Remarkably accurate in its staging of love games, because the actors are in perfect harmony, and because these three young cinema-obsessed characters are themselves immersed in theatricality and performance, the film establishes a rather crude parallel between physical awakening and political awakening. One expected more subtlety from Bertolucci, who lived through the Parisian spring.
By throwing the three lovers into a demonstration at the end of his film, Bertolucci resorts to an easy trick, finally deflowered, the teenagers can then overthrow the father, an agent of repression, and too quickly wraps up his evocation of May â68. When Bertolucci is aroused, itâs powerful, when he throws Molotov cocktails, it falls flat.
(See also page 128.) Directed by Bernardo Bertolucci, starring Eva Green, Louis Garrel, and Michael Pitt (1h 52).
SHE LIGHTS UP THE SCREEN IN THE DREAMERS
EVA GREEN FIRST TANGO IN PARIS
For her first film, she is directed by Bernardo Bertolucci in a blazing, intimate chamber piece. At 22, the daughter of MarlĂšne Jobert reveals herself nude on screen, despite sincerely claiming modesty and shyness.
A meeting with a determined young woman.
EVA GREEN
âAs a blonde, I found myself too polished. Being a brunette felt more like me. I had the impression that it expressed my intensity better.â
Sunday morning, 10 a.m. Itâs raining on Rue Balzac, and weâre about to meet Eva Green at Baretto, a lounge bar. Sheâs waiting over a cup of tea: long hair, porcelain skin, deep blue eyes, a slender silhouette and a generous bust, Eva Green is what boys would call a knockout.
For attentive readers of celebrity magazines, Eva Green isnât entirely unknown, sheâs the daughter of MarlĂšne Jobert. And despite her dark hair and carefully cultivated ethereal look, you can see freckles beneath her makeup that unmistakably recall the actress from The Passenger of the Rain. Her mother would have preferred her to debut in a more⊠conventional film:
âWhen I watch the film, I donât feel like itâs me. It was like a kind of dream. In reality, Iâm so shy,â she says confidently, looking you straight in the eye. âIâm very modest, but this shoot really freed me, I had to learn to know my body better. And Louis was always joking, which helped Michael and me.â
Did she perhaps become too uninhibited, the shy girl turning into a femme fatale? âWhen we got to the scene where Isabelle sleeps with Matthew, Bertolucci hesitated, he said audiences might find it hard to believe in my characterâs virginity. But being seductive and a virgin doesnât seem contradictory to me, especially at that time. Louis, Michael, and I fought to keep it that way.â
Her first casting for CQ by Roman Coppola went very badly. Soon after, she met Bertolucci: âIt was gentler. He did a very personal filmed interview. He had already chosen Louis Garrel as the brother and thought we suited each other. Maybe he assumed that since I have a twin, it would be easier for me to portray that fusion. In reality, weâre fraternal twins and very different. She studied business, for example, and we didnât always get along. She really wants to see the film⊠will she like it?â On one hand, she feels far from her character, on the other, she made it entirely her own: âBernardo adapted the dialogue to our personalities. We were fully involved, and if weâre criticized, so be it⊠weâre very proud of what we did.â
âIâm very dual, a bit masochistic too, and Iâve always felt outside my own image⊠like an old woman telling a story. At school, I kept to myself, I even preferred distance learning for a while.â Very young, she dyed her hair dark: âI felt it expressed my intensity better. I like characters who seem tough but are actually vulnerable, like Lady Macbeth.â When she adds that she loves very dark music from rocker Ani DiFranco to Mahler or Chopin, you start to wonder whether Eva, dressed all in black that morning, might have had a goth phase as a teenager.
She laughs: âI wouldnât have dared.â One day she wants children, one day she wants to direct a film, but later. âWhen Iâm better, more at peace with myself.â And she believes that might come soon: âIn the evening, after filming, I feel really good.â
When it comes to fashion, her duality appears again: on one side, the actress who loves the rock-chic of Gaultier, Ungaro, or Dior, on the other, the young woman who raids Topshop in London and dresses in simple jeans. Blonde or brunette, shy or bold, rebellious or composed⊠after an hour, itâs still hard to tell. But one thing is certain: one of these women is going to make serious waves in cinema.
Jacques Braunstein
Iâm very modest. This shoot really freed me, I had to learn to better understand my body!
Hey guys! I have a new magazine in my collection, itâs Paris Match February, 2006. And as always here is the interview from the magazineđ„°â€”ïž
Page 1: The fifth French actress to play a James Bond Girl, the new partner of secret agent 007 possesses all the qualities required by her character. In Casino Royale, the sixteenth film in the series, the fiery Eva Green takes on the role of Vesper Lynd, created nearly four decades earlier by Ursula Andress in a previous version.
But the Casino Royale of 1967, which exhausted no fewer than five directors, was a parody that aimed to be crazy, crazy, crazy but ended up simply heavy, heavy, heavy.
Its remake, whose filming has just begun in Prague and which will be released on November 22, 2006, promises to be far more appealing.
The hero of Ian Fleming will have a new face that of Daniel Craig, still basking in the success of Munich by Steven Spielberg.
And the filmmaker in charge, New Zealander Martin Campbell, has already proven his talent by directing Antonio Banderas and Catherine ZetaâJones in two memorable adventures of Zorro.
Under his direction, the daughter of MarlĂšne Jobert has every chance of inscribing her name in the legend of cinema.
A striking vamp but also an exotic actress, Eva still only 25 has appeared in just three films so far. For the role of the incandescent Vesper, the producers of Casino Royale organized an international casting which she won after a tough competition.
EVA GREEN A Bond in her career It was the role every young actress wanted. Cocorico! A Frenchwoman got it. 007 will discover the woman we have known since birth.
Page 2: At two months old, in Paris Match, she was already a star in the arms of her mother, MarlĂšne Jobert.
When Eva and her twin sister Joy were born on July 5, 1980, an astrologer predicted that one of the two would become a star.
