Kate Winslet Online
16
Sep 20

2020’s TIFF Tribute Award honourees Kate Winslet, Sir Anthony Hopkins, Chloé Zhao, Mira Nair, Tracey Deer, and Terence Blanchard in conversation with TIFF.

The TIFF Tribute Awards is an annual fundraiser to support both TIFF’s year-round programming and the organization’s core mission to transform the way people see the world through film. The Awards honour the film industry’s outstanding contributors and their achievements, recognizing leading industry members, acting talent, directorial expertise, new talent, and a below-the-line artist or creator.


16
Sep 20

Kate was recognized yesterday at the Toronto Film Festival during their virtual awards gala!

Sir Anthony Hopkins and Kate Winslet paid tribute to health workers as they virtually accepted honorary awards from this year’s Toronto Film Festival.

Sir Anthony dedicated his accolade to “first responders all over the world”, saying: “This award is yours.”

Winslet, meanwhile, said it felt “very odd” to receive a Tribute Actor Award.

“To be giving applause to anyone other than those… at the forefront of the battle against this virus… does feel decidedly out of place,” she admitted.

The actors made their comments in pre-recorded acceptance speeches that were shown in a largely empty cinema as part of Tuesday’s presentation.

This year’s festival has been drastically scaled back due to coronavirus concerns, with only people based in the city permitted to attend physical screenings.

Directors Chloe Zhao and Mira Nair were also honoured at the TIFF Tribute Awards, which began with a filmed introduction from film-maker Martin Scorsese.

Sporting a bandage on his right hand, the Raging Bull and GoodFellas director said it was “very moving” that festivals like Toronto were “continuing to happen”.

“It’s becoming sadly common to see cinema marginalised and devalued and categorised as a form of comfort food,” the 77-year-old continued.

“We can never remind people enough that this remarkable art form is much more than a diversion. At its best, it’s a source of wonder and inspiration.”

Winslet also saluted festival organisers for doing their bit to “keep the poignancy of storytelling alive… through the powerful medium of film”.

Her award followed the Toronto premiere of her latest film Ammonite, in which she plays the 19th Century fossil hunter Mary Anning.

Francis Lee’s lesbian romance, which also stars Ireland’s Saoirse Ronan, is emerging as a strong contender for next year’s major film awards.

So is The Father, an adaptation of Florian Zeller’s 2012 stage play in which Sir Anthony plays an elderly man succumbing to dementia.

According to Variety, Hopkins is “flat-out stunning” in the film and gives “a brilliant, mercurial, and moving performance”.

The 82-year-old Oscar-winner said he was “astonished” he was still working as he accepted his own TIFF Tribute Actor Award.

Zhao’s accolade came hot on the heels of the Golden Lion award her latest work Nomadland received at the Venice Film Festival.

The film, scheduled for UK release on 1 January, stars Frances McDormand as a widow living as a nomad after the 2008 financial crisis.

“When I first entered the industry I thought if I showed any sign of vulnerability or made any mistakes, the people I work with would abandon me,” said its Chinese director.

“I feel incredibly lucky that the people I work with are there when I’m succeeding and are there even more when I fail.”

Zhao was highly praised for her 2017 film The Rider and was subsequently hired to direct upcoming Marvel blockbuster Eternals.

The Toronto International Film Festival continues until 19 September.

(source)


16
Sep 20

Here are images from events that Kate attended in 2007.


Gallery Links:
Kate Winslet Online > EVENTS and APPEARANCES > 2007


14
Sep 20

Director Francis Lee, Kate Winslet, and Saoirse Ronan in conversation with TIFF in advance of AMMONITE’s premiere at the 2020 Toronto International Film Festival. Winslet and Ronan star in this raw love story between a solitary palaeontologist and a wealthy, grieving wife in 19th-century Dorset.

Kate Winslet and Saoirse Ronan have both shown exceptional range, depth, and intensity on screen, but Ammonite reveals new colours. In this story of a visionary scientist and the young woman who changes her life, these two stars deliver performances of raw electricity.

Mary Anning (Winslet) devotes her days on Southwest England’s Dorset coast to finding and cataloguing fossils of ammonites, extinct and beautiful sea creatures. In the early 19th century this is no work for a woman, and no scientific society will have her. So Mary toils alone, even as male scientists visit to study and take credit for her work. When one visitor brings along his grieving wife, Charlotte (Ronan), then abandons her there to return to London, the two women have no one to turn to but each other.

Francis Lee’s follow-up to his award-winning God’s Own Country shows the same talent for powerful love stories in harsh environments. The rocky, windswept seaside of Lyme Regis is palpable here. Lee directs with a similar brisk urgency, cutting to the core of Mary’s anger and Charlotte’s pain, charting the gathering emotional storm that throws them together. As in God’s Own Country, Lee films physical passion without a shred of prudishness. He, Winslet, and Ronan forego period gloss for a portrait of desire that feels so much more true. And in showing the full gamut of Mary’s astringent brilliance and unvarnished lust, Winslet delivers one of the very best performances of her career.

