It's been going on for years. I've read some about that too, it seems like if there are two co-leads the more established one (Redmayne, Blanchett) are put in lead and the other in supporting, however last year both Eddie and Felicity were put in lead, but non of them were that big of a name before that. It will be interesting to see how it all ends up, in the end it's up to the voters. Alicia isn't that involved, the only thing I've read her say about it is that her character is supporting to Eddie's in the movie. (Meaning she's playing a supportive wife) Other then that she didn't know much about what was going on. Either way, would be wonderful to see Alicia get a nomination but the competition is stronger then it has been for years, I think the voters will listen to Focus wish to have Alicia in supporting in the end.
Michael & Alicia Fassbender ~ A Loving Couple Thread
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It's been going on for years. I've read some about that too, it seems like if there are two co-leads the more established one (Redmayne, Blanchett) are put in lead and the other in supporting, however last year both Eddie and Felicity were put in lead, but non of them were that big of a name before that. It will be interesting to see how it all ends up, in the end it's up to the voters. Alicia isn't that involved, the only thing I've read her say about it is that her character is supporting to Eddie's in the movie. (Meaning she's playing a supportive wife) Other then that she didn't know much about what was going on. Either way, would be wonderful to see Alicia get a nomination but the competition is stronger then it has been for years, I think the voters will listen to Focus wish to have Alicia in supporting in the end.
They are adorable.
It's about time someone actually wrote something that makes sense. We all know these things have been happening for ages and it's obvious that the voters don't care, if they did they would change the rules like they have done before. As its stands what he has described it's what's been working for the Academy for many years and will continue to work. Unfortunalely there's always the general media ready to make a big deal out of things that they do not understand and it spreads around like fire.
It's about time someone actually wrote something that makes sense. We all know these things have been happening for ages and it's obvious that the voters don't care, if they did they would change the rules like they have done before. As its stands what he has described it's what's been working for the Academy for many years and will continue to work. Unfortunalely there's always the general media ready to make a big deal out of things that they do not understand and it spreads around like fire.
Alicia's movies made into TIME's top ten films of the year list.
10. Ex Machina
Ex Machina.
Universal Studios
Ex Machina.
Of the dazzling Alicia Vikander, as the artificial-intelligence being Ava in Alex Garlands brainy, agile sci-fi nightmare/reverie Ex Machina, my friend and colleague Richard Corliss wrote, Trained as a dancer, Vikander lends Ava a grace and precision of movement that could be human or mechanical, earthly or ethereal. And then, in his quietly spectacular way, Richard nailed the essence of her character in a single pirouette of a phrase: a spectral eminence yearning to be a woman. That is how you capture the everyday beauty of movies, a pleasure both ephemeral and everlasting.
9. The Man from U.N.C.L.E.
The Man from U.N.C.L.E.
Warner Bros. Pictures
The Man from U.N.C.L.E.
Guy Ritchies riff on the Cold War-era TV show is an old-school pleasure, the kind of light spy caper thats as rare these days as a pristine vintage Courrèges mini-dress. In this three-way flirt-fest, a trio of extraordinary-looking spy typesplayed by Alicia Vikander, Henry Cavill and Armie Hammerrevel in one anothers style and charisma, and that goes for the men, too. Once weve lost our taste for beautiful people, the movies really are finished.
http://time.com/4134913/top-10-best-movies/?xid=fbshare
10. Ex Machina
Ex Machina.
Universal Studios
Ex Machina.
Of the dazzling Alicia Vikander, as the artificial-intelligence being Ava in Alex Garlands brainy, agile sci-fi nightmare/reverie Ex Machina, my friend and colleague Richard Corliss wrote, Trained as a dancer, Vikander lends Ava a grace and precision of movement that could be human or mechanical, earthly or ethereal. And then, in his quietly spectacular way, Richard nailed the essence of her character in a single pirouette of a phrase: a spectral eminence yearning to be a woman. That is how you capture the everyday beauty of movies, a pleasure both ephemeral and everlasting.
9. The Man from U.N.C.L.E.
The Man from U.N.C.L.E.
Warner Bros. Pictures
The Man from U.N.C.L.E.