The resemblance between Eva and her mother quickly became striking, just as Joy increasingly resembled their father, Walter Green, a Danish-born dentist who had abandoned an acting career to devote himself to dentistry.
âLike him,â explained MarlĂšne Jobert at the time, âJoy is calm, reserved, with darker skin and blond hair. Eva is my portrait when I was a baby. Sheâs already more expressive, she has my blue eyes and fair skin, and she will be red-haired.â
Except for the red hair, the future confirmed all these predictions.
Barely three years after her daring debut in The Dreamers by Bernardo Bertolucci, Eva takes the place her mother once brilliantly occupied: that of the most intriguing actress in French cinema.
(Photo caption left side) In August 1980, MarlĂšne poses for Paris Match with Eva and Joy, who are not yet two months old. âI canât find words to describe my happiness,â declares the actress who, at 36, hesitated for a long time before becoming a mother. On the right: the twins with their mother in Normandy in 1981. Below: family vacation in the Seychelles in 1997 (from left to right: Joy, Walter, MarlĂšne, and Eva). The same family again in 2003, the year Eva began acting in front of the camera.
(Photo caption right side) As a teenager, she learned the basics of acting in London at the Webber Douglas Academy of Dramatic Art. Her first recognition came in 2002, when she was nominated for the MoliĂšre Awards in the category of Best Female Newcomer for the play Jalousie en trois fax by Esther Vilar. Today, Eva brings her talent and sex appeal to a super-production worth more than 100 million dollars.
All the photos from the interview: 1. A kite 2. A lapis lazuli crystal 3. A red Dracula cape 4. A telescope 5. A handpan drum 6. A teddy bear from the 1920s 7. Seiun 8. A Japanese Musashi knife 9. A cross from her Breton paternal grandmother
New interview with Eva Green for ELLE, translated into English: ELLE. â If you were an object? Eva Green. â âA kite.â
ELLE. â Your good-luck charm? E.G. â âA lapis lazuli crystal. A friend gave it to me and I always keep it in my pocket.â
ELLE. â Your next holiday purchase? E.G. â âA red Dracula cape for my schnauzer Winston. I love dressing up my dogs.â
ELLE. â The invention you love most? E.G. â âThe telescope. Contemplating the stars is a form of meditation.â
ELLE. â The most beautiful object you own? E.G. â âA handpan drum. Iâm learning to play this unusual instrument, which I find very soothing, very poetic.â
ELLE. â The one you lose all the time? E.G. â âMy mechanical pencil.â
ELLE. â The most embarrassing? E.G. â âA blue wooden phallus with eyes, bought in Bhutan. There, the phallus is believed to have the power to protect the house from evil spirits.â
ELLE. â The oldest? E.G. â âA teddy bear from the 1920s bought on Portobello Road in London. Its gaze seemed to beg me to adopt it.â
ELLE. â The one you give to everyone? E.G. â âFlowers and novels by Haruki Murakami. And also Seiun sake*, slightly sparkling and low in alcohol, which I had the crazy idea of creating with my best friend after traveling in Japan and undergoing intensive training in different sake-brewing techniques.â
ELLE. â The last gift you received? E.G. â âA Japanese Musashi knife.â
ELLE. â The most precious? E.G. â âA cross from my Breton paternal grandmother.â
ELLE. â The object you dream of buying for yourself? E.G. â âA Ford pick-up truck. I find it very sexy, very Yellowstone! [Laughs.] And a Klarstein ice-cream maker. A pastry-chef friend let me taste a dark chocolate and Espelette pepper sorbet⊠a real marvel!â
Hi guys! It happened again, I uploaded a video yesterday, but it was blocked due to copyrights:( I really love this interview, and I think this interview is important and interesting, so like a few times before I'm posting it here: boosty.to/dianajoffe/posts/b8121a2a-39e4-4cc4-adf2⊠I know the link is not active, but that's all I can do for now. I hope I will organise everything better later.
Hey guys! I want to share with you this new magazine with Eva Green Harperâs Bazaar Taiwanđ Page 1:
Be gentle, be kind; to others, to yourself, to the world.
On our journey from Taipei to Paris, we were reminded of a scene from Eva Green in the first James Bond Film: Casino Royal: Agent Vesper Lynd, dressed in a thin black dress, huddled on the bathroom floor, letting the cold water pour down on her until James Bond approached and hugged her tightly. "Are you cold?" She nodded gently, and he turned up the water temperature a little: the director preserved this scene in its entirety; it was a cold and mysterious character, entering the audience's hearts for the first time with a vulnerable demeanor.
On the day of the cover shoot, Eva Green drove slowly from her country home, a warm, shy smile on her face, to our eyesâanother beautiful contrast!
She said she loves mornings the most: "Because the whole world is still asleep, the air is crisp, and it feels like anything is possible." We prepared a snack blind box for her, and she picked out a bag of mini cream puffs from Taiwan, a few puffs dancing between her fingertips and lips.
This year seems to mark another chapter in her acting career. She recently finished filming two thrillers: Blood on Snow with Aaron Taylor-Johnson and Benedict Cumberbatch, and Just Play Dead with Samuel L. Jackson, a film with comedic elements.
A gentle, kind, dog-loving bookworm
Talking about life, she says, "Simplicity suits me well. I used to think life needed fireworks; now, I'm suspiciously happy because I walk my dog ââand go to bed at reasonable times. I guess that's what growing up is." She feels lucky to have a group of good friends, "When life is tough, they show up with hot soup when life is shining, they bring flowers." This quiet, uninterrupted companionship gives her a sense of security. In the photo studio, Eva Green, with her curly hair tied up and a necklace on, twirled lightly in front of the camera the next moment, she landed heavily on the sofa, captured in her most relaxed state.
She smiled and said, "Be gentle, be kind to others, to yourself, to the world." Because strength isn't always loud, often it's a soft whisper, "Sometimes a warm chorus is more comforting than an entire existentialist essay. Camus (French writer Albert Camus) would probably agree, haha."
