Olivia Colman Source

“It was weirdly enjoyable to do.”

Digital Spy – The Father unintentionally became the most-talked-about movie of this year’s Oscars after Sir Anthony Hopkins surprisingly won Best Actor over Chadwick Boseman, leading to a muted end to the ceremony as Hopkins wasn’t in attendance.

However, it won’t be long into watching The Father that you realise Hopkins deserved every award coming for his sensational performance as a man living with dementia. He steadfastly refuses any help from his daughter Anne, who is planning to move to Paris and needs to ensure her father will be looked after.

Fellow national treasure Olivia Colman takes on the role of Anne and is equally brilliant as a person trying to do her best in an almost impossible situation. Talking to Digital Spy, Colman credits her co-star for making her job “easy” when they’re both dealing with heavy subject material.

“When the camera’s mainly on Tony, I’m standing next to the camera going, ‘Wow’. It was amazing. Lots of people ask what’s it like to meet him, and I was really nervous and terribly excited, but you know within five minutes, he’s just a really, really lovely, generous man,” she reflects.

“So all of that can go and you can really enjoy scenes together. Looking into each others’ eyes, he’s feeling everything which means it easy for me, I just react to him. There were moments where you just go, ‘Oh, he’s really good’. You can’t help but be a little bit aware that you’re working with him, but he’s so adorable [and] lovely.”

The Father – which is finally out in UK cinemas – marks Florian Zeller’s directorial debut with Zeller adapting his own play, Le Père, for the screen, along with co-writer Christopher Hampton.

Hampton has translated all of Zeller’s plays for their English-language runs, and the director enthuses that their “trust and friendship” means that The Father has lost nothing in translation. Hopkins was always in mind for the lead role which was why Zeller chose to do the movie in English, but the idea of Colman as his daughter came later.

“I hadn’t started the process of imagining the rest of the cast because, somehow, somewhere, it seemed unrealistic to me that it will one day happen. As soon as I met Anthony, I started the process of dreaming that maybe it could happen,” Zeller recalls.

“I have always adored Olivia as an actress and I was so excited about this idea that it could be her, so we met just after I met Anthony, and I was so happy that she was open to joining us. I think the film is what it is really thanks to her, and I know that.”

The genius of The Father is that Zeller truly puts you in the point of view of a person living with dementia. Throughout the movie, there are subtle background set changes, characters showing up played by different actors and events don’t always seem to flow chronologically, with moments repeated and seen from different viewpoints.

It’s a disorientating experience that leaves you questioning what you thought you saw or knew, and it’s extremely effective as even if you wanted to put things in order, you won’t be able to – much like Hopkins’s character in the movie.

Despite the unique approach to the movie, Colman didn’t need to have her own timeline of events to make it work.

“What was great that we didn’t need to. Particularly, Tony didn’t need to check where he was because the confusion was all a part of it. I just had to turn up and play the scene and knew that it was Florian’s job to put it all together,” she explains.

Colman adds with a laugh: “Maybe I should have done that, but I didn’t do that. Thanks for bringing it up now.”

At times, The Father fills you with a sense of unease that even the best horrors can’t match, and it just adds to the emotional impact of the movie. This is not a movie for an easy Friday night watch, it’s tough and devastating and will linger with you long after the credits have rolled.

Without going into spoilers, the finale is truly heartbreaking to watch and highlights the power of Hopkins’s performance. Colman was just glad she wasn’t on set the day it was filmed – co-star Olivia Williams shares that scene with Hopkins – as if it’s this hard to watch, imagine how affecting it’d be to watch it play out over several takes.

“I’m pleased that was Olivia Williams because she’s much braver than me. I don’t think I’d have coped with that at all,” she notes, although Colman is involved in some tough scenes too that she was kind of “excited” to film them.

“It was always an honour to do it. Hard and upsetting. The upset is real, but it’s hard to describe it. It’s real, but we know also that we’re regurgitating an upset… I don’t know how to describe it, I’ve never been good at talking about acting,” she concludes.

“It was weirdly enjoyable to do.”

 

FEATURE FILMS > THE FATHER (2020)


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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.

