I’ve added some beautiful new photos of Rebecca’s editorial for NUVO to the gallery. I really like her styling in this shoot, it feels really effortless and natural on her.
Photoshoots and Portraits > Sessions > Photoshoots and Portraits from 2014 > Session 006 – NUVO
I’ve uploaded a stunning new photoshoot of Rebecca taken for Gotham magazine into the gallery. Be sure to take a look!
Photoshoots and Portraits > Sessions > Photoshoots and Portraits from 2014 > Session 003 – Gotham
Here’s the accompanying article and interview from Rebecca’s feature in Backstage–it’s a great read so be sure to take a look if you haven’t already.
BACKSTAGE – First things first: The title is pronounced “mash-in-ALL.” Not that star Rebecca Hall, director Lyndsey Turner, or the rest of the cast and crew necessarily knew that for certain when they all signed on to present the first revival of Sophie Treadwell’s “Machinal” since its 1928 Broadway debut (featuring a young Clark Gable).
After going back and forth for days between every conceivable pronunciation, Turner brought in a letter she discovered in which Treadwell quite plainly stated she wanted the title said with a soft “sh.” “But the moment they put it on Broadway, the people who did it said, ‘I think it would be better as “MACK-in-all.” ’ And that’s sort of her story, isn’t it?” says Hall. “A bunch of people going, ‘No, you’re probably wrong.’ And so we make quite a concerted effort to go, ‘No, I think you’ll find she was a person and she did have some opinions on her own play. Even if she was a woman!’ ”
That anecdote is particularly telling, given the subject of the play in question. Hall stars as Helen, a young woman ground down by an oppressive, repressive society that limits the options of women. Forced into marriage with an older man (Michael Cumpsty) as much by financial considerations as by the confusion of friends and family over why she wouldn’t leap at the chance for escape into a materialistically better life, Helen eventually takes a lover (Morgan Spector), murders her husband, and goes to the electric chair. And though the play (loosely based on the Ruth Snyder trial that inspired “Double Indemnity”) was written in the late ’20s, Treadwell was so far ahead of her time that it feels shockingly contemporary. Just don’t expect a razzle-dazzle piece of Jazz Age homicide like “Chicago” playing up the street.Read More
I have uploaded some striking new photos of Rebecca taken for L’Officiel Paris to the gallery. And if you’re fluent in French, you can read her full interview with the magazine here. Enjoy!
Photoshoots and Portraits > Sessions > Photoshoots and Portraits from 2013 > Session 006 – L’Officiel
Rebecca is looking gorgeous in this new photoshoot for The Sunday Times Style magazine. I have added two photos from the shoot, which can be viewed in full by clicking the image below. In addition, the full interview can be read below–it’s a really great read.
Rebecca Hall is a very attractive woman, not least because of her laugh. A big, fat, velvety laugh, where she throws her head back and bares her big white teeth — one she is employing now, as she tells of a play she performed while studying for an English degree at Cambridge. “It was called The Breast of a Woman,” she explains, “and in the finale I had to take off my robe and crack a communion wafer on the inside of my thigh, walk around for a good five minutes totally naked, then have this simulated sex scene. Some idiot thought it would be really good to have a pair of rabbits in a cage on the stage, and they were so excitable, they completely upstaged me. Ha-ha-ha! I still wake up in a cold sweat that someone might have videoed that.”Read More