Shy, Cancerian, dog-loving hermit, French black rose, a beautiful bookwormâHarper's BAZAAR Taiwan sketches Eva Green's character: she answers sincerely, but her thoughts drift back to her pets Nora and Winston waiting for her return home in her country cottage, and the mountain of books piled beside her bed.
Harper's BAZAAR (HB): What role in your life at this stage makes you feel fulfilled?
Eva Green (EG): The role that makes me feel most fulfilled is always the one I haven't fully explored yetâthe one that still keeps me curious, a little afraid, and allows me to continue learning. Currently, this means quietly developing projects, reading voraciously, and having my lovely dogs, Nora and Winston, with me. They often remind me that creativity doesn't only exist in the spotlight it can also blossom in stillness.
HB: Growing up in a bicultural family, what do you consider the best experience?
EG: Growing up between "French passion" and "Swedish pragmatism" means you learn to experience everything dramaticallyâŠand then immediately calmly laugh at yourself for it. But it's a very practical combinationâyou get both passion and perspective, and you can find solid solutions to existential anxieties.
HB: So what gives you the feeling of "home" right now?
EG: These days, home is any place that's warm, has books piled up dangerously high, and offers enough freedom to be "a little quirky." We're all a little quirky (to ourselves, and to each other), never forget that.
Adult friendships are warm and quirky.
HB: What's the life advice that's always been with you?
EG: Stay curious. Stay kind. Wear sunscreen. And never underestimate a well-timed napâcivilization still depends on well-rested people.
Page 2:
HB: How do you nurture your curiosity and creativity?
EG: Books, art, long walks, staring at paintings until they reveal their secrets. I also cherish those wonderful conversations with strangersâconversations that somehow change your mood for the week.
HB: Who is your biggest support in life?
EG: I'm luckyâI have a small circle of close friends. When life is tough, they show up with hot soup, when things are going well, they come to you with flowers. True friendship isn't dramaticâit's stable, honest, even a little bit telepathic! It's those who notice when you quiet down, choose to sit beside you, and listen to your ramblings.
HB: Who was your first idol?
EG: Bette Davis. Primitive, fearless. As a child, I admired women who were both bold and mysterious, capable of changing the atmosphere of a room with just a raised eyebrowâlike Bette Davis, Liz Taylor, and Jeanne Moreau⊠They showed us that strength can also be gentle and compassionate.
HB: Of all the roles you've played, has any helped you understand yourself better?
EG: Vesper Lynd (character in Casino Royale) taught me that true power can be very quietâa raised eyebrow, an unfinished sentence, a perfectly timed turn and walk away. She taught me that restraint is sometimes the most lethal weapon. On the other hand, Vanessa Ives (character in Penny Dreadful) taught me extreme emotional endurance.
Every role leaves a mark. It strengthens some instincts while softening others, allowing you to see the world with slightly different light and perspective.
I often lose myself, rarely find myself. But when I'm playing a role, I always try to forget myself and be true to the character.
HB: What film have you watched more than ten times, and still rewatch repeatedly?
EG: I know this sounds a bit unusual⊠The Shinning. It's an absolute masterpiece. It offers a very unique experience. The tension builds slowly. The first few times you watch it, it's scary, but the more you watch, the funnier it gets because of Jack Nicholson's extraordinary performance. No one can portray madness like him.
A Role That Changed My Life Trajectory
HB: What's the kindest thing you've ever experienced in your career?
EG: Someone believed in me before I even had the courage to believe in myself. That kind of belief is very preciousâstable, principled, and unwavering when your own beliefs waver. Such support can change a person's life trajectory.
HB: You've worked with many directors from different backgrounds and genres. What experience still influences your approach to choosing projects?
EG: Working with people who lead with "passion and humanity." Vision is important, but kindness is the real superpower on set. Tyranny is just too outdated.
HB: What do you instinctively look for when you first read a script? Compared to earlier times, what kind of role would you take on now?
EG: A sparkâa complex, flawed, vibrant, even slightly frightening character. I get excited if the script is both intelligent and genuine, and dares to be silently bold.
HB: There was a lot of discussion on social media recently about "No is a complete sentence." How did you learn to "say no" to conserve emotional energy?
EG: I'll refuse anything that "disguises chaos as opportunity," and shoes that are purely malicious and hurt your feet. I've learned that if the price is your peace (or your toes), it's not worth the performance. When you say "Yes," there always needs to be a lineâand every time you draw that line, you don't owe anyone a paper.
HB: If you weren't an actor, what unexpected career path do you think you might have taken?
EG: I'd love to work with animals. I live in the countryside surrounded by all sorts of creatures who have no interest in the entertainment industry, and it's refreshing and peaceful. Dogs don't care if you're rehearsing Shakespeare or ordering cheese: they only care about sincerity, and maybe a cookie. But they'd make amazing acting partners.
HB: What are your impressions of Taiwan?
EG: I haven't been to Taiwan yet, but I really want to. Asia has always deeply fascinated meâthe culture, the history, the art, there's something profound and fascinating there that I really hope to explore myself.
HB: What are you looking to explore?
EG: Because I've always loved sake, I attended sake workshops in various regions. Finally, with the help of a Japanese sake brewery, I decided to launch my own brand, "Seiun," with a friend. It's just small-batch sake production, and I'm learning every day: it's been an exciting and humble experience.
HB: Why do you like Japan?
EG: I've always been drawn to Japan. It's a place that touches my heart, a place where "beauty lies in the details." It finds its elegance in simplicity and purity. There's also a certain mysterious and poetic atmosphere.
Eva Green shared with us today about her new interview, letâs look at the quotes from it:
1. Japan inspires me with its relationship to time, to slowness, to precision. It is a country where every gesture has meaning, where beauty arises from restraint, simplicity, and modesty.
2. For me, it is a sake of light. I love to imagine it being enjoyed with music, in the rain or under the stars. It is a sake to be savored slowly, without any unnecessary ceremony, like a breath.