Why?
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.

 

 

 

MAGAZINES & SCANS > 2021 > VANITY FAIR ITALY, 23 JUNE 2021


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PHOTOSHOOTS > 2019 > HARPER’S BAZAAR BY ALEXI LUBOMIRSKI


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Olivia Colman has said emerging talent in the performing arts needs to be given “encouragement” in order to stop them leaving the industry amid uncertainty caused by the pandemic.

The Oscar winning actress said the pandemic has “certainly delayed a lot of people’s start” in breaking into the arts.

Colman was speaking as part of a panel judging the Screenshot competition to seek out the next generation of comedy writers and performers for TV.

Produced by Tamasha Theatre’s Debo Adebayo, alongside South of the River (SOTR) Pictures and production and development company Sister, the competition was designed as a response to the impact Covid-19 has had on the performing arts and to create opportunities for emerging comedy writer-performers to showcase their work.

The initiative was won by 31-year-old Jenna Al-Ansari, whose one-woman political satire, called Protect and Survive, saw her portray a Conservative MP named Bambi Buttery-Potts, who is battling to have her Protect and Survive nuclear protection campaign taken seriously.

Colman praised it as “one of the best, most complete performances I’ve seen in a long time.”

The Bahraini-British writer will work with SOTR Pictures, which was founded by Colman with her husband Ed Sinclair in 2019, and production and development company Sister, to write a pilot episode of Protect and Survive.

Al-Ansari said a year ago she had never really written anything but the pandemic gave her the time to try her hand at comedy.

She told the PA news agency: “This has been such a year of opportunity for people to think, ‘F*** it, I might as well.”

She added she is “very happy and grateful” to have won.

Oscar-winner Colman was joined on the judging panel by other industry figures including comedians Lolly Adefope and Rosie Jones and Fleabag creator Phoebe Waller-Bridge to decide the overall winner at a closed-door showcase at The Royal Court theatre.

First announced in October 2020, Screenshot received 600 entries, which were whittled down to 13 finalists who performed during the socially distanced showcase.

Colman said: “[The competition] was so encouraging that these people have actually just been bubbling away and it is going to really explode once we are allowed out. It’s so exciting.”

She added that young talent needs to be given “encouragement from the establishment, from theatres, from people who can commission” in order to keep them in the industry during the pandemic.

“Support each other. This is a huge community and everyone should look after everybody and we are pretty good at that as a community.”

Colman said being back in a theatre was “so exciting”, adding: “You sort of forget a little bit how it feels to watch a live performance and we were so lucky.

“We felt like the luckiest people in London today watching act after act that was just brilliant and they all could’ve won.”

A joint statement from SOTR and Sister said: “We could not be more delighted with how the Screenshot final unfolded.

“What a joy it was to be reminded of the vital, visceral magic of the theatre, and its unique ability to generate shared laughter. Our heartfelt thanks and congratulations go out to all our talented, dedicated and extremely funny finalists.

“We can’t wait to build on the relationships we have formed, and to continue to reach out a hand of friendship and support from TV to theatre.”

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HOME > PUBLIC APPEARANCES > 2021 > SCREENSHOT, 3 APRIL 2021

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A sensitive detective in “Broadchurch”, majestic Elizabeth II in “The Crown” … No matter her character, Olivia Colman has a gift for moving others. Her heartbreaking performance in Florian Zeller’s “The Father”, next to Anthony Hopkins and soon to be in theatres, could earn her a second Oscar.

 

“You must have talked with so many actors who would give better answers than me!” Sitting in her living room, Olivia Colman looks at her laptop with a saddened smile. In the adjacent room, we hear her dog barking. “I’m not an intellectual, I can’t talk about my acting. I’m scared that by over-analyzing it, I’d lose my spontaneity.” We could expect the English actress, aged 47, who had her breakthrough as sensitive detective Ellie Miller in the crime drama Broadchurch and who delivered a remarkable performance as Elizabeth II in the historical series The Crown, to be a bit blasé.

