Olivia Colman Source

Olivia Colman scored her 5th Emmy nomination at the 73rd Emmy Awards. She received an acting nomination for her outstanding leading role in Netflix‘ ‘The Crown‘ for her portrayal of Queen Elizabeth II. She is joined by on screen daughter-in-law Emma Corrin (Princess Diana).


‘The Crown‘ received a total of 23 nominations, including: Outstanding Lead Actor in a Drama series (Josh O‘Connor), Drama Series, Outstanding Guest Actress in a Drama Series (Claire Foy), Outstanding Guest Actor in a Drama Series (Charles Dance), outstanding Supporting actress in a drama series (Gillian Anderson, Helena Bonham Carter and Emerald Fennel), Outstanding Supporting Actor in a Drama Series (Tobias Menzies), Outstanding Directing for a Drama Series („Fairytale“ And „War“) and Outstanding Writing for a Drama Series („War“), and more.


The winners of the 73rd Emmy Awards will be revealed on September 19, 2021 in Downtown L.A.

Full List


Vanity Fair Italia–  She is world-famous for her role as The Queen in The Crown, however, she hopes that the Queen herself doesn’t watch The Crown.

Playing a “bourgeois” role, Olivia Colman admits that fame is a bit of a burden and that the
the only place she feels comfortable in is her home.


The night she won her Oscar, Olivia Colman ended up on stage without having any kind of draft of speech whatsoever, and so, when they handed her the statue, she took a deep breath, her emotions a mixture of laughter and tears, and said the only thing that came to her mind at that moment: “It’s genuinely stressful.”Laughters, applause… Then, in a speech that seemed like a brilliant number of stand-up comedy, Olivia – very English when it comes to underestimating herself as well as to humour – continued to make people laugh; at one point she even apologised to Glenn Close for winning instead of her, then she looked back at the time she used to clean for a living, and finally sent a message to the aspiring young actresses in the audience: “Any little girl who is practising their speech on telly, you never know” Her speech ended with a standing ovation.

The film for which she won was Yorgos Lanthimos’ Favourite, the amazing interpretation of Queen Anne. It’s been two years since that night, and Olivia Colman has remained the same down-to-earth actress that is instantly taken into consideration when it comes to playing British monarchs. Best known she is for her performance as Queen Elizabeth II, the most famous monarch in the world – the condensation of strength, seriousness and self-denial.

Her new film “The Father”, a film for which Anthony Hopkins won his second Oscar, has been out in theatres for a few days now. In the film, Olivia Colman plays Hopkin’s daughter, a woman who watches her father lose himself to dementia. Everything is narrated from the painful and unsettling point of view of the elderly man. Therefore, the viewer is put in the shoes of those who experience the disease firsthand. “I’ve never read such a script before: usually it’s the family’s experience that is described, here it is as if you were inside Anthony Hopkin’s head”, Colman describes through Zoom, sitting in her living room in London.


Anthony Hopkins said he didn’t want any other actresses to play his daughter.Did he really say that?

Olivia Colman: Oh, he just wanted to be nice.

We also see the esteem.
OC: Sure, but Anthony is also a sweet and kind man, he would have said that of any other actress. What I can say is that it has been a constant delight to get to wake up every morning and work with him on set. However, eventually, you come to realize that at the end of the day we are all just human beings.

What did you learn from him?
OC: I was struck by his joyful attitude towards life, his determination to enjoy it despite the bad things that have happened to him. It’s as if he was saying “I’m still here and I want to be fine.” That is not a very common mindset for seniors so it was a great lesson.

Do you share your way of dealing with life?
OC: In some ways yes, I also want to be very aware of how lucky I am, and I know who are the people I love and I love to be with. I don’t like parties or confusion. I love staying home.

So you haven’t suffered from the lockdowns?
OC: I am one of the few very happy people. I don’t even notice whether the pubs are open or closed.

And are you shy?
OC: Yes, I feel uncomfortable in large groups. I’m comfortable around my family.

Have you always been like that?
OC: No, but I have had to become that. You know, it’s not easy to walk into a room where everyone knows you but you don’t know anyone, the feeling is alienating.

So is fame hard to cope with?
OC: It is not easy to explain, but it is certainly something that no one wants to actually live with, and if someone says they would, they have no idea what it is like. It’s the downside of the job that I so very much love.

Can we say that you are an anti diva?
OC: I’m an actress and that’s it.