3. I don't like borders, neither geographical nor artistic. I love to travel between worlds, languages, and cultures. Seiun embodies this, the meeting of a Japanese tradition and a European perspective. I feel good in these.
Iâm in love with this interview, I wish I could have a copy of the magazineđ there is so much wisdom in these words and the photosđ„č ABSOLUTELY LOVE IT! So letâs enjoy it moređ #EvaGreen#evagreenfans#evagreenlovers
WE EXPECTED HER ON A MOVIE SET, BUT WE FIND HER AT THE HEART OF A JAPANESE BREWERY. BETWEEN KYOTO AND THE STARS, EVA INVENTS A SAKE LIKE A LIQUID POEM: SEIUN, A LIVING BEVERAGE, HAND-BREWED AND INFUSED WITH MUSIC.
Eva, we expected you in the worlds of cinema and fashion. And unexpectedly, at first glance, you take us into the world of sake. Itâs a bit confusing, isn't it?
Maybe a little, I admit. But, like everyone else, I am not just defined by my professionâwhich I continue to pursue with as much joy, of course. For many years, I have developed multiple interests, and some have turned into true passions. Generally, I am deeply attracted to craftsmanship, ancestral know-how, and immutable rituals where the history, culture, and soul of a people are revealed. I immediately loved sake, having had the chance to taste excellent kinds from my very first experiences. Over the years, I have refined my knowledge and taste for this drink, through travel and encounters. More recently, learning about the history of sake and the ancient brewing techniques has truly captivated me.
How did this project come about?
Very simply and in the most sincere way. A few years ago, between two professional projects, I contacted my best friend, Hadrien Wolff, to propose taking a course on sake, its history, and its brewing techniquesâ solely for the pleasure of learning. He had no experience in this field, but he had lived in Asia for a long time, particularly in Japan, and we share a very similar taste: I knew it would excite him.
We quickly became "passionate apprentices." We had no idea that this curiosity would lead us, a few months later, to hand-brew rice in the early morning in icy water, at the heart of a traditional Japanese brewery! We loved this learning experience, both demanding and fascinating. And from there to becoming creators, it was just a small step... that dreamers like us quickly decided to take! I wouldnât dare to call us visionaries: we indeed created a drink with a unique recipe, of which we are very proud, but the category of low-alcohol sparkling nigori sakes already exists in Japan, even if it remains niche.
What draws you both to Japanese culture, and to the art of sake in particular?
Is it a product you see as niche, or do you aspire to establish it in the world of gastronomic luxury?
Sake is still relatively unknown in the West and can therefore be considered niche. Our ambition is to contribute humbly to its growth by inviting people to discover it. But Seiun is not a traditional sake: it even surprises connoisseurs. Its very accessible nature has all the chances of appealing far beyond the circle of enthusiasts. Gastronomic establishments like Michel Sarran, Le Relais Bernard Loiseau, Omija, La Table de Mougins, and others have been captivated and offer Seiun paired with sweet or savory dishes. We are, of course, very happy and proud of this.
How did the collaboration with Japanese artisans go? Is it a creative exchange or a strict respect for local know-how?
We worked with a French toji (master brewer) Guillaume Ozanne, who has nearly 15 years of experience in some of Japan's most respected sakagura. He recently joined a brewery located between Kyoto and Osaka, Kotobuki, which welcomed our experiments with a lot of kindness. Hadrien and I naturally showed much respect and gratitude for the know-how that Guillaume and the Kotobuki teams shared with us. But the exchange was also creativeâsometimes even a bit bold! We became interested in the phenomenon of stimulating fermentation through musical waves, already documented in France in the context of winemaking. This idea, at the intersection of science and spirituality, immediately intrigued us. Apparently, music stimulates yeasts and helps accelerate the fermentation process. So, we timidly asked if it would be possible to place speakers in the fermentation tanks to play a playlist we had prepared. This somewhat poetic request was kindly received, and Seiun was thus infused with the vibrations of the pieces we had chosen.
Your image is associated with an elegant, mysterious universe. How do these traits translate into the identity of your sake?
Seiun is a bit like my baby! It's normal that it resembles me! I am very sensitive to all forms of poetryâliterary, of course, but also visual, gustatory, or auditory. Poetry, for me, is beauty that touches you through a sense or an idea and provokes an emotion. With Hadrien, we share this aesthetic sensitivity. We wanted to make Seiun a multisensory experience: the taste, with an acidity that awakens and a sweetness that flatters; the complexity of fruity and floral notes; the hypnotic movement of the nigori in the bottle; the design of the label, created by Miryam Muller, a very talented graphic designer; the textured rustic Japanese washi paper; and of course, the quote "My soul is in the sky," taken from A Midsummer Night's Dream, inscribed in Japanese kanji on the label. And then, of course, the music that literally infuses the fermentation... All of this, for us, is poetry.
More generally, in recent months, we have seen you in very different projects, between auteur cinema, international production, and series. How do you choose your projects?
Continuing from what I was saying, I need to be moved to embark on an adventure: it can come from a script, a subject, a director, an actress, or an actor. Of course, the reality of our job sometimes requires compromises, but when thatâs the case, I always try to make sure they serve projects supported by people I love.
Which recent shoot has particularly marked you?
I recently shot in Turkey (The Trees, by Bahman Ghobadi) with a young deaf and mute girl (Neva Kus) who played my daughter and was extraordinary in her intelligence and sensitivity. Beyond being a born actress, she turned out to be a remarkable person. She deeply touched me and became one of the most beautiful partners I have had the chance to work with.
Are you currently filming or preparing a role that you can mention?
I just completed filming in the Canary Islands with Martin Campbell, the director of Casino Royale, alongside Samuel L. Jackson. A very complex and dense role. A jubilant comedy!
You are one of the few French actresses who have built an international career without renouncing your uniqueness. How does one achieve this balance?