 

Despite the critics’ praise and a shower of prizes on both sides of the Atlantic, she actually shows a disarming modesty. When winning an Oscar for best actress in a leading role for The Favourite by Yorgos Lanthimos, in 2019, she showed up on stage and laughed “This is hilarious! This is not going to happen again”. But here she is nominated in the “best supporting actress” category for The Father and only a few days away from a possible second win during the Oscars ceremony on April, 25th.

 

“I dare you to not start crying when Anthony Hopkins is sitting right in front of you!”

In this adaptation by the French director Florian Zeller of his own play Le Père, she portrays Anne, the daughter of an old man who is suffering from dementia (Anthony Hopkins) and who loses his touch with reality. “She sees him falling apart and is forced to go from child to parent,” says Olivia Colman, who delivers a performance full of contrasts, who goes from melancholia to distress, from laughter to tears, without ever giving the impression of forcing it. A challenge in what she calls a “room movie”, and a new illustration of the intensity of her acting? “Ah! No, it was easy, Florian’s script is so beautiful, so detailed and delicate, that I did not have to think too much about it. And I dare you to not start crying when Anthony Hopkins is sitting right in front of you!”

 

“She always wants to do better, with a vulnerability, a form of insecurity that seems unlikely in such a performer.” analyzes Florian Zeller, who sees in her simply “the best British actress of the moment”. A humbleness that goes back to the beginnings of a woman, native to the rural East of England. “I was around 16 when I first started thinking about becoming an actress, but I didn’t think I had the right to do it,” she recalls. “I had no idea how to do it. Just like when we are kids, we go to the circus but this wonder seems inaccessible.”

 

She enrols at Cambridge University and intends to do a “normal job” but abandons the idea after one semester— “Thank God, I would have been a terrible teacher!”. It is then, that she joins an amateur theatre group before getting into the prestigious Bristol Old Vic Theatre School, at the end of the 1990’s.

 

For her final exams, she must convince a jury of her acting skills in under a minute. “In such little time, I decided that it would be easier to make them laugh rather than cry. Pulling a face has an immediate effect. A sad face takes longer to touch your heart.” A choice that sums up the follow- up of her career, going into comedy. David Mitchell and Robert Webb, two young amateurs she met at Cambridge, help her make her debut in the BBC sitcom Peep Show, starting in 2003. She portrays Sophie, a young and unstable woman.

 

“Her face is so versatile and has such expressivity that all emotions can appear on it successively.” Florian Zeller, director of “The Father”

Everybody thinks she’s hilarious except for herself, of course. “They needed a woman, they thought I was funny and I was available. It allowed me to have “actress” on my passport, it was glorious.” Also seen in an episode of The Office in 2002, Olivia Colman often comes back to her first love comedy, notably in 2016, in the TV show Fleabag, as impossible Godmother, “awful but delicious, unbearable with a smile”.

Around 2010, she starts to go to castings for drama movies. The actor and screenwriter Paddy Considine gives her a chance in Tyrannosaur (2011) in which she portrays a victim of domestic violence who meets a grieving man (Peter Mullan). “The movie is tough, its subject is so serious… I was terrified.” With an astonishing fragility and contained anger, she collects her first awards and catches the attention of the television writer Chris Chibnall, who was then working on Broadchurch.

 

Alongside David Tennant, she transforms a classical figure from the small screen, a troubled policewoman, into an ordinary woman at the centre of a tragedy, who holds in her anxiety, the impossibility to confront the inexpressible. An introspective, intimate approach, sublimed by her capacity to convey a vast variety of emotions with one single glance. “The physiognomy of Olivia allows her to be every age, to go from a vulnerable young girl to a mean old woman”, says Florian Zeller. “Her face is so versatile and has such expressivity that all emotions can appear on it successively.”

 

In 2014, Olivia Colman meets Yorgos Lanthimos – “I had seen his movie Dogtooth (2009) and I wondered what was possibly going on in his head!” The Greek filmmaker offers her a part in The Lobster, her first work with Lanthimos, as the director of a hotel where single people, all of them societal outcasts, come to spend their last moments. An embarrassing character, between grotesque and terror, who fits well with Colman and who marks the beginning of a collaboration that will turn into another shared project, four years later: The Favourite.

