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Here is the latest update in regards to Saoirse in Violet & Daisy. Cinedigm has acquired US rights for the movie!
Violet & Daisy, the first movie directed by Geoffrey Fletcher, who won an Oscar for his adaptation of the 2009 movie Precious, has been acquired for North American distribution by Cinedigm Entertainment.
Cinedigm is planning a theatrical release in 2013 followed by release on ancillary platforms including video on demand, digital and DVD.
Violet & Daisy, which Fletcher also wrote, is an action comedy about a pair of hit girls – played by Gilmore Girls’ Alexis Bledel and Irish actress Saoirse Ronan, an Oscar nominee for Atonement. The Sopranos star James Gandolfini plays a sad sack character who they are sent to kill.
The Hollywood Reporter, reviewing it out of the Toronto Film Festival where it premiered, described it as something “spun out of a Tarantino movie.”
“Geoffrey has once again created a uniquely profound coming-of-age story that effortlessly mixes gritty realism with pop culture fantasies,” said Vincent Scordino, vice president of acquisitions, theatrical for Cinedigm. “It’s a film that will inspire other artists, while satisfying audiences across the country via a variety of delivery platforms.”
“Cinedigm’s formidable team and innovative spirit are great for cinema and a perfect match for Violet & Daisy.” said Fletcher.
The filmmakers were represented by GreeneStreet Films and CAA, while Scordino negotiated on behalf of Cinedigm Entertainment, a division of Cinedigm Digital Corp.
Saoirse has been cast to star in The Grand Budapest Hotel
Having established herself as one of the leading dramatic actresses of her generation with turns in “Atonement” and “The Lovely Bones,” Saoirse Ronan is looking to try her hand at lighter fare, as she’s set to play the female lead in Wes Anderson’s next movie “The Grand Budapest Hotel.”
As Variety first reported, Ralph Fiennes will star in the period pic alongside Jude Law and Anderson regulars Bill Murray and Jason Schwartzman, among others. While Anderson is fond of working with the same troupe of actors, he has actively recruited international thesps he’s never worked with before such as Fiennes, Law and now Irish thesp Ronan.
The director has said that the story, set 85 years ago in a Hungarian hotel, is partly inspired by the witty films of Billy Wilder and Ernst Lubitsch (“The Shop Around the Corner”).
Anderson is producing the Euro-set pic with his “Moonrise Kingdom” collaborators Scott Rudin and Steven Rales of Indian Paintbrush. Production is skedded to start early next year in Germany.
Ronan, who was nominated for an Oscar at the age of 13 for her supporting perf in “Atonement,” will next be seen in Andrew Niccol’s adaptation of Stephenie Meyer’s bestselling novel “The Host,” which Open Road Films will release March 29. Thesp is attached to star in Working Title’s drama “Mary Queen of Scots” and most recently wrapped Kevin Macdonald’s “How I Live Now,” while Neil Jordan’s “Byzantium” and Geoffrey Fletcher’s “Violet & Daisy” are awaiting release.
Check out Saoirse’s latest interview with MTV News’ Josh Horowitz to talk about The Host:
If Saoirse Ronan seems a little cautious about talking to MTV News’ Josh Horowitz in this video, don’t worry: It’s not because she’s weirded out by our (leans in, whispers creepily) intimate questions. It’s that the last time she took questions about her new film, “The Host,” she revealed a little too much!
“Apparently I ruined the ending,” she confessed, laughing. “They had to cut it!”
Although hey, for perspective’s sake, it’s not like she ruined a story that nobody’s heard before; the book by Stephenie Meyer has been out for ages, and of course, as Saoirse admits, “the ending is in there, it’s already out in the open.”
Still, Josh kindly avoided quizzing the actress on any spoilery details and instead asked what she’s most excited to see when she gets her first look at the edited film.
Saoirse, who was at the Toronto International Film Festival supporting her upcoming film “Byzantium,” hemmed and hawed a bit—”I’m not mad about watching films that I’m in anyway, just because it’s a bit weird”—before admitting that, “I am looking forward to seeing the scenes between William [Hurt] and I, because I love William.” (The veteran actor plays her character’s uncle in the movie.) “And the scenes we had together, at the time it felt like there was a lot of heart.”
And the other thing she can’t wait for? Like a lot of fans of the book, the actress is psyched to see what the sets look like in their finished form on-screen—particularly the cave where most of the book’s action takes place.