Guy Ritchies riff on the Cold War-era TV show is an old-school pleasure, the kind of light spy caper thats as rare these days as a pristine vintage Courrèges mini-dress. In this three-way flirt-fest, a trio of extraordinary-looking spy typesplayed by Alicia Vikander, Henry Cavill and Armie Hammerrevel in one anothers style and charisma, and that goes for the men, too. Once weve lost our taste for beautiful people, the movies really are finished.
http://time.com/4134913/top-10-best-movies/?xid=fbshare
Parts of her Harper's Bazaar interview.
http://www.harpersbazaar.co.uk/fashion/fashion-news/alicia-vikander-january-issue-cover-star
ALICIA VIKANDER IS OUR JANUARY COVER STAR
Sophie Elmhirst meets the 27-year-old actress
Alicia Vikander has galloped full tilt into stardom, appearing in a host of major films within the last year – and her new role is alongside Eddie Redmayne in The Danish Girl.
Not long ago, the Swedish actress Alicia Vikander got locked out of her north-London flat. She knocked on the neighbour’s door, hoping for help, and the neighbour’s son promptly leapt from the first floor onto her balcony below, where she’d left the door open. He was so thrilled by his feat that he ran straight out the front door, yelling: ‘I did it!’, only for the door to shut behind him, locking her out again. ‘I’ve never laughed so much,’ says Vikander, sitting in the low-lit bar of the Connaught hotel. ‘And he wouldn’t do it again because he almost broke his leg. But then the entire community started to help me. They opened up this store, and people started to climb from another house’s balcony over the kind of roof of the grocery store to get into my flat, and it was just so lovely!’
Somehow, it’s hard to imagine the average person locked out of their flat inspiring such extravagant displays of neighbourliness. Vikander is something of a Helen of Troy: she has the kind of vulnerable beauty that makes men do misguided, life-endangering things. (Unlike Helen, she repays the kindness with booze: ‘I bought everybody a good bottle of whisky.’
She looks younger than her 27 years, delicate-featured to the point of seeming breakable. Her hair is pinned back in grips on either side of her face, the way you wore it as a young girl going to a birthday party, prettily. And though it’s warm, she’s in a dark-red wool jumper and jeans, miniature in the grand hotel chair. On the surface, there’s something almost ephemeral about her, as if at any moment she might dissolve.
Vikander is in that strange moment that happens to actresses from time to time – the way it did to Scarlett Johansson when she released Lost in Translation and Girl with a Pearl Earring at the same time in 2003; or Jessica Chastain when she released six films in 2011. Within 12 months, Vikander has starred in a cluster of major films, including Ex Machina, The Man from UNCLE, The Danish Girl and Tulip Fever. According to the movie press, who can’t get enough of this kind of thing, 2015 was her year. Of course, it’s all a quirk of timing. Vikander made all these films over months and years – a run of work following her English-language debut as Kitty in Joe Wright’s Anna Karenina, released in 2012. They just happen to be coming out in a rush, creating this sense of inevitability, and ubiquity. It has a certain impact, if you’re in the middle of it all. ‘I’m just not very used to it,’ she says. ‘I had three years when all I did was work, and I was a bit protected, I think. I didn’t do any press, and now, it’s been a lot. I still feel very much like a newbie. It’s been both exciting and terrifying at the same time.’
Don’t be fooled: this newbie knows what she’s doing. Look a bit closer at Vikander and the image of a fragile ingénue starts to fall away. You notice the rips all down her jeans, and the way her expression – in repose, soft and doe-like – can quickly become sharp, knowing, amused. In performance, you get the gist. In Ex Machina, Alex Garland’s film about a tech mogul and his imprisoned artificially intelligent robot, she plays the machine with an innocent sweetness, until she turns on her master and (spoiler) commits savage murder. Her portrayal of Vera Brittain in Testament of Youth was a study of resilience and determination parcelled up in a costume drama. And then there’s her forthcoming role in The Danish Girl, playing Gerda, the wife of Eddie Redmayne’s Einar Wegener, a Danish artist and the first person to undergo a sex change. On one level it’s Redmayne’s movie – a devastating portrayal of a tortured man and the woman he becomes – but Vikander’s performance is a large part of the film’s soul. She could easily have turned Gerda into a simpler, tragic character: a wife coming to terms with her husband’s true identity, a woman left ultimately bereft. Instead, her Gerda is fierce, angry, driven, an artist in her own right who finds her style by painting her husband as a woman. She is compromised, complicated.