 

“Her emotional intelligence is astonishing. She seems to be able to get to her inner self effortlessly.” Florian Zeller, director and writer of The Father

Yorgos had a vision and let me participate. The view of the writer is the only thing that usually matters; to take into count another one might give it a twist. Her interpretation of Queen Anne of England, unhappy sovereign, stubborn and sick, in the 18th century, confirms her talent to move others, even in the skin of unbearable characters. “There is something so warm in her that all her roles become sympathetic, echoing her nature” sums up Tobias Menzies, who plays Prince Philip next to her in The Crown.

 

Olivia Colman has a simpler explanation: “I don’t like playing, I’m only being myself.“ She brings her own experience to all her roles. For The

Father, it was the memory of her mother who worked as a nurse in a clinic for Alzheimer’s patients, and the familiarity of Anthony Hopkins as a paternal figure – “I know his face so well, I’ve seen him so many times on stage, on the tv, in the newspapers that part of myself was saying “My God, Anthony Hopkins is not doing well, he is in front of me and his life is falling apart.”

 

Florian Zellers confirms: “Her emotional intelligence is astonishing. She seems to be able to get to her inner self effortlessly and can project her own effects on her co-stars as if they were her husband, her sister or here, her own father. She truly was overwhelmed by Anthony.”

 

The change from work to reality pleases her even more, so that this role seems distant, just like the two sovereigns she portrayed simultaneously in The Favourite and The Crown. Queen Anne is angry? Olivia Colman uses it to unwind herself. “Usually, I never lose my temper. Not one single argument in 27 years of marriage. But I love playing someone who gets angry. That may be the reason why I’m a joyful person: I put all my negative vibes into my job.”

 

Elizabeth II is impassive? “A rock that is not supposed to fall apart in front of others, just like me.” During the scenes that affect her the most, the actress even uses an earpiece that transmits the weather forecast. “At the risk of being a bit impolite and not listening to what my fellow actors say”, she joked on the BBC in 2018.

 

“To play a super-villain in a Marvel production, that would be amazing, I would have to work out and learn how to fly!”

After The Father, expected to be released in France when theatres open again, we will see her in The Lost Daughter, an adaptation of the novel “The Lost Daughter” by the Italian writer Elena Ferrante (My brilliant friend) and the first motion picture project of colleague Maggie Gyllenhaal. Is she waiting for a blockbuster? “I must have sent a million e- mails to my agent asking to find me a role in a Marvel movie. A supervillain, that would be amazing, I would have to work out and learn how to fly!” she says excitingly while swinging on her chair. We’ll have to wait for a long time if we ever want to see the day when Olivia Colman will be blasé…

 

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HOME > MAGAZINES & SCANS > 2021 > TÉLÉRAMA, 24 APRIL 2021

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The Oscar nominee is making her Marvel debut.
 

Oscar nominee Olivia Colman is heading into the Marvel Universe.

Colman, who is nominated for the best supporting actress Academy Award for her role in the British drama The Father, is in negotiations to join Secret Invasion, Marvel Studios’ next series.

The show uses the events of Marvel’s Captain Marvel movie as a launching pad and focuses on the ever-popular secret agent Nick Fury, played by a returning Samuel L. Jackson, and a shapeshifter from the alien race known as the Skrulls (Ben Mendelsohn, reprising his role from the feature).

Plot details are being kept under wraps but infiltration of Skrulls on Earth figures into the proceedings. It is unclear who Colman would play.

Marvel had no comment, but the cast also includes One Night in Miami breakout Kingsley Ben-Adir as the likely villain.

Directors are being lined up for the job and Kyle Bradstreet, who worked on the acclaimed cyber-thriller series Mr Robot, is writing and executive producing Invasion.

Colman won an Oscar for her work opposite Emma Stone and Rachel Weisz in 2018’s The Favourite in a part that landed her numerous other plaudits. Her regal work as Queen Elizabeth II in Netflix’s The Crown also earned her considerable raves. She will next be heard in Sony Pictures Animation’s The Mitchells vs the Machines. She is one of the voice stars in the Phil Lord-Chris Miller-produced feature set in a robot apocalypse.

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