“I’ve seen photos of that and it looks absolutely beautiful and very kind of epic,” she said.
And there you have it: a totally spoiler-free interview! Unless you were trying to avoid advance knowledge of how beautiful and epic the caves are, in which case…oops, sorry.
Check out Saoirse’s interview with Crave Online to talk about Byzantium during Toronto International Film Festival.
By the time I got to talk to Saoirse Ronan for her film Byzantium at the Toronto International Film Festival, interviews were getting cut shorter and shorter. Both talent and press were in a time crunch to cram everything in, but Ronan was such a total sweetheart and made it personal anyway. She gave me a great big hug and remembered speaking for films like Hanna and Atonement over the years. Her TIFF film casts her as a hundreds of years old immortal who survives by drinking blood, though never called a vampire in the film. Her mother, Clara (Gemma Arterton), plays it more seductively, but Eleanor (Ronan) keeps to herself and only drinks to euthanize old people.
CraveOnline: Most dramas deal with the tension you have with other characters. How do you imagine the personal tension you’d have with someone you’ve lived with for hundreds of years?
Saoirse Ronan: I think after a while it weighs quite heavily on your shoulders if you have a burden like Eleanor does. I think after a while it’s something that you just kind of drag around with you. You can see that in the film as well, she’s quite sad by her predicament and what she has to live with every day and what she has to do to live her life the way she’s supposed to. Yeah, the whole sense of Eleanor I think is quite melancholy which I like.
Were you still playing her as a teenager?
At certain times I was, yeah. When Frank (Caleb Landry Jones) comes into the film, I think he represents the teenage yearning and wants that someone like Eleanor needs in her life and probably hasn’t done ever since she has become this immortal thing. So it was nice to play a little bit of excitement there and have her make a little bit more of an effort with her appearance and things like that when she goes to visit him. That’s all nice. I think it needed that.
She may be 200 years old but she’s a permanent teenager.
Exactly and I think she’s an old soul anyway and she’s been through a lot, so she’s very wise and very mature. Not an adult but has certainly been through a lot to take her innocence away from her.
What was in the blood soaked rag you put in your mouth?
It was fake blood and it was corn syrup and food coloring and sugar. So it didn’t taste the best but it probably tasted better than real blood so I was happy with it. That was the only thing that really freaked me out of all the things that I saw. There’s this bit, it’s all in slow motion, and there’s this bit where my eyes just get really wide and they look a bit mad. So that really freaked me out.
She’s very melancholy as you said, but what do you love about Eleanor?
I love how old fashioned she is. I love how traditional she is in her etiquette and her disposition. I love that she wears old fashioned clothes and she’s exceptional on the piano because she’s had 200 years to practice and her handwriting is beautiful. Just the fact that she is more a killer of mercy than anything else. Unlike her mother, she will only take the lives of people who are willing to die and willing to give up their life for her to feed. So I do like that about her.
She had a good system going with the old folks, didn’t she?
She did, right? It worked for a while and then she’s got the kid coming in who’s on his way out, so she’s doing well.
Do you love Clara too?
I do love Gemma’s character. I think it’s great that there’s a real contrast there between our two characters. She’s very feisty and full of life and at the same time, she obviously hasn’t forgotten her past but she’s not willing to recognize it or talk about it or anything like that. In that way, that’s what makes her a bit more childish and Eleanor a little bit more grown up so it’s nice to have those two characters be so close to one another.
I first met you for Atonement and you’ve been acting since you were nine, so how has your approach to the work changed since then?
It hasn’t changed too much really. If I tried to change my approach, I don’t think it would work. At the end of the day, when I read a script and I’m thinking about it constantly afterwards and I start to think about the scenes that this characters that I’m wanting to play, I’m going over them in my head hours after I’ve read the script and I’m just really excited about the story, that’s when I know it’s something I’d really love to do and I have to do it. That’s never really changed for me. It’s a bit of an impulse and I wouldn’t want anything to cloud that in a way.
You’ve worked a lot. Does that mean you’re able to find a lot of things that you have to do?
I’ve found a lot of things that I want to do and that I’ve been very excited about. Luckily all the films that I’ve done pretty much have been ones that I have brilliant experiences on, because I’ve really put my heart into the story because I believe in it.