Francis Lee is from West Yorkshire, England. He trained as an actor and worked in theatre, film, and television before turning to filmmaking. His debut feature, God’s Own Country (17), won numerous awards including Sundance’s World Cinema Directing prize, the London Film Critics’ Circle Award for Breakthrough British/Irish Filmmaker, British Independent Film Awards for both Best British Independent Film and Best Debut Screenwriter, and the Bill Sherwood Award (Best First Feature) at Toronto’s Inside Out Film and Video Festival. Ammonite (20) is his latest feature.


13
Sep 20

Here are images from events that Kate attended in 2008 including press for her films The Reader and Revolutionary Road.


Gallery Links:
Kate Winslet Online > EVENTS and APPEARANCES > 2008


12
Sep 20

As the Toronto Film Festival is set to start this week, Vanity Fair did a feature interview with Kate. Her film Ammonite debuts this week and Kate talked about playing the part of Mary in the film and looks back at some of her past roles.

The Oscar winner, whose powerful love story Ammonite debuts at the Toronto Film Festival this week, knows the industry can do better—and that she can too: “What the f–k was I doing working with Woody Allen and Roman Polanski?”

Kate Winslet has been acting for nearly two thirds of her life. Now, at 44, a cultural reckoning, a global pandemic, and a remarkable new film role have caused the Oscar winner to reevaluate her career choices.

In a wonderfully frank, free-roaming conversation with Vanity Fair this week, Winslet said she regretted collaborating with two controversial filmmakers, remembered a troubling moment on the set of her first film, and admitted to deep reservations about the excesses of movie promotion and awards seasons (“It’s always been so baffling to me—the hoopla and the wasted money that could be better put to making more independent films, number one, or building fucking classrooms.”) Her goal moving forward is to shed all complacency about the messages that her movies send out to the world, as well as the way in which they are made.

Winslet has three children, and is married to Ned Rocknroll (born Ned Abel Smith), the nephew of business mogul Richard Branson. Her new movie, Francis Lee’s Ammonite, premieres at the Toronto International Film Festival on Friday. In it, Winslet plays the real-life paleontologist Mary Anning. She told VF that the powerful love story at the center of the film, with a grief-stricken young married woman played by Saoirse Ronan, was “one of the most joyful experiences of my career.”

Vanity Fair: What is the quarantine experience like for you these days?

The focus more than anything has been getting the kids safely back at school. I’m trundling along with life. Obviously, we’re not just like everyone else because we live in a nice house, and we’re comfortable…. We’re just so lucky and don’t have anything to fucking complain about ever, frankly. We’re just trying to make the best of an extraordinary fucking global disaster. It’s just horrendous, isn’t it?

It’s eerie how similar what is happening was to your film Contagion. Did you see that people were streaming it on Netflix in record numbers after the coronavirus hit?

Yeah, and I was like, “What are they all fucking doing? It’s a scary film. Stop watching that.”

How do you hope Hollywood will change after this? There has to be some aspect of working remotely for you that’s nice. The fact that we can be doing this interview from home without makeup and just––

Exactly. And actually I’m wearing an old bathrobe because, to be completely honest with you, none of my pants fit me at the moment.

I’m in my pajamas and just combed my hair. That was the extent of my cosmetic preparation.

I just took a shower because I was like, “I’ve got to do something for the poor woman.” I think the question of how Hollywood will change is probably not something that any of us could fully answer quite this far out. But it is clearly changing significantly. Just experiencing the little bit of press that I have been doing to support Ammonite…I love not getting into those fucking dresses and those fucking shoes. All the money. It’s always really pained me, the money that gets wasted on colossal, great big junkets: flying journalists, actors, glam squads all over the world. Why the hell is any of that important? If I cared what I looked like, I would have put makeup on right now.

It’s always been so baffling to me—the hoopla and the wasted money that could be better put to making more independent films, number one, or building fucking classrooms. Jesus Christ, you know?

For me, there’s a lot that’s already changed. I’ve said to the people who help me with press, “If any of the bans are lifted anytime soon, and the requests come in for me to fly places, can you apologize and say I won’t be doing that because it’s a waste of air travel?” It’s appalling—putting ourselves into the sky left, right, and center. There’s only so much a person can stomach before your morals come into play. We’re still able to do all the things that need to get done without pumping biofuels into a beautiful, beautiful fading world.

Do you feel the same way about award shows moving forward?

I’m afraid I think I kind of do. The dresses, the stress, the dress fittings…It’s so stressful, and I know that sounds like, “Oh, here goes Kate Winslet talking about how stressful it is to do dress fittings for award shows.” But it is stressful. I don’t like having to squeeze my hot-and-bothered mum-on-the-school-run body randomly into a red carpet dress that I’m never going to wear again. The money that’s wasted on it. The hours and stress that people pour into these things. The incredible artists who make these dresses are wonderful, but to make something that’s only going to be worn once…I’ve already decided I’m doing repeat dresses. Everything will have to be let out, but whatever.

