C Magazine: Lady Of The House

As Emily Blunt takes her career to an adventurous new level—the actress fancies the comforts of home, now, more than ever.

“Is it weird to have scrambled eggs at five o’clock?” Emily Blunt asks as she orders eggs, spinach, toast and smoked salmon. After having spent the day practicing stunts and working out, it’s not weird at all. The protein load-up is for the action movie she’s filming with Tom Cruise, All You Need is Kill, that will keep her in London and away from her home in Los Angeles until early 2013.

  

It’s not the first movie she has had to train hard for; when she was shooting 2011’s The Adjustment Bureau with Matt Damon, she had to learn ballet, something she describes as “being like an alien language to me.” But the whole physical process of this, her first action role, has been so strenuous she admits, at times, the thought of stepping back into a corset and bonnet—the kind she wore in 2009’s The Young Victoria—is tempting.

“Tom was in today, and when he saw I had a bruise the size of an apple, he said”—she puts on a big, deep voice—“‘Yeah Blunt! That’s what an action movie’s all about!’ He thinks it’s fun that I’m losing my indie credibility. I hurt like hell!”

Putting on voices, or accents of all shapes and sizes, is what attracted Blunt to acting in the first place: “I had a really bad stutter as a kid, and the thing that got me out of it was to imagine I was someone else—to take on a new identity via silly voice or by mimicking. It was the only way I could speak fluently.”

She admits that in her early years she was occasionally teased for it: “Kids found it funny, and I can understand. There’s a frankness to the way they say, ‘What’s wrong with you? Why can’t you just say it?’” Fortunately, her parents—her father is a Queens Counsel barrister and her mother, a former actor-turned-teacher—knew she’d grow out of it. “They were there to catch us,” she says of herself and her three siblings, who grew up in Roehampton, just south of London. “Their presence and support was what allowed me to overcome and grow out of it. The stutter got left behind in the dust”—as did a career as a Spanish interpreter.

“I know! Can you imagine?” she laughs, then puts on a Spanish accent, “Me ll-am-o Em-i-lee!” Blunt deferred university—she had planned to study Modern Language—when she landed an agent at 18. That was only a year after a teacher cast her in a play in the Edinburgh Festival. A resounding success, the fledgling actress decided to work in television and theatre for a couple of years. Director Pawel Pawlikowski gave her a big break in 2004’s much revered art-house film My Summer of Love. For the audition, he asked her to imagine her father caught in flagrante with the secretary, then pretend the whole thing was just a joke—with all the crying and laughing that might ensue.

“I walked out and called my lovely agent Ken McReddie, whom I still have, saying, ‘Oh my god, I just made such a tit out of myself!’” It was but a hint of what was to come…

[Read more in the latest C, on newsstands November 27!]

Source: C Magazine

Emily Blunt on her first rom-com

British actress Emily Blunt talks about her role alongside Jason Segel in the comedy The Five-Year Engagement.

What drew her to the project and what was it like working with popular producer Judd Apatow?

So how did a class act like you get involved with the Judd Apatow crew?

Jason Segel and I have been friends for a while. I did a day on the The Muppets and he came up to me and said he’d written a project and he really wanted us to do it together.

The approach was very casual and the idea seemed very organic. There wasn’t any going through agents. It was just, ‘I’ve written this thing. I’d love it if you and I can do it’.

What were your first impressions of the script?

It had been a while since I’d read something that really captured how shape-shifting relationships can be with people who are young.

There are a lot of patterns involved, and what I loved was how it dealt with the dynamic changing between two people in a relationship, and how if one is happier than the other that affects the feelings in the relationship.

I thought it was really smart to have the guy be happier at first, then seeing what happens when the girl becomes happier and how that emasculates the guy. Then it shows how her success starts to have a bad effect on him.

I just thought it was very true to life and that there was a lot in it that made sense. I’ve met couples that have been together, engaged for seven years and never been married. They seem to deal with some of the similar issues we deal with in the film….

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Q&A: Mark Duplass, Emily Blunt, Lynn Shelton

&A: Mark Duplass, Emily Blunt, Lynn Shelton
YOUR SISTER’S SISTER
BY NORMAN WILNER

In 2009, Lynn Shelton shook up the festival circuit with Humpday, an improvised comedy about male friendships and gay panic starring Mark Duplass and Joshua Leonard.

In 2011, Shelton and Duplass launched their new collaboration, Your Sister’s Sister, at the Toronto Film Festival.

A more serious (but still very funny) work about a grieving man (Duplass) spending an awkward weekend with his best friend (Emily Blunt) and her sister (Rosemarie DeWitt), it’s a major step forward for Shelton – and something of a high-wire act for Blunt.

Mark, you’d worked with Lynn before on Humpday and made your own similar films, but Emily, this was the first time you’ve tried anything like this. What was the experience like for you?

Emily Blunt: It was just very different. It wasn’t necessarily an easy adjustment…. I think it does require guts to do a film like this. All of us just had to be kinda gutsy about it.

Mark Duplass: Emily said something after our first big take together: “Wow, that was like jazz.” It’s kinda corny, but it’s very similar to how our process goes. We’re playing an old standard song in a key we all know, but the little pieces, the way we interpret it, happen freely, in the moment, because we’ve all done our homework. Literally within two minutes she was right in there. It was awesome.

So here you are with another little character piece…

Lynn Shelton: There are only certain kinds of stories you can tell in this way. You really can’t do your big period piece or a sci-fi movie. Or if you have a kazillion locations, it’s gonna be hard to do that with no money. But if you’ve got a very small [project] that’s really based on human beings interacting with other human beings, you don’t have to wait for somebody else to give you permission to make it.

Blunt: You know those arcade games where you have the soft toys in the bin? You’re waiting for the claw to come down and summon you, and you’re like, “Is it my turn? [laughs]”

Duplass: [waving arms like a Muppet] “I’m here!”

Blunt: You’re just waiting in this oversized crowd. So I think that’s what was exciting about this. We just got up and we went. And it was such a relief.

Duplass: We were the motherfuckin’ claw!

You can listens to Emily’s interview over this website.

Source: Now Toronto