Happy New Year! And our first post of 2017 is adding pics from events Emily attended in 2011. Enjoy!
Emily Blunt Online > EVENTS and APPEARANCES > 2011
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
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.
Thanks to Claudia we have some beautiful images from a recent shoot that Emily did for the Los Angeles Times.
Emily Blunt Online > Outtakes > 2016 > 007
Some outtakes have been released from Emily’s British Vogue cover shoot. They are beautiful and can be viewed in the gallery.
Emily Blunt Online > Outtakes > 2016 > 006
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.
Added a bunch of new stills to the gallery from Emily’s film The Girl On the Train
We reveal the talent in the running for this year’s Evening Standard British Film Awards
From Ken Loach’s latest passionate polemic to the feel-good return of Bridget Jones, 2016 has been a mighty year for British film across all genres. As always, London has led the way with its international, outward-looking approach. British talent also dominated Hollywood this year — Benedict Cumberbatch brought magic to the Marvel Universe as Doctor Strange, Mark Rylance joined forces with Steven Spielberg to breathe life into The BFG and Emily Blunt thrilled with her star turn in The Girl on the Train.
Our longlist for the London Evening Standard British Film Awards, revealed today, captures the unique sensibility of the capital, celebrating its diversity and creativity.
Films are eligible for consideration if they had a public screening in London between February 7 and October 21. This year’s advisory judging panel comprises Evening Standard film reviewers David Sexton and Charlotte O’Sullivan; Evening Standard film and TV writer Ellen E Jones; Kate Muir, chief film critic for The Times; Peter Bradshaw, Guardian film critic, and Tim Robey of the Daily Telegraph. The panel is chaired by Evening Standard editor Sarah Sands.
The shortlist will be announced in the paper next Thursday. The three final contenders for the Everyman Award for Best Film will be screened to the public in Everyman cinemas in the last two weeks before all winners are revealed at the ceremony at Claridge’s on December 8.
The winner of the Editor’s Award in partnership with Claridge’s — a special honour for a cinematic event or person to have grabbed the headlines in the past year — will also be announced on the night.
This year also sees a new audience award for Most Powerful Scene, created by Finch & Partners, where readers can vote online for their favourite film moment from 2016. The 10 scenes to choose from will be published in the Evening Standard tomorrow with details of how to vote.
Previous winners of our film awards include Daniel Day-Lewis, Chiwetel Ejiofor, Idris Elba, John Hurt, Glenda Jackson, Mike Leigh, Gary Oldman, Kristin Scott Thomas, Tom Stoppard and Kate Winslet.
New West End Company Award for Best Actress
Gemma Arterton, Their Finest
Kate Beckinsale, Love & Friendship
Emily Blunt, The Girl on the Train
Alexa Davies, Spaceship
Alice Lowe, Prevenge
Helen Mirren, Eye in the Sky
Rosamund Pike, A United Kingdom
Tilda Swinton, A Bigger Splash
EMILY BLUNT STARS IN THE SUSPENSEFUL ADAPTION OF THE BEST-SELLING NOVEL THE GIRL ON THE TRAIN
ON DIGITAL HD JANUARY 3, 2017 AND 4K ULTRA HD™, BLU-RAY™, DVD AND ON DEMAND JANUARY 17, 2017
“The darkest, sexiest, most daring thriller of the year.” – Entertainment Weekly
UNIVERSAL CITY, Calif., Nov. 16, 2016 /PRNewswire/ — Questioning everything she knows, a woman must face her terrifying past in the wake of a darkly mysterious event to piece together the truth in the provocative thriller, The Girl on the Train. Based on USA TODAY’s 2015 Book of the Year and the #1 New York Times Bestseller by Paula Hawkins, the suspense comes home when The Girl on the Train arrives on Digital HD January 3, 2017 and 4K Ultra HD™, Blu-ray™, DVD and On Demand January 17, 2017 from Universal Pictures Home Entertainment and DreamWorks Pictures.
Emily Blunt (Sicario, Edge of Tomorrow) delivers a riveting performance as Rachel, a woman devastated by divorce, who spends her daily commute fantasizing about the seemingly perfect couple who live in a house that her train passes every day. The mystery unfolds as she becomes increasingly un-hinged and serves as the unreliable sole witness to a tragic disappearance in Director Tate Taylor’s (The Help, Get on Up) suspenseful film adaption that Entertainment Weekly has hailed “the darkest, sexiest, most daring thriller of the year.” The Girl on the Train Blu-ray™ and DVD includes never-before-seen deleted and extended scenes and exclusive bonus features allowing audiences to go behind the scenes with the cast for the ultimate in-home movie experience.
Blunt heads up the talented all-star cast that includes Rebecca Ferguson (Mission Impossible: Rogue Nation), Haley Bennett (The Magnificent Seven), Justin Theroux (“The Leftovers”), Luke Evans (Dracula Untold), Edgar Ramirez (Joy), Allison Janney (The Help, Spy), Laura Prepon (“Orange is the New Black”) and Lisa Kudrow (“The Comeback”).
Here are two sketches from Emily’s appearance on SNL.
Melania Trump (Cecily Strong), Ivanka Trump (Emily Blunt), Kellyanne Conway (Kate McKinnon), Omarosa (Sasheer Zamata) and Tiffany Trump (Vanessa Bayer) can no longer stand by Donald Trump (Alec Baldwin).
Robots (Emily Blunt, Mikey Day) meant to deliver food repeatedly malfunction during a presentation.