Oh dear... I donât calculate anything... I canât help but remain myself. Accepting oneself is a constant work.
Creating sake is like creating a character: you must give it a soul. Did you approach this project as an artistic performance?
Yes, that's right. To create a character, you have to draw from within and find the emotions that belong to it, to be true and sincere. Creating Seiun required the same level of involvement: an absolute sincerity and a deep reflection. The soul of a creation, I believe, is born from the mix of true emotions and conscious thought.
Women are also in the spotlight: actress Eva Green, a Japan enthusiast, has just launched a sake (read more alongside). Together with her childhood friend Hadrien Wolff, they founded "The Green Wolff," a house that aims to blend Japanese tradition, French elegance, and gentle innovation.
Produced in Japan at the two-century-old Kuninocho brewery (near Osaka), with master brewer Guillaume Ozanne, "Seiun" is a modern sake that is slightly sparkling, unfiltered â a troubled nigori with notes of citrus and flowers â infused with natural mindfulness: no additives, controlled fermentation, and moderate alcohol (8%). Seiun was released in France and Belgium this autumn, available at select wine merchants and chosen fine dining establishments, with an initial run of 2,700 bottles priced around âŹ45 each.
With Seiun, Eva Green is not aiming for ostentatious luxury but for authenticity, the slow rhythm of fermentations, and the mystery of a drink that is still unfamiliar to many. It's a poetic gamble, a sensory exploration.
Like other celebrities before her, Eva Green intends to act as a true lever for the democratization and desirability of spirits that are still somewhat niche. Conveniently, according to an American study, consumers are willing to pay 73% more for celebrity-branded alcohol. Whether it's brands founded by celebrities or operated by celebrity shareholders, the power of stars gives incredible strength to these labels. The average price of celebrity spirits is nearly double that of other brands.
This significant price difference is particularly strong due to the fact that celebrity involvement adds a dimension of "sophistication," elevating these products to the level of luxury and lifestyle expression. Their aura attracts an international and heterogeneous audience, thereby naturally broadening demand.
THE RIGHT SIDE
Eva Green: "In Japan, sake is a sacred alcohol"
MarlĂšne Jobert's daughter is venturing into sake production, an emblem of Japanese refinement. She even went to Japan to learn the trade in the best traditional breweries of the archipelago. Upon her return, Eva Green spoke to "VSD."
VSD: What inspired you to embark on this Japanese adventure? Eva Green: I have always had a genuine taste for sake. Over the years, I gradually explored its many facets, but despite my curiosity, I felt like I was just scratching the surface of such a vast and mysterious universe. I then proposed to my best friend, Hadrien â who has lived in Asia for a long time, particularly in Japan â to take a sake-making course. Our immersion in traditional Japanese breweries was thrilling. Creating our own sake became an obvious choice: to enjoy a drink that reflects us, but also â humbly â to help introduce others to this rich, deep, and fascinating universe.
Sake is a subtle, almost spiritual alcohol. What kind of world did you want to create around this drink? Sake has indeed had a spiritual dimension in Japan for a long time. It accompanied Shinto rituals and served as an offering to deities. Seiun aligns with this symbolic lineage; it is a sake that speaks to the soul as much as to the palate. We particularly believe in the influence of sound frequencies on fermentation, an idea at the crossroads of science and spirituality. Thatâs why each fermentation tank of Seiun is equipped with a speaker that plays ambient and spatial music throughout the fermentation process. Hadrien and I are indeed dreamers. The natural effervescence and fine particles of rice suspended in Seiun create a very poetic visual effect, reminiscent of a nebula, the celestial phenomenon from which stars originate. Moreover, Seiun is a phonetic adaptation in our alphabet of the Japanese word for "nebula."
What does this project reveal about you that the public doesn't yet know? My passion for sake, of course, but more broadly, the shared love for authentic things: artisanal products, ancestral know-how. My curiosity and my taste for the elsewhere, for exoticism, as Japan, and sake in particular, remain a mystery to me⊠despite everything I have already discovered. And then, perhaps, my desire to undertake â beyond my career as an actress, which continues to excite me. This project is a different way of creating, telling a story, and conveying an emotion.
Diana Joffe
Hello-hello!
I have a new magazine, itâs Elle December 2003.
âTHE DREAMERSâ 1968, AN EROTIC YEAR
Beautiful and wild, incestuous twins raised on cinema, Isabelle and ThĂ©o meet a cheeky young American in front of the CinĂ©mathĂšque Française. It is 1968, and the trio shut themselves away in an empty apartment for a sensual mĂ©nage Ă trois with no future, while the paving stones begin to be torn up beneath their windows. A touch of Sagan, a bit of Cocteau, a hint of Garrel, for a film that could have been called âLast Tango of the Terrible Children in Parisâ: this marks Bertolucciâs return, though in lesser form.
Political engagement has always been present in the work of the director of 1900, but he increasingly films like a provocateur. The former cinémathÚque rat has, since Stealing Beauty, practiced a keyhole cinema, openly erotomaniac, teasing us with very beautiful girls like Liv Tyler, then Thandie Newton in Besieged, and now the fabulous Eva Green in The Dreamers.
Remarkably accurate in its staging of love games, because the actors are in perfect harmony, and because these three young cinema-obsessed characters are themselves immersed in theatricality and performance, the film establishes a rather crude parallel between physical awakening and political awakening. One expected more subtlety from Bertolucci, who lived through the Parisian spring.
By throwing the three lovers into a demonstration at the end of his film, Bertolucci resorts to an easy trick, finally deflowered, the teenagers can then overthrow the father, an agent of repression, and too quickly wraps up his evocation of May â68. When Bertolucci is aroused, itâs powerful, when he throws Molotov cocktails, it falls flat.
(See also page 128.)
Directed by Bernardo Bertolucci, starring Eva Green, Louis Garrel, and Michael Pitt (1h 52).