Your speech at the Oscars made everyone laugh.
OC: Oh my, I don’t even remember it anymore… But I can tell you that morning my husband and I got up and said to each other: we both know it’s not going to happen so let’s enjoy the evening, it happens once in a lifetime. Then my husband told me: however if you ever win… remember to thank all the fans. And him. So I did it.

How many times had you dreamed of that moment?
OC: So many, while cleaning, I would every now and then imagine and recite my Oscar speech. I think everyone has done it at least once, right?

How has your past influenced your ambitions and approach to work?
OC: I am grateful that I was not successful at a young age because it has really made me appreciate working today. This craft is very uncertain and there are so many actors unemployed. These are things to keep in mind when your life changes.

Your life changes but it always lead you to play queens…
OC: But it’s a coincidence!

A strange fact: you always say you are not a big fan of the monarchy.
OC: True, but I respect the Queen very much, she does what she has to do with dignity, other people in her position would not have behaved like her. Nonetheless, it is a job I wouldn’t want.

What do you mean by that?
OC: Being the queen is not a job you choose. You just have to do it. I, on the other hand, need to choose.

When did you choose to become an actress?
OC: At 16, during my first theatrical performance. But I didn’t tell anyone because I wasn’t sure I could do it.

And when did you discover that you have a talent?
OC: I am very fortunate and always try to improve myself.

Lucky but also talented: do you not recognise it?
OC: It sounds so bad coming from your own mouth. Laughs

Do you think the queen is watching The Crown?
OC: I hope not.

OC: Because she must think it is all wrong: the ways of doing things, the private conversations and relationships. The Crown is fiction and seeing yourself in a TV series must be something that makes you very angry.









She may have played the Queen, but Olivia Colman thinks it’s “bizarre” that the monarch is still Australia’s head of state.

 Herald Sun-  She may have played the Queen on The Crown, one of the world’s most popular dramas, but Olivia Colman is just a tiny bit baffled by Australia’s interest in the real-life drama surrounding the real royal family.

“It is a bit bizarre the Queen is still your head of state,” laughs the British actor via Zoom from the London home she shares with her husband, Ed, and three children.

“In Britain, growing up with them always there, you don’t really consider them. It’s like, if you live in Sydney, you probably don’t go to the Opera House.

“I don’t go to all the incredible things in London because they’re there. And it’s the same with the royal family – they were always there so you don’t think about them. I think for people outside of the UK, they’re a much bigger deal. But I could be wrong about that!”

Colman’s stunning performance as Queen Elizabeth II won her huge acclaim (and a Golden Globe), but she says she was more than ready to hand over the reins (or the reign!) to fellow Brit, Imelda Staunton, who takes on the daunting role for the show’s final two seasons.

“I have a short attention span, so playing a role for two years is a long time for me,” Colman says. “And though I was sad to say goodbye to everybody and I really enjoyed it, I was excited to do something different. Playing the Queen, even though she is very strong and stoic and silent and she listens a lot, I wanted to [play a role] where I have a bit of a rant and be less controlled.”



Colman’s new film The Father, based on the award-winning French play, is not exactly a rant-fest but a poignant and deeply emotional ride about a woman dealing with her father’s (Anthony Hopkins) rapidly advancing dementia.

It’s a brutal, heartbreaking film about a topic many of us have either dealt with – or eventually will deal with – the declining health of ageing parents.

“My folks are still around and still together. They’re the late-70s now and there’s no sign of dementia, so hopefully, they’ve escaped it,” Colman says. “Watching that happen to your parents must be tough. I just can’t imagine watching someone that you love and admire go through that.”

Colman says when she found out she was going to star opposite fellow Oscar-winner, Hopkins, in the film she swore – a lot.

“It was like, ‘f—,” Colman laughs. “I mean, can you imagine? I’ve known his face my whole life and everything he’s done – he’s a bit of an acting God to me – and you think to yourself, you’re going to do a job with him. And I was like, ‘f— off, shut up, no way!’. And then he’s so much nicer, he’s so kind, he’s so generous, he’s so f–ing brilliant at his job. Every morning I’d say to my husband, ‘Ha, I’m going to work with Tony Hopkins!’ ”



Despite the story’s heavy emotional content, Colman says she and Hopkins would crack each other up between scenes. “I know it’s a really hard watch, but we had such a joyful time together; I know that sounds weird, but Tony tells hilarious stories and does amazing impressions. We had a lovely time, and that’s our approach to work anyway – neither of us is very method.

