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Not because she wasn’t enamored with the story—an intimate study of the complex relationship between a wayward teenage boy and his dying alcoholic grandmother—but because the film would require her to travel to New Zealand. “I know New Zealand well because the father of my son is from there,” says Rampling. ” After a single meeting in Paris with actor, writer, and director Matthew J. Saville (who makes his feature directorial debut with Juniper), however, Rampling was convinced.
Dune
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On small films in particular, there’s a real sense of camaraderie—this sense that you’re all on an adventure together. We were all in the outback together, and we had to stick it out, so you might as well get along. [Laughs.] George was asking me about acting and tips for his performance and things like that, but I just said, “George, forget about all that and just be you.” Quite often these young actors work with acting coaches before the role, and they can be almost overtrained.
early 1980s: mature roles, Hollywood, and Italian cinema
She’s a woman who is tired of life, and she knows she’s going to die, but she had led an extraordinary life as a war photographer, so I didn’t want to fall into any caricatures. She had to be this tempestuous person who can get to be a little too much and has a bad temper, of course, but I always try to avoid anything that feels like a caricature. I wanted to make it into something I could play around with. However, her name was launched back into the A-list after her performance as a complicated aunt in the multi-award-winning The Wings of the Dove with Helena Bonham Carter. In 2000, Rampling was nominated for her own Oscar; her portrayal of a phenomenally distraught widow in Under the Sand was praised by critics and audiences alike as one of the best performances of the year.
Life Events
Meanwhile, Rampling starred "Rio Sex Comedy" (2010) opposite Bill Pullman and Fisher Stevens, and joined an ensemble cast for the biblically-themed drama "The Mill and the Cross" (2011). From there, Rampling was the superior of a Secret Service agent (Sean Bean) determined to stop a suicide bombing in the taut British thriller "Cleanskin" (2012). She went on to earn critical praise and A SAG award nod for her turn as a mother whose daughter investigates her past as a World War II spy in the made-for-cable movie "Restless" (Sundance Channel, 2012), which was adapted from William Boyd's award-winning novel. Tessa Charlotte Rampling OBE (born 5 February 1946)[1] is an English actress.[2][3] An icon of the Swinging Sixties, she began her career as a model.[4] She was cast in the role of Meredith in the 1966 film Georgy Girl, which starred Lynn Redgrave.
Roles originally offered to Rampling
Charlotte Rampling self-identifies as a “prickly” person. “Like a hedgehog or porcupine, you don’t necessarily get too close,” she told IndieWire. "I'm fatalistic about my career. That's how I can live out her [in France] and not be the center of things. I believe the projects that eventually work out were meant to be." --Rampling to Women's Wear Daily, March 9, 1988. "I think I looked for tortured subjects to correspond with how I was really feeling. It's interesting, isn't it? I know I have a comedy gift. John Cleese and Woody Allen have both told me that, but instead I play all these tragic ladies." --Charlotte Rampling in The Observer, September 25, 1994. After developing a flying web-cam Alain has his boss and wife over for dinner.
Her film roles include Georgy Girl (1966), The Damned (1969), Henry VIII and His Six Wives (1972), The Night Porter (1974), Farewell, My Lovely (1975), Stardust Memories (1980), The Verdict (1982), Angel Heart (1987), DOAThe Duchess (2008), 45 Years (2015), and Hannah (2017). She has also made television appearances, which include Dexter, Restless, Broadchurch and London Spy. It is rare to find a mention of Rampling that does not refer to her credentials as a muse. She has been a muse to François Ozon, who revived her film career in the late 90s, to designer Yves St Laurent and photographers Helmut Newton and Juergen Teller (posing nude for the latter in front of the Mona Lisa), and now to Andrea Pallaoro, too.
Dune: Part Two
“I discussed it internally, but boy, do you need help afterwards.” Where did she get that help? “You get professional help from psychiatrists and psychotherapists, reading a lot of philosophy and literature.” She says the book The Road Less Travelled by M Scott Peck helped greatly. Rampling is in her apartment in Saint-Germain-des-Prés, “which is just like the old Chelsea that I loved”. She is wearing shades, but takes them off to reveal those famous hooded blue-green eyes. “Juniper” takes a nonjudgmental approach to Ruth’s alcoholism — including the pitcher of gin she foists upon her grandson daily for a refill.
Acting
Just like Juniper, Dune began with Denis Villeneuve wanting to meet with me. I knew all about Dune because way back when, I was being considered for Dune by Alejandro Jodorowsky, and my husband at the time, Jean-Michel Jarre, was wanting to do the music, so we were all talking about that for quite a while. And Dune was this very popular, cult book in the 1970s, so that started then, and then David Lynch did his, but I wasn’t in that. When Denis wanted to meet me, I just thought, This is lovely!
Juniper review – Charlotte Rampling is absolutely furious and fabulous
“Another thing about acting is that I got bored very quickly. I’ve got a very, very restless character … It’s a beast.” Does she know where it comes from? In her hotel room, she pulls an armchair around to face mine, folds her arms, and sits forward, legs apart, as if she means business.
She turns up to be very rude, and the same night Alain finds a live rare Scandinavian lemming clogging up the kitchen sink. Los Angeles private eye Philip Marlowe is hired by paroled convict Moose Malloy to find his girlfriend Velma, former seedy nightclub dancer. A disturbed young woman is kept prisoner in a castle by her aunt for her money. The game-keeper, her guardian, tries to rape her but she escapes. In her flight she meets a man also running away, from two killers. The first is a modest provincial hairdresser while the second leads the great life in Paris.
Part of it is asking yourself how you get into the mind of a younger actor, but it comes very naturally because everyone is human. Unless you’re in a place where you don’t really want to learn, you don’t really want to listen to others, then there’s always potential. When you’re working with the other actors and the director and the crew, it’s very intimate—you’re all intertwined for a certain period of time, and you get to know some of them better than you do your real friends because you spend so much time sitting around and talking and eating together.
In 1975, Rampling starred opposite Robert Mitchum in the post-noir detective thriller Farewell, My Lovely, and offered a passionate rendering of a violent heiress confined to a mental institution in the French/Italian/German collaboration La Chair de l'Orchidée. The actress' success continued to grow throughout the latter half of the 1970s, and in 1980, Rampling played a lead role alongside Woody Allen in Stardust Memories, the follow-up to the much-hailed Manhattan. Shortly afterward, Rampling could be seen as the deceitful Laura in director Sidney Lumet's courtroom drama The Verdict (1982) with Paul Newman. Rampling spent much of the mid-'80s filming in Europe; one of her most notable performances during that time was as the mysterious mistress of a murder victim in the French crime thriller On Ne Meurt Que Deux Fois, though she would return to America for Alan Parker's Angel Heart. The heavily praised voodoo-themed crime thriller featured Rampling as an ill-fated woman whose heart is irrevocably extracted from her body.
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