Vikander relished the part. She’d first heard about the movie sitting on the Tube in London, reading the newspaper. ‘I was like, “Eddie Redmayne? That’s a good cast. I want to go and watch this film in two years.”’ Two days later, she was sent the script, and then had to audition – twice. On the callback, she read with Redmayne and then they talked for two hours, about the characters, the story. Once cast, she immersed herself in research, read books, watched films, spoke to people – and the partners of people – who had undergone a sex change. Preparation is an earnest business. ‘I always like to be extremely well prepared because otherwise I get freakin’ nervous,’ she says. It’s easy to forget when you’re talking to her, now that her accent has a sort of transatlantic flexibility, but Vikander is working in her second language.
Having the accent and the lines locked in is essential to her confidence. So she spends hour after hour ‘sitting like a little parrot up in my room’, repeating her words to herself. Nerves are a motivator, but so is a militant work ethic, honed since she was a child. She’s only in her twenties, but acting is Vikander’s second career. Growing up, she trained intensively as a dancer, moving away from her parents in Gothenburg aged 15 so she could live on her own and train at the Royal Swedish Ballet School in Stockholm, where she practised for hours every day. Aged 18, she decided to quit. There have been many versions printed as to why, but this is hers: ‘I think I knew deep down that I wouldn’t be able to dance until [I was] thirtysomething. I still have a really bad back, and... but it wasn’t just that. First of all, I don’t think I wanted to live my life as a dancer. It’s hard, and I realised I really loved to dance and be on stage, but it’s also three, four hours of training every day to do that, to be on that level. I could sometimes be a bit sad, and I was quite hard on myself and jealous emotionally of some of the girls who I saw just loved it. Even though we danced seven hours a day, six days a week, they were like, “Oh, we can come at 4.30am to school just to do a little extra stretching on my foot.” And I was like, “I don’t know if I...”’ she pauses. ‘I don’t have it.’
http://www.harpersbazaar.co.uk/fashion/fashion-news/alicia-vikander-january-issue-cover-star
ALICIA VIKANDER IS OUR JANUARY COVER STAR
Sophie Elmhirst meets the 27-year-old actress
Alicia Vikander has galloped full tilt into stardom, appearing in a host of major films within the last year – and her new role is alongside Eddie Redmayne in The Danish Girl.
Not long ago, the Swedish actress Alicia Vikander got locked out of her north-London flat. She knocked on the neighbour’s door, hoping for help, and the neighbour’s son promptly leapt from the first floor onto her balcony below, where she’d left the door open. He was so thrilled by his feat that he ran straight out the front door, yelling: ‘I did it!’, only for the door to shut behind him, locking her out again. ‘I’ve never laughed so much,’ says Vikander, sitting in the low-lit bar of the Connaught hotel. ‘And he wouldn’t do it again because he almost broke his leg. But then the entire community started to help me. They opened up this store, and people started to climb from another house’s balcony over the kind of roof of the grocery store to get into my flat, and it was just so lovely!’
Somehow, it’s hard to imagine the average person locked out of their flat inspiring such extravagant displays of neighbourliness. Vikander is something of a Helen of Troy: she has the kind of vulnerable beauty that makes men do misguided, life-endangering things. (Unlike Helen, she repays the kindness with booze: ‘I bought everybody a good bottle of whisky.’