“Tony would lean over and whisper to me, ‘Aren’t we lucky?’ and I’d say, ‘YES!’ ” The role, which has already won her an AACTA (Australian Academy of Cinema and Television Arts Awards – “I was so thrilled and surprised – I’ve never been to Australia!”), has also landed Colman her second Academy Award nomination. (She won the Best Actress Oscar in 2019 for playing another queen – the wildly eccentric Queen Anne in The Favourite.)

Indeed, in recent years, the 47-year-old’s career has skyrocketed, making her one of Hollywood’s most in-demand actors. And her deserved success is not just for her sheer talent but her incredible versatility; she easily navigates between drama (The Crown, Broadchurch, The Night Manager) and comedy (see her breakout performance in the UK classic, Peep Show, while her biting turn as Phoebe Waller-Bridge’s hideous stepmother in Fleabag literally stole the show).



The utterly charming Colman is also that rare type of Hollywood star – resolutely down to earth, and self-deprecating. “People get too full of themselves,” she has said.

She’s also honest about her insecurities around the constant scrutiny that comes with being in the public eye.

“I’ve got a ring light here which is meant to be more flattering,” she says pointing to a bright light above her computer screen.

“Because the moment there’s a photo from this angle,” she says, pointing up from under her chin, “everyone comments on it and you think, f— off, I wasn’t born a supermodel and I’ve had three children and my body is stretched and bits have drooped and it’s not fair everyone is expected to conform. Because I feel embarrassed if I’m meant to be dressed up for a do, or feel like people are thinking, who does she think she is – you can’t polish a turd. Anyway, I’m nice and my husband loves me.”



Colman says she navigates media scrutiny by “not really going out”. (The pandemic, she says, has helped with that.)

“But I know I’m not alone. I know many women feel negative things about themselves, and I have got marginally better. I also protect myself by not putting myself in that position as much as possible. I can see my friends whose bodies have changed, or their faces have changed over the years, and I think they’re so f—ing beautiful because they’re amazing people. I can see that just by looking at them and I want to get to that in my own head, but I’m not there yet.”

With that Colman is keen to get back to a lockdown-induced Friends marathon with her son.

“We’re always watching Friends – my younger boy loves it. I love cuddling up with him and watching it because I’m sort of reliving my 20s.”

That’s the good thing about pandemic-era home Zoom interviews – you can pop off to the next room to watch Friends with your kid.

“You can also wear slippers,” Colman continues with another huge laugh, pulling one of her feet up to the camera to reveal some very fancy silver footwear.

“The one thing about doing interviews during the pandemic is that I can wear my slippers. So … silver linings.”


don’t forget to check our photo gallery for photos from THE FATHER and more




Town and Country- “I wouldn’t have stopped crying for days,” the Crown star tells director Florian Zeller.


Until now, The Father has never been seen the same way twice. The staged performances of The Father (or Le Père, as it was known in France, where it premiered in 2012) all featured different casts and the normal changes present in live theater—and won different awards, including a Molière for best play in 2014 and nominations for both an Evening Standard Theatre Award and a Tony Award in the years following, after its respective British and American runs.

On February 26, the film—which stars Anthony Hopkins as a man grappling with memory loss and Olivia Colman (The Crown’s own Queen Elizabeth) as his daughter and caretaker—will premiere in select theaters and on streaming platforms, marking the first time in its nine-year life that a production is set in stone. Well, almost.

The brilliantly constructed, poignantly dramatic movie, which has been a hit at film festivals around the world and is currently nominated for four Golden Globes—including best picture and best screenplay as well as nods for Colman and Hopkins—makes use of the condition Hopkins’s character finds himself in by giving the audience a taste of that same confusion. Over the course of the movie, sets change, lines are repeated with ever-shifting meaning, and the sense that something’s off is nearly impossible to shake. Despite the unease, it’s also a marvelous showcase for a career-best Hopkins and Colman that asks big questions about family, perception, the realities we create, and the meaning of truth. Here, Colman and writer-director Florian Zeller discuss making the movie and the questions it left them with.


The Father was first produced as a play in 2012. There have been multiple stage versions and it served as the basis for a 2015 French film. Florian, was the plan ever for it to become an English-language movie?

Florian Zeller: No, that came later. When I wrote the play, I was even not sure that it would be on stage and I was not certain that people would be open to such a journey, because it’s about dementia. It’s always been step-by-step, one dream after one dream, you know? I realized that something was happening after the audience in theaters in Paris, and then in other countries, were responding to the play every time, the same way. They were coming to us after every performance to share their own stories. I realized that something fantastic was at stake here, and it gave me the energy and the conviction to go on and to think about making a film.