SHE LIGHTS UP THE SCREEN
IN THE DREAMERS
EVA GREEN
FIRST TANGO IN PARIS
For her first film, she is directed by Bernardo Bertolucci in a blazing, intimate chamber piece. At 22, the daughter of MarlĂšne Jobert reveals herself nude on screen, despite sincerely claiming modesty and shyness.
A meeting with a determined young woman.
EVA GREEN
âAs a blonde, I found myself too polished. Being a brunette felt more like me. I had the impression that it expressed my intensity better.â
Sunday morning, 10 a.m. Itâs raining on Rue Balzac, and weâre about to meet Eva Green at Baretto, a lounge bar. Sheâs waiting over a cup of tea: long hair, porcelain skin, deep blue eyes, a slender silhouette and a generous bust, Eva Green is what boys would call a knockout.
Weâve come to interview the lead actress of Innocents, âMay â68 in a â69 way,â as LibĂ©ration put it. The new film by Bernardo Bertolucci, in which she stars, is already causing quite a stir. Itâs as if the Italian master had revisited his own Last Tango in Paris to offer, with maturity, a more optimistic and Dionysian reading.
Eva, 22, whom we had already seen on stage, notably in Jalousie en trois fax, plays a liberated young woman involved in a sort of mĂ©nage Ă trois with her twin brother (Louis Garrel, son of director Philippe Garrel) and an American student (Michael Pitt). The lovely month of May doesnât really disturb their intense, enclosed world. Incest, latent homosexuality, nudity, and group sexuality, everything is there for the film to spark scandal. But the personalities of Eva and her two co-stars turn what could have been voyeuristic into a shifting, touching love story. A bold move for an actress in her first film roleâŠ
At times ingĂ©nue, at times uninhibited, sometimes funny and sometimes lost, she conveys sharp, complex emotions with remarkable ease. âMy first slightly revealing scene was a striptease, but I kept my underwear on, it was quite easy. When we had nude scenes, Bernardo would say âclosed set.â But that still meant ten to fifteen people on setâŠâ
For attentive readers of celebrity magazines, Eva Green isnât entirely unknown, sheâs the daughter of MarlĂšne Jobert. And despite her dark hair and carefully cultivated ethereal look, you can see freckles beneath her makeup that unmistakably recall the actress from The Passenger of the Rain. Her mother would have preferred her to debut in a more⊠conventional film:
âShe read half the script and thought it was very good, but she was a bit worried. Maria Schneider struggled after Last Tango in Paris, and many people feared the same might happen to me. My agent, Dominique Besnehard, told me about BĂ©atrice Dalle, who was typecast after 37°2 le matin. When my mother saw the film, she was very shocked, she said it wasnât necessary for me to be nude. But I donât really see howâŠâ Well, a motherâs opinion is a motherâs opinion, but what about hers?
âWhen I watch the film, I donât feel like itâs me. It was like a kind of dream. In reality, Iâm so shy,â she says confidently, looking you straight in the eye. âIâm very modest, but this shoot really freed me, I had to learn to know my body better. And Louis was always joking, which helped Michael and me.â
Did she perhaps become too uninhibited, the shy girl turning into a femme fatale? âWhen we got to the scene where Isabelle sleeps with Matthew, Bertolucci hesitated, he said audiences might find it hard to believe in my characterâs virginity. But being seductive and a virgin doesnât seem contradictory to me, especially at that time. Louis, Michael, and I fought to keep it that way.â
Letâs go back a bit. Her âcelebrity lineage,â which she doesnât try to hide (she has always used her fatherâs surname, Green), did pose some internal conflict. âThere are so many âsons ofâ and âdaughters ofâ who want to act. I struggled with the idea of saying âmy mother is an actress, so I can be one too.â And yet I always hung around film sets and felt it was my thing. I went to New York to study directing at NYU, then to London, where I took acting classes and it became obvious. I then trained for three years in Paris before failing the second round of the Conservatoire. I was quite depressed, but I auditioned and performed in Jalousie en trois fax. Then GĂ©rard Desarthe cast me in TurcaretâŠâ
Her first casting for CQ by Roman Coppola went very badly. Soon after, she met Bertolucci: âIt was gentler. He did a very personal filmed interview. He had already chosen Louis Garrel as the brother and thought we suited each other. Maybe he assumed that since I have a twin, it would be easier for me to portray that fusion. In reality, weâre fraternal twins and very different. She studied business, for example, and we didnât always get along. She really wants to see the film⊠will she like it?â On one hand, she feels far from her character, on the other, she made it entirely her own: âBernardo adapted the dialogue to our personalities. We were fully involved, and if weâre criticized, so be it⊠weâre very proud of what we did.â
Today, sheâs filming ArsĂšne Lupin, a big-budget production by Jean-Paul SalomĂ© (BelphĂ©gor), alongside Romain Duris. âThe character I play is less complex, less ambiguous.â Asked which directors sheâd like to work with, she mentions Lars von Trier (whose Dogville she loved), Paul Thomas Anderson (Boogie Nights, Magnolia), and also David Lynch. These are demanding auteurs, even difficult personalities, but that doesnât deter her. âIt will take time, but when Iâm strongerâŠâ she says firmly, before adding more quietly, âI hope.â
âIâm very dual, a bit masochistic too, and Iâve always felt outside my own image⊠like an old woman telling a story. At school, I kept to myself, I even preferred distance learning for a while.â Very young, she dyed her hair dark: âI felt it expressed my intensity better. I like characters who seem tough but are actually vulnerable, like Lady Macbeth.â When she adds that she loves very dark music from rocker Ani DiFranco to Mahler or Chopin, you start to wonder whether Eva, dressed all in black that morning, might have had a goth phase as a teenager.
She laughs: âI wouldnât have dared.â One day she wants children, one day she wants to direct a film, but later. âWhen Iâm better, more at peace with myself.â And she believes that might come soon: âIn the evening, after filming, I feel really good.â
When it comes to fashion, her duality appears again: on one side, the actress who loves the rock-chic of Gaultier, Ungaro, or Dior, on the other, the young woman who raids Topshop in London and dresses in simple jeans. Blonde or brunette, shy or bold, rebellious or composed⊠after an hour, itâs still hard to tell. But one thing is certain: one of these women is going to make serious waves in cinema.
Jacques Braunstein
Iâm very modest. This shoot really freed me, I had to learn to better understand my body!
2 months ago | [YT] | 7
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Diana Joffe
Hey guys!
I have a new magazine in my collection, itâs Paris Match February, 2006.
And as always here is the interview from the magazineđ„°â€”ïž
Page 1:
The fifth French actress to play a James Bond Girl, the new partner of secret agent 007 possesses all the qualities required by her character. In Casino Royale, the sixteenth film in the series, the fiery Eva Green takes on the role of Vesper Lynd, created nearly four decades earlier by Ursula Andress in a previous version.
But the Casino Royale of 1967, which exhausted no fewer than five directors, was a parody that aimed to be crazy, crazy, crazy but ended up simply heavy, heavy, heavy.
Its remake, whose filming has just begun in Prague and which will be released on November 22, 2006, promises to be far more appealing.
The hero of Ian Fleming will have a new face that of Daniel Craig, still basking in the success of Munich by Steven Spielberg.
And the filmmaker in charge, New Zealander Martin Campbell, has already proven his talent by directing Antonio Banderas and Catherine ZetaâJones in two memorable adventures of Zorro.
Under his direction, the daughter of MarlĂšne Jobert has every chance of inscribing her name in the legend of cinema.
A striking vamp but also an exotic actress, Eva still only 25 has appeared in just three films so far. For the role of the incandescent Vesper, the producers of Casino Royale organized an international casting which she won after a tough competition.
EVA GREEN A Bond in her career
It was the role every young actress wanted.
Cocorico! A Frenchwoman got it.
007 will discover the woman we have known since birth.
Page 2:
At two months old, in Paris Match, she was already a star in the arms of her mother, MarlĂšne Jobert.
When Eva and her twin sister Joy were born on July 5, 1980, an astrologer predicted that one of the two would become a star.
The resemblance between Eva and her mother quickly became striking, just as Joy increasingly resembled their father, Walter Green, a Danish-born dentist who had abandoned an acting career to devote himself to dentistry.
âLike him,â explained MarlĂšne Jobert at the time, âJoy is calm, reserved, with darker skin and blond hair. Eva is my portrait when I was a baby. Sheâs already more expressive, she has my blue eyes and fair skin, and she will be red-haired.â
Except for the red hair, the future confirmed all these predictions.
Barely three years after her daring debut in The Dreamers by Bernardo Bertolucci, Eva takes the place her mother once brilliantly occupied: that of the most intriguing actress in French cinema.
(Photo caption left side)
In August 1980, MarlĂšne poses for Paris Match with Eva and Joy, who are not yet two months old.
âI canât find words to describe my happiness,â declares the actress who, at 36, hesitated for a long time before becoming a mother.
On the right: the twins with their mother in Normandy in 1981.
Below: family vacation in the Seychelles in 1997 (from left to right: Joy, Walter, MarlĂšne, and Eva).
The same family again in 2003, the year Eva began acting in front of the camera.
(Photo caption right side)
As a teenager, she learned the basics of acting in London at the Webber Douglas Academy of Dramatic Art.
Her first recognition came in 2002, when she was nominated for the MoliĂšre Awards in the category of Best Female Newcomer for the play Jalousie en trois fax by Esther Vilar.
Today, Eva brings her talent and sex appeal to a super-production worth more than 100 million dollars.
2 months ago | [YT] | 18
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Diana Joffe
All the photos from the interview:
1. A kite
2. A lapis lazuli crystal
3. A red Dracula cape
4. A telescope
5. A handpan drum
6. A teddy bear from the 1920s
7. Seiun
8. A Japanese Musashi knife
9. A cross from her Breton paternal grandmother
3 months ago | [YT] | 3
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Diana Joffe
New interview with Eva Green for ELLE, translated into English:
ELLE. â If you were an object?
Eva Green. â âA kite.â
ELLE. â Your good-luck charm?
E.G. â âA lapis lazuli crystal. A friend gave it to me and I always keep it in my pocket.â
ELLE. â Your next holiday purchase?
E.G. â âA red Dracula cape for my schnauzer Winston. I love dressing up my dogs.â
ELLE. â The invention you love most?
E.G. â âThe telescope. Contemplating the stars is a form of meditation.â
ELLE. â The most beautiful object you own?
E.G. â âA handpan drum. Iâm learning to play this unusual instrument, which I find very soothing, very poetic.â
ELLE. â The one you lose all the time?
E.G. â âMy mechanical pencil.â
ELLE. â The most embarrassing?
E.G. â âA blue wooden phallus with eyes, bought in Bhutan. There, the phallus is believed to have the power to protect the house from evil spirits.â
ELLE. â The oldest?
E.G. â âA teddy bear from the 1920s bought on Portobello Road in London. Its gaze seemed to beg me to adopt it.â
ELLE. â The one you give to everyone?
E.G. â âFlowers and novels by Haruki Murakami. And also Seiun sake*, slightly sparkling and low in alcohol, which I had the crazy idea of creating with my best friend after traveling in Japan and undergoing intensive training in different sake-brewing techniques.â
ELLE. â The last gift you received?
E.G. â âA Japanese Musashi knife.â
ELLE. â The most precious?
E.G. â âA cross from my Breton paternal grandmother.â
ELLE. â The object you dream of buying for yourself?
E.G. â âA Ford pick-up truck. I find it very sexy, very Yellowstone! [Laughs.] And a Klarstein ice-cream maker. A pastry-chef friend let me taste a dark chocolate and Espelette pepper sorbet⊠a real marvel!â
3 months ago | [YT] | 9
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Diana Joffe
Hi guys! It happened again, I uploaded a video yesterday, but it was blocked due to copyrights:(
I really love this interview, and I think this interview is important and interesting, so like a few times before I'm posting it here:
boosty.to/dianajoffe/posts/b8121a2a-39e4-4cc4-adf2âŠ
I know the link is not active, but that's all I can do for now. I hope I will organise everything better later.