Your character in Ammonite, Mary Anning, is so heartbreakingly isolated. How are you able to go to those dark places for long periods of filming when you are a hands-on mother?

Ammonite was filmed in Dorset, which is exactly a two-hour drive from where I’m sitting. I spent about three nights out of five down there by myself. Then my husband would come with our little one and one of the old ones normally…but I’m very fortunate to be in a position where my husband is in the home doing all of the things that I would ordinarily be doing. I always find it so strange talking about process and not sounding like a complete fucking asshole because who wants to hear about an actor’s process—especially at a time like now.

But to go into just some basic details, I tried to be isolated. I don’t have assistants on set or stuff like that. I never have. I drove myself to and from work just because I needed to be in Mary’s headspace. I was able to stay in a rented house that belongs to some family friends of ours. It’s a very small, small house that sits right on a heavily pebbled beach right by the cliffs…. When the wind would blow, the whole place would rattle and shake. I know that sounds a little bit possibly indulgent, but that helped me—to be living alone, tucked away, being buffeted by the elements in the way that Mary would. If in doubt, just go back to basics: Put yourself as near to the situation as you possibly can.

What else helped you get into the character’s mindset?

There’s very little written about [the real-life Mary] in terms of physical description. A couple of people described her as being very thin and worn and pinched…but I didn’t want to do that because this isn’t supposed to be a biopic. Also, I felt it was very important to be able to carry the weight of the manual laboring life that was so much a part of who Mary was. There’s a solidity and a heftiness to her that I wanted to create. That just meant physically doing a few things a little differently and letting go of all vanity. I mean, no makeup.

And I’m older now. I’m about to turn 45, and shit moves. [Winslet pulls at her face.] Even when I saw the film, I was like—truly, with a smile in my heart—I was like, “Oh, look at my neck doing that little, slightly different thing now. Isn’t that interesting?” Actually, I quite enjoyed noticing those things about myself because they did go hand in hand with Mary and it’s lovely to see that roughness of her—the worn, gnarled, worked things in her body. We focused on making all of that apparent. We would hold my hand up to Saoirse’s [for shots]. I’d go, “Fucking hell, Saoirse, look at my hand and your beautiful, little, delicate, tiny hand. My youthful years have gone.”

Physically, with my own body, I was determined to allow for the differences in my own womanly self to be seen—and not to cover them up with makeup or hide them. It wouldn’t have been right for Mary. And it’s also not honoring the age I am now and those changes. I don’t think we see enough of that in films.

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01
Sep 20

Lily (Susan Sarandon) and Paul (Sam Neill) summon their loved ones to their beach house for one final gathering after Lily decides to end her long lbattle with ALS. The couple is planning a loving weekend complete with holiday traditions, but the mood becomes strained when unresolved issues surface between Lily and her daughters Jennifer (Kate Winslet) and Anna (Mia Wasikowska). Joining the collective farewell are Lily’s son in law (Rainn Wilson), her lifelong friend (Lindsay Duncan), daughter’s partner (Bex Taylor-Klaus) and grandson (Anson Boon). Her story is ultimately one of hope, love and a celebration of life.


01
Sep 20

The actresses had total control over their sex scenes in their upcoming film Ammonite

Kate Winslet’s latest film Ammonite gave the actress control over her nude scenes.

The Oscar winner, 44, appeared on the cover of this week’s The Hollywood Reporter in which she spoke about her upcoming film opposite Saoirse Ronan.

Ammonite follows the story of Mary Anning (Winslet), a paleontologist who takes on an apprentice, Ronan’s Charlotte Murchison. The two are wary of one another at first but fall passionately in love in 1800s England.

“Saoirse and I choreographed the scene ourselves,” Winslet told THR of the most explicit scene in the movie. “It’s definitely not like eating a sandwich. I just think Saoirse and I, we just felt really safe.”

Director Francis Lee “was naturally very nervous,” the Titanic star said.

“And I just said to him, ‘Listen, let us work it out.’ And we did,” Winslet continued. “‘We’ll start here. We’ll do this with the kissing, boobs, you go down there, then you do this, then you climb up here.’ I mean, we marked out the beats of the scene so that we were anchored in something that just supported the narrative.”

Winslet referred to the moment as a career highlight. “I felt the proudest I’ve ever felt doing a love scene on Ammonite,” she said. “And I felt by far the least self-conscious.”

The period piece also stars Killing Eve’s Fiona Shaw, Gemma Jones, James McArdle and Alec Secareanu.

While Ammonite was set to play at the Cannes Film Festival and the Telluride Film Festival earlier this year, the debuts were canceled amid the coronavirus pandemic.

Currently, the film is scheduled to debut at the Toronto International Film Festival in September.

(source)