Olivia, how did you first encounter the story? Did you see one of the stage productions?

Olivia Colman: No, I never saw it onstage. I wish I had. I don’t know what differences there were between the stage show and the screenplay that I read, but what I read, I’d never seen that point of view. I’d seen programs and films made about dementia, and you were an onlooker watching. But to read it, to be as confused as the person, as Anthony Hopkins’s character, was an extraordinary point of view that I’d never considered. Suddenly it felt like like, “Oh God, of course that’s how awful it feels.” I can’t imagine anything that touches it in quite the same way, and quite so beautifully, as Florian’s script.


Watching the movie, you’re thrown for these loops—are things repeating themselves, which point of view can I trust? It felt the same way reading the script?

OC: Exactly. Maybe one day [the script will] be published and you can read it, because it’s a really good read. I had to reread it, to sort of check who was who and what was what. And even when we were filming it, I kept saying, “Do I go to Paris?”

FZ: I remember that the last day, a producer came to me, and he said, “I have a question about the story, but don’t be disturbed about it. In the end, is she going to Paris or not?” I mean, even the producer was not certain that he understood the story.

OC: At least it wasn’t just me.

FZ: And I was like, “I don’t know, actually.” But it’s true that I wanted to put the audience in a unique position, as if they were experiencing what it means to lose your bearings. I wanted the audience to be in an active position, to go through a labyrinth and to question everything they are witnessing. We played a lot with the set, in order to play with the feeling of disorientation. It was a very exciting and challenging for us to find that delicate balance, to create that feeling without being too obvious.


Were there changes that you made from the stage version to the film?

FZ: Yes, because I didn’t want just to shoot a play. It’s not exciting. So, I tried to find what only the cinema can do. I kept the narrative from the play, but I tried to use the sets, for example, as a way to tell that disturbing story. During the film, there are many changes or metamorphoses of the set that you are never quite sure of where you are. It was a way to be yourself in a labyrinth.


Olivia, what was that like, to have to do your work after walking onto a set that’s just slightly different than it was yesterday?

OC: I had less of the repetition of lines than Anthony did, because he talked about chicken an awful lot, and I think that was really hard to learn. I don’t recall that I had to repeat as much as he did. But it was because with my character, I was always aware that I was going to be standing, going to my dad’s flat, or going to my flat, so it was less confusing for me. If you talk to Anthony, he goes, “Well, it was easy. I just had to be surprised at who was sitting there.” He’s very sweet and modest, but he makes it look easy is really what it is.


What was the trickiest part for you to play?

OC: It’s lovely to play opposite someone like Tony, so instead of it being difficult, it was always rather a joy. The one scene I’m very pleased I wasn’t present for was with Olivia Williams, when [Hopkins] says, “I want my mommy.” I’m so pleased I wasn’t anywhere near that, because I think I wouldn’t have stopped crying for days.

FZ: But we were all crying; it was a very emotional moment. And the paradox is that it was, at the same time, so joyful. When you have the feeling that you are achieving something truthful, sincere, and when you are going where you wanted to go, even though it’s sad, there is something joyful about it.

OC: That’s so nicely put. You’re right. That’s why it’s hard to say that it was really difficult, because you think, “Oh, we’re doing it right.” So, it actually feels rather positive. Does that make sense?


Florian, this is the first feature film you’ve made. Is it a leap to take on this different medium?

FZ: It was the beginning of something, of course. But as you said, it was also the continuation. So far, my life was to tell stories and to work with actors and, and to think about what could be shared with the audience. So, I felt as if it was the continuation, but also, everything is so much easier when you are lucky enough to work with such great actors.

OC: May I also just say about Florian—and I know Tony feels the same—that we could not believe it was his first feature film. Every day, everyone just trusted him and followed him, because he was pitch perfect every day and better in his first film than most directors are after 10 films.


Did working on this project impact the way you think about your own perception? It left me wondering about my own experiences and memories and how reliable they are.

OC: I think since making it, I do. This morning, for example, I was trying to get my daughter to school on time and going, “Where’s her bag? Where’s her school bag?” And I was holding it for 10 minutes. And I thought, “Is this the beginning of where I’m going to go?” I also remember my parents going upstairs and going, “Why am I up here?” And I’ve been doing that for years. It does make you think; it’s a fragile thing, your brain.

FZ: We all have these kinds of fears. And [making this film] was not only to highlight those fears, it was also to highlight the fact that we are alive, and we have to enjoy it as much as possible. It’s true also, that we did that film last year. As you know, over the last year, we all experienced this strange thing of being in lockdown, and in a way, the film is a lockdown as well. When you’re started thinking about adapting a play into a film, the first ideas you have is always to write new scenes outdoors, to make it feel more cinematic. But from the very beginning, I made the decision to stay in just the apartment, like a lockdown, so that that space could become a mental space. And in the end, this is what we have all experienced during this time, to have to be lost in a mental space. This is a very challenging experience, but also something that we are all going through together. We are connected, and I think art, and especially movies, are here to make us feel part of something bigger than ourselves.


check out our gallery for The Father photos


Promotional Stills
On Set
Production Stills

LA Times – These days, Olivia Colman can do no wrong: Not only did she pick up an Academy Award for “The Favourite” in 2019, but she’s also been top-lining Netflix’s “The Crown” (as Queen Elizabeth II) for the last two seasons and is poised for a big Oscar season this year, paired up with Anthony Hopkins in Sony Pictures Classics’ “The Father,” which releases later this month. But there’s more to the cheery Colman than deep drama — as The Envelope discovered during a recent phone call — where she spoke about her comedic past, having a “holy s—” moment over Meryl Streep, and how she ended up as “Olivia.”

“The Father” takes a unique approach to telling the story of a man with dementia and his daughter Anne — who you play — as we experience the world from his point of view. Why was that intriguing for you?

I have never read anything from inside the eyes of the sufferer of this particular condition. Normally, you’re watching and not understanding why they’re confused. But this was so brilliantly and beautifully done, with such empathy. Why has it never been done before? God, it’s genius.

Anthony Hopkins is truly a unique individual. What’s he like to work with?

He’s divine. And we approach things in a similar way: I take the work seriously, but not myself, and he is quite similar. He’s always there, always present, and you just have to react to one another. He can tap into real emotion instantly. He kept saying, “We’re so lucky, life is wonderful. With all its nasty bits, it’s still wonderful.”

You’re an A-list Oscar winner now yourself, but have you ever been intimidated by any legends you may have worked with?

Meeting Meryl Streep was a “Holy s—ball, it’s Meryl Streep” moment. The more people you end up meeting, the more you realize every one of them is a person. It would appear that the higher up they are, the sweeter they are.


Do you feel like you have to strain for normalcy now that you’re in a hit TV show and have the film industry’s most prestigious award?

I’m very lucky; I’ve got some good friends who’d be the first to go, “rein it in.” I’ve got dogs, and they still vomit, and you have to pick it up, and you can’t be too up yourself. I don’t think my husband would find me attractive if I suddenly started demanding things.

So where do you keep that Oscar?

It’s actually in a cupboard, because I’m slightly embarrassed if people come over … I don’t want to be too “Oh, look at me!” But I open the cupboard once in a while and go, “Mm-hmm, can’t believe it’s there.”

Olivia isn’t actually your given name; you’re a Sarah. Why make the change?

You’re not allowed to have the same as someone in Equity in the actors union in the UK. So, my flat mate was called Olivia, and I loved her name and asked if I could borrow it.

And you probably wear it more proudly than she does now.

Yes, it must have really pissed her off: “That’s my name!”

You’re all about drama these days, but your earliest work was in sketch comedy. Had you always planned to segue from comedy into more serious parts later on?

I think I always dreamed of doing some really lovely meaty drama. It takes a bit of a gamble, especially if you’ve always been known for comedy. Someone has to take a punch to give you another type of role. As a kid, I wasn’t great at school, but making people laugh was useful. And, certainly, boyfriends. I didn’t ever win anyone over by how I look, but if I made him laugh, they’d say, “Oh, she’s quite fun.”

What makes you laugh?

It’s awful, but if my husband falls over, that’s the funniest thing in the world. When our kids were tiny, running between his legs and misjudging him and getting him in the nuts, there’s nothing funnier. I know that makes me bad, but that gets me to the point where I have to lie down I’m laughing so much. But poor him.

“The Crown’s” latest season is digging up a lot of old dirt on Charles and Diana. Have you been surprised at the way people are responding?

I don’t know how they’re responding, because I like to put my head in the sand. I don’t want to know. I’ve got no idea, which is the way I like it.

What’s still at the top of your bucket list of things you want to do — professionally or personally — once you get out of the house again?

I’m really boring. I just want to keep working, because the idea is it’s all going to dry up, it’s terrifying. Like, I’m really s— at everything else. I need to keep acting. I don’t have any other skills.





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