She looks younger than her 27 years, delicate-featured to the point of seeming breakable. Her hair is pinned back in grips on either side of her face, the way you wore it as a young girl going to a birthday party, prettily. And though it’s warm, she’s in a dark-red wool jumper and jeans, miniature in the grand hotel chair. On the surface, there’s something almost ephemeral about her, as if at any moment she might dissolve. Vikander is in that strange moment that happens to actresses from time to time – the way it did to Scarlett Johansson when she released Lost in Translation and Girl with a Pearl Earring at the same time in 2003; or Jessica Chastain when she released six films in 2011. Within 12 months, Vikander has starred in a cluster of major films, including Ex Machina, The Man from UNCLE, The Danish Girl and Tulip Fever. According to the movie press, who can’t get enough of this kind of thing, 2015 was her year. Of course, it’s all a quirk of timing. Vikander made all these films over months and years – a run of work following her English-language debut as Kitty in Joe Wright’s Anna Karenina, released in 2012. They just happen to be coming out in a rush, creating this sense of inevitability, and ubiquity. It has a certain impact, if you’re in the middle of it all. ‘I’m just not very used to it,’ she says. ‘I had three years when all I did was work, and I was a bit protected, I think. I didn’t do any press, and now, it’s been a lot. I still feel very much like a newbie. It’s been both exciting and terrifying at the same time.’
Don’t be fooled: this newbie knows what she’s doing. Look a bit closer at Vikander and the image of a fragile ingénue starts to fall away. You notice the rips all down her jeans, and the way her expression – in repose, soft and doe-like – can quickly become sharp, knowing, amused. In performance, you get the gist. In Ex Machina, Alex Garland’s film about a tech mogul and his imprisoned artificially intelligent robot, she plays the machine with an innocent sweetness, until she turns on her master and (spoiler) commits savage murder. Her portrayal of Vera Brittain in Testament of Youth was a study of resilience and determination parcelled up in a costume drama. And then there’s her forthcoming role in The Danish Girl, playing Gerda, the wife of Eddie Redmayne’s Einar Wegener, a Danish artist and the first person to undergo a sex change. On one level it’s Redmayne’s movie – a devastating portrayal of a tortured man and the woman he becomes – but Vikander’s performance is a large part of the film’s soul. She could easily have turned Gerda into a simpler, tragic character: a wife coming to terms with her husband’s true identity, a woman left ultimately bereft. Instead, her Gerda is fierce, angry, driven, an artist in her own right who finds her style by painting her husband as a woman. She is compromised, complicated.
Vikander relished the part. She’d first heard about the movie sitting on the Tube in London, reading the newspaper. ‘I was like, “Eddie Redmayne? That’s a good cast. I want to go and watch this film in two years.”’ Two days later, she was sent the script, and then had to audition – twice. On the callback, she read with Redmayne and then they talked for two hours, about the characters, the story. Once cast, she immersed herself in research, read books, watched films, spoke to people – and the partners of people – who had undergone a sex change. Preparation is an earnest business. ‘I always like to be extremely well prepared because otherwise I get freakin’ nervous,’ she says. It’s easy to forget when you’re talking to her, now that her accent has a sort of transatlantic flexibility, but Vikander is working in her second language.
Having the accent and the lines locked in is essential to her confidence. So she spends hour after hour ‘sitting like a little parrot up in my room’, repeating her words to herself. Nerves are a motivator, but so is a militant work ethic, honed since she was a child. She’s only in her twenties, but acting is Vikander’s second career. Growing up, she trained intensively as a dancer, moving away from her parents in Gothenburg aged 15 so she could live on her own and train at the Royal Swedish Ballet School in Stockholm, where she practised for hours every day. Aged 18, she decided to quit. There have been many versions printed as to why, but this is hers: ‘I think I knew deep down that I wouldn’t be able to dance until [I was] thirtysomething. I still have a really bad back, and... but it wasn’t just that. First of all, I don’t think I wanted to live my life as a dancer. It’s hard, and I realised I really loved to dance and be on stage, but it’s also three, four hours of training every day to do that, to be on that level. I could sometimes be a bit sad, and I was quite hard on myself and jealous emotionally of some of the girls who I saw just loved it. Even though we danced seven hours a day, six days a week, they were like, “Oh, we can come at 4.30am to school just to do a little extra stretching on my foot.” And I was like, “I don’t know if I...”’ she pauses. ‘I don’t have it.’
Here are all the pics of the Harper's Bazaar shoot.
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Very nice! She deserves it.
She didn't win the best actress award at BIFA, Saoirse Ronan did. But Ex Machina has won 2 awards [emoji3]
Wonderful. Are these interviews on youtube? I will watch them later
I don't know, I watched it live. Btw Alex Garland has just won the best director award for Ex Machina! And Ex Machina just won best film too - 4 awards!