sarasota, Florida. Missing her mark is not an option. This story is based on true events. Cast: Rebecca Hall, Michael C. Hall, Maria Dizzia, Tracy Letts, J. Smith-Cameron. World Premiere
VANITY FAIR – Rebecca Hall describes her career as “trying to keep on trucking on,” but what it looks like is a whole lot more impressive than that. At 33, the London-born actress has everything from a best-picture nominee (Frost/Nixon) and a superhero blockbuster (Iron Man 3) to a trippy Johnny Depp sci-fi drama (Transcendence) on her résumé. Her new film is yet another left turn: she stars opposite Jason Bateman and Joel Edgerton in this week’s The Gift, a domestic thriller about a seemingly perfect couple whose lives are upended by a visitor from the past. Hall spoke with senior west coast editor Krista Smith about the late-night party with Edgerton that led to the role, and why she may as well just keep an American accent 24/7 these days.
In this thriller, you saw everyone’s point of view. There wasn’t necessarily a good guy or a bad guy, which I really like.
Yeah, it all seemed quite clear to me that [Joel Edgerton] wanted to make a domestic drama that was masquerading as a thriller. It appears to be about one thing, but actually it’s lots more.
And your character is initially the one who seems to have a problem, and then it changes.
Yeah, I really like that. It was an interesting thing for me to play because I have a lot to monkey around with. Playing someone who looks like she’s perfect and diligent, but is sort of submissive and has no power and is clearly lost, and sort of playing with the balance of how much of that I show. I loved that she had a past that was damaged. Otherwise, it could have really been in danger of being a sort of victimized, female role. Instead, what I think it is, is a much more valuable story of a woman who doesn’t know her own power, and because of horrible things that happened to her, ends up growing up and probably coming out of it a lot better then she’d thought at the beginning. The event in the movie forces her to realize her own strength.
How did you come to be in it and work with Joel?
We’d met in London at a random drinks thing someone had . . . which ended up in a group of people drinking into the wee hours in my flat. So, we became friends around that time. Then he sent me the script and said, “You’d be great for this. Will you have a look?,” and I was just really excited to read it. You know, part of me just instantly wants to back a first-time film director if I think they’re smart and I’m fond of them—even more if it’s an actor. Not just because I’m an actor and what if I want to do that one day; it’s more because actors have seen a lot of other directors’ work, and directors on the whole never witness another director working. . . . Actors, I think, have a first-hand experience of that in much closer proximity than any other [role on a film]. I don’t believe that all actors should end up being directors. A lot of them really shouldn’t, but [they’re] sort of talented in that arena in the first place.
Jason Bateman really surprised me in this, too.
Yeah, I know. He’s really funny about it. I said, “Oh this is perfect.” He’s just so intrinsically trustworthy and charming and funny. Everyone likes [him]. No one’s going to really second-guess [him]. That’s what makes it sort of fascinating.
You’ve been so busy, it feels like light speed; does it feel that way to you?
I had a gap. I had a big gap, love. This time last year I was on a kind of eight-month hiatus—partially self-inflicted and then not, as the months went by. Then I sort of made up for it this year. I’ve already shot three films this year. So that’s confusing to me because this is the first one of three in a row that I’ve shot back-to-back.
Are you doing American accents in these?
Yeah, I’m always American these days. I should just suck it up and speak American every day. I’ve got the American mother and, you know, now I live in New York. So, what’s the difference?
Superhero movies seem to dominate the conversation a lot of the time, but it feels like there’s this undercurrent of all these other new directors—globally, actually—and actors kind of knowing each other, just like how you knew Joel, working together and creating all this really great material.
God, I hope that’s true. We’re in this sort of strange period of transition. You know, the way that movies used to get made has really shifted in the last five years—dramatically and quickly. Even in the last six months, I feel it’s shifted toward TV because that’s where all the innovation is. But at the same time, we sort of understand how we can make these sorts of markets on the smaller films. There’s a landscape where we’re all just sort of kind of groveling around trying to find out just how to do it and get it done and whether that means doing stuff that’s going to be solely distributed on Netflix or Hulu, or whatever. There are huge opportunities out there. I think that it’s potentially quite exciting. I mean, there’s always going to be a market for another superhero movie.
Are you going to do any Netflix or HBO or anything?
Yeah, I’m about to start a limited series. [Codes of Conduct, co-starring Helena Bonham Carter and Devon Terrell.] Steve McQueen is directing for HBO.
Oh, great! You’re doing great, and that’s not necessarily easy to do, and it’s so arbitrary.
Yeah, I know. There are a lot of many, many different ways to go about it these days, and I feel like my particular brand—trying to keep on trucking on,—is not necessarily the most fashionable right now, but I’m still working.
Rebecca is featured in the latest issue of Interview–and in addition to a new interview, she looks strikingly beautiful in this black and white photoshoot taken for the magazine. If you haven’t already, you can read the full interview below–where Rebecca discusses her current role in The Gift, as well as her challenging potrayal of news reporter Christine Chubbuck, in Christine, which is due for release at some point next year. Enjoy!
INTERVIEW – If you meet Rebecca Hall, she might ask you about your family history. “It’s always something I do when I meet people,” she says with a laugh. “Alright, tell me about your family, what’s the deal?” Though she’s just one in a household full of performers (her mother is an opera singer, her father a director, and her half-siblings scattered across a variety of theater and film disciplines), she’s adamant that most families have as intriguing a story to tell as hers. (She concedes that hers is “more externally colorful.”) She mentions Sarah Polley’s recent documentary Stories We Tell by way of example—the film is premised on the idea that every family has its own story.
Her excitement about family narratives is part of a deeper cultural curiosity—she’s also a self-professed music nerd (currently deciding whether she likes Chilly Gonzales’s latest effort) and a consumer of films of all descriptions. She’s hard-pressed to pick a favorite genre, even. “I’m a fan, at the end of the day,” she says. “I’m a real geek in this department.” She tosses out a list of what she watches regularly, from Golden Age American films to French cinema, to the latest blockbusters, comedies, and drama, foreign and domestic alike. Her openness to experience also defines her choices of roles. This year alone, she appears in the upcoming Steven Spielberg-directed adaptation of Roald Dahl’s The BFG, the Antonio Campos biopic Christine about a young Floridian newscaster who committed suicide on live television, and Joel Edgerton’s The Gift, a psychological thriller in the purest sense of the term.Read More
Be sure to check out this awesome new interview (it’s almost an hour long!) with Rebecca in the latest episode of Happy Sad Confused–hosted by Josh Horowitz. I’ve also added some portraits from the interview to the gallery, enjoy!