Emily Blunt Online

Welcome to Emily Blunt Online - a comprehensive website dedicated to Golden Globe winning actress Emily Blunt who is best known for her roles in The Devil Wears Prada, Edge of Tomorrow, Into the Woods, and Young Victoria. This site is determined to bring you the most up to date information on this talented performer and her career. I hope you enjoy your visit!

Emily & John attended the BAFTA Awards last night where Emily was nominated for her work in The Girl on the Train. Emily looked gorgeous in a gown by Alexander McQueen.

Gallery Links:
Emily Blunt Online > 2017 > February 12 | BAFTA Awards

Posted by Ali

I have added more images to our gallery of Emily’s night at the Screen Actors Guild Awards.

Gallery Links:
Emily Blunt Online > 2017 > January 29 | Screen Actors Guild Awards

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Tonight Emily & John are on the red carpet at the Screen Actors Guild Awards where Emily is nominated for Outstanding Performance by a Female Actor in a Leading Role for her work in The Girl on the Train.

Emily looks beautiful in an embellished gown by Roberto Cavalli.

Gallery Links:
Emily Blunt Online > 2017 > January 29 | Screen Actors Guild Awards

Posted by Ali

Emily spoke with the Daily Express about her accent for her role in The Girl On The Train.

EMILY BLUNT has revealed the thinking behind her character’s British accent in The Girl On The Train, despite the movie being relocated to the US.

The 33-year-old is nominated for a BAFTA for her work in the Box Office smash, which is adapted from Paula Hawkins’ widely popular novel.

Although the book was set in the UK, the film takes place in New York – but lead character Rachel Watson remained British.

In an interview to promote its release on DVD, Blu-ray and digital download, she explained the very good reason behind the decision, saying: “It’s an homage to the book, and I also think the idea is to make her seem as isolated as possible.

“So [Tate] Taylor [director] said, ‘keep your accent, that might help’.”

Indeed, “isolated” is a very good way of describing Rachel – one of Emily’s most challenging roles to date.

“When you see the movie, hopefully you’ll see why!” she laughed.

“But she is a very damaged, dark, self-loathing character. I hope I’m none of those things! It was about getting into a completely different internal way of thinking.

“In quite a physically demanding part, she gets into a few tussles.”

In addition to a BAFTA nod for Best Actress In A Leading Role, Emily is also in line to collect the Screen Actors Guild Award for Outstanding Performance by a Female Actor in a Leading Role this Sunday, January 29.

The drama was also up for Favourite Thriller Movie at the People’s Choice Awards, which it ultimately won; although it ultimately was snubbed by the Oscars.

The Girl On The Train is available on Digital Download from January 28, and Blu-ray and DVD from February 6.

Posted by Ali

Happy New Year! And our first post of 2017 is adding pics from events Emily attended in 2011. Enjoy!

Gallery Links:
Emily Blunt Online > EVENTS and APPEARANCES > 2011

Posted by Ali

Congratulations to Emily on her Screen Actor’s Guild Nomination!

Outstanding Performance by a Female Actor in a Leading Role
Amy Adams, Arrival
Emily Blunt, The Girl on the Train
Natalie Portman, Jackie
Emma Stone, La La Land
Meryl Streep, Florence Foster Jenkins

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First Colin Firth and now Dick Van Dyke! Thanks Variety for this fun news!

Dick Van Dyke will appear in the upcoming “Mary Poppins” sequel, Disney confirmed on Tuesday.

The veteran actor played both the chimney sweep, Bert, and the bank chairman Mr. Dawes Senior in the 1964 original, starring opposite Julie Andrews.

The film won five Oscars in 1965 including a best original song awards for “Chim Chim Cher-ee,” performed by Van Dyke in the movie. The song was penned by dynamic duo Richard M. and Robert B. Sherman, otherwise known as the Sherman Brothers.

The sequel has attracted an all-star cast that includes Emily Blunt in the lead role, Meryl Streep and Lin-Manuel Miranda, who will play a new character resembling Van Dyke’s Bert.

The sequel’s story will take place in Depression-era London (when the books were originally written) and follows a now-grown Jane and Michael Banks, who, along with Michael’s three children, are visited by Poppins following a personal loss. She and her friend Jack help the family rediscover the joy and wonder missing in their lives.

Rob Marshall will direct the film as well as produce with John DeLuca and Marc Platt — the same team that created Disney’s 2014 musical adaptation of “Into the Woods.” David Magee is adapting the screenplay from “The Mary Poppins Stories” by P.L. Travers. Marc Shaiman is composing an all-new score and writing original songs alongside Scott Wittman.

Van Dyke first broke the news to the Hollywood Reporter. The “Mary Poppins” sequel is slated for release on Dec. 25, 2018.

Posted by Ali

Thanks to Claudia we have some beautiful images from a recent shoot that Emily did for the Los Angeles Times.