3 months ago | [YT] | 4
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Diana Joffe
Hey guys! I want to share with you this new magazine with Eva Green Harperâs Bazaar Taiwanđ
Page 1:
Be gentle, be kind; to others, to yourself, to the world.
On our journey from Taipei to Paris, we were reminded of a scene from Eva Green in the first James Bond Film: Casino Royal: Agent Vesper Lynd, dressed in a thin black dress, huddled on the bathroom floor, letting the cold water pour down on her until James Bond approached and hugged her tightly. "Are you cold?" She nodded gently, and he turned up the water temperature a little: the director preserved this scene in its entirety; it was a cold and mysterious character, entering the audience's hearts for the first time with a vulnerable demeanor.
On the day of the cover shoot, Eva Green drove slowly from her country home, a warm, shy smile on her face, to our eyesâanother beautiful contrast!
She said she loves mornings the most: "Because the whole world is still asleep, the air is crisp, and it feels like anything is possible." We prepared a snack blind box for her, and she picked out a bag of mini cream puffs from Taiwan, a few puffs dancing between her fingertips and lips.
Her father is Swedish dentist Walter Green, and her mother is French actress MarlĂšne Jobert. She debuted in 2003 with films like The Dreamers and Kingdom of Heaven, already displaying a unique presenceâa performance energy where shadow and light pull at each other. Later, her roles in 300: Rise of an Empire and Sin City carried the memories of "beauty and allure" for an entire generation of moviegoers. Continuing her collaboration with director Tim Burton, from The Shadows and Miss Peregrineâs House for Peculiar Children to Dumbo, Eva Green has built a dark fantasy universe. Later, she was nominated for Best Actress at the CĂ©sar Awards for Proxima.
This year seems to mark another chapter in her acting career. She recently finished filming two thrillers: Blood on Snow with Aaron Taylor-Johnson and Benedict Cumberbatch, and Just Play Dead with Samuel L. Jackson, a film with comedic elements.
A gentle, kind, dog-loving bookworm
Talking about life, she says, "Simplicity suits me well. I used to think life needed fireworks; now, I'm suspiciously happy because I walk my dog ââand go to bed at reasonable times. I guess that's what growing up is." She feels lucky to have a group of good friends, "When life is tough, they show up with hot soup when life is shining, they bring flowers." This quiet, uninterrupted companionship gives her a sense of security. In the photo studio, Eva Green, with her curly hair tied up and a necklace on, twirled lightly in front of the camera the next moment, she landed heavily on the sofa, captured in her most relaxed state.
She smiled and said, "Be gentle, be kind to others, to yourself, to the world." Because strength isn't always loud, often it's a soft whisper, "Sometimes a warm chorus is more comforting than an entire existentialist essay. Camus (French writer Albert Camus) would probably agree, haha."
Shy, Cancerian, dog-loving hermit, French black rose, a beautiful bookwormâHarper's BAZAAR Taiwan sketches Eva Green's character: she answers sincerely, but her thoughts drift back to her pets Nora and Winston waiting for her return home in her country cottage, and the mountain of books piled beside her bed.
Harper's BAZAAR (HB): What role in your life at this stage makes you feel fulfilled?
Eva Green (EG): The role that makes me feel most fulfilled is always the one I haven't fully explored yetâthe one that still keeps me curious, a little afraid, and allows me to continue learning. Currently, this means quietly developing projects, reading voraciously, and having my lovely dogs, Nora and Winston, with me. They often remind me that creativity doesn't only exist in the spotlight it can also blossom in stillness.
HB: Growing up in a bicultural family, what do you consider the best experience?
EG: Growing up between "French passion" and "Swedish pragmatism" means you learn to experience everything dramaticallyâŠand then immediately calmly laugh at yourself for it. But it's a very practical combinationâyou get both passion and perspective, and you can find solid solutions to existential anxieties.
HB: So what gives you the feeling of "home" right now?
EG: These days, home is any place that's warm, has books piled up dangerously high, and offers enough freedom to be "a little quirky." We're all a little quirky (to ourselves, and to each other), never forget that.
Adult friendships are warm and quirky.
HB: What's the life advice that's always been with you?
EG: Stay curious. Stay kind. Wear sunscreen. And never underestimate a well-timed napâcivilization still depends on well-rested people.
Page 2:
HB: How do you nurture your curiosity and creativity?
EG: Books, art, long walks, staring at paintings until they reveal their secrets. I also cherish those wonderful conversations with strangersâconversations that somehow change your mood for the week.
HB: Who is your biggest support in life?
EG: I'm luckyâI have a small circle of close friends. When life is tough, they show up with hot soup, when things are going well, they come to you with flowers. True friendship isn't dramaticâit's stable, honest, even a little bit telepathic! It's those who notice when you quiet down, choose to sit beside you, and listen to your ramblings.
HB: Who was your first idol?
EG: Bette Davis. Primitive, fearless. As a child, I admired women who were both bold and mysterious, capable of changing the atmosphere of a room with just a raised eyebrowâlike Bette Davis, Liz Taylor, and Jeanne Moreau⊠They showed us that strength can also be gentle and compassionate.
HB: Of all the roles you've played, has any helped you understand yourself better?
EG: Vesper Lynd (character in Casino Royale) taught me that true power can be very quietâa raised eyebrow, an unfinished sentence, a perfectly timed turn and walk away. She taught me that restraint is sometimes the most lethal weapon. On the other hand, Vanessa Ives (character in Penny Dreadful) taught me extreme emotional endurance.
Every role leaves a mark. It strengthens some instincts while softening others, allowing you to see the world with slightly different light and perspective.
I often lose myself, rarely find myself. But when I'