Gallery Links:
Emily Blunt Online > Outtakes > 2016 > 007

Posted by Ali

Some outtakes have been released from Emily’s British Vogue cover shoot. They are beautiful and can be viewed in the gallery.

Gallery Links:
Emily Blunt Online > Outtakes > 2016 > 006

Posted by Ali

Emily did a new Q&A with Deadline on her film The Girl on the Train.

Emily Blunt practices what she preaches. As cinema is under increasing pressure to acknowledge and deliver work that appeals to more than white teenage males, so Blunt is using the profile she’s developed through roles like The Devil Wears Prada, The Young Victoria and Sicario to bring to the screen fully-rounded female characters. They’re present in everything she’s done lately, whether that’s Rian Johnson’s Looper, the Tom Cruise actioner Edge of Tomorrow, or Universal’s fairy tale The Huntsman: Winter’s War. The Girl on the Train, based on the publishing phenomenon of the same name, is the latest, demanding that Blunt lay bare the flaws of a deeply troubled and unreliable narrator.

Did you follow the book phenomenon with The Girl on the Train when it was first published?

I hadn’t read it, but I saw everyone reading it. I suppose I was being a bit contrary; I didn’t want to read the book that everyone was reading. Then, [producer] Marc Platt called me and said, “You probably should read it, because we’re really interested in you for it.” It’s easy to see why it became such a hit; that tantalizing idea of the danger being so close to home for people, and the underbelly of domestic life. These characters—these women—are flawed, and they are relatable. Finally there are women you can identify with to varying degrees. And how cool to have your protagonist be a black-out drunk?

Is there a thin line between getting that right and becoming some awful caricature of a drunken person?

Well, I was nervous, and I think there are pitfalls; that sort of drunken uncle act, and lurching about all over the place. I didn’t want it to be comical in any way; it has to be upsetting and embarrassing to be around her, and she has to appear dangerous in some capacity. When you’re around a true alcoholic, it’s ugly. It stops being funny.

I did have to do a huge amount of research and I found the most helpful thing was to watch documentaries about alcoholism. Louis Theroux did one recently, and there was a bit where this guy turns to him and goes, “Do you hate me, Louis?” I got goose bumps. Just the idea that you loathe yourself and you think others must loathe you too, and how lonely that must be.

But you also have to remember that this is a thriller and not just a portrait of alcoholism. You want to misdirect with it. The ambiguity of it is interesting to play with.

You mentioned the complexity of the women in this movie. Why do we still have to make a point of that? Shouldn’t we be there by now, across the board?

It is such a rarity, and you do still hear, batted around a lot about women, that they be likeable and approachable, because that equals bankable. I feel this movie is women’s right to be bad. It was so liberating and exciting to be able to dive headfirst into the reality, which is that women are flawed. We mess up every day, just like men. We can be aggressive and unfaithful and cruel, and it’s OK to present that to an audience.

It must still come down to the fact that most screenwriters are men.

That’s my feeling, and I think because this book was written by a woman, and adapted by a woman, there is just a different sensibility. I think it’s important we all talk about that, and how we can inject this industry with more respect for well-rounded characters for women. It really does start on the page, because inevitably a male screenwriter will have a different sensibility. I often find myself saying to male screenwriters, when I’m developing a script with them, “Just write me as you would write a guy and I’ll do the girl stuff.”

It’s crazy that you have to say that.

But it’s the easiest shorthand to getting to where I want to be. This change is very slow, but I do feel it’s moving. I feel like we’ve got a new wave coming in. And it’s not quite a tsunami, but it’s happening. I feel it starting to churn. I have faith.

I truly believe we’re so inundated and anesthetized by comic book movies and big blockbusters. They’re designed just to assault your senses and be entertaining. And they’re entertaining for sure. I like popcorn as much as I like steak, but I feel like people are yearning for a connection; to feel something. You just want people to walk out of the cinema and talk about what they’ve just seen. Not, “Where do you want to go for dinner?”

You’ve done popcorn films, but they’re films like Edge of Tomorrow, which is much more complex and cerebral than most aspire to.

I really love doing popcorn movies. I think that film in particular might be the movie I’m most proud of, actually. It was such an impossible feat. The mileage Doug Liman got out of the repeating day was insane. It was human, and funny, and not at all earnest. The stunts were in service to the story, and the story was rock solid. That’s why Tom [Cruise] is really smart. He makes sure his films are injected with a deeper meaning. We’re all so proud of how it turned out.

You’re next doing Mary Poppins. Isn’t that a little intimidating?

I’m aware she’s so iconic and emblematic of people’s childhood nostalgia. I’m just trying to allow all of that to be white noise and to do my version of her. I’ve been reading the books a lot, and that’s given me a different angle on it in some way. We start rehearsals this month.

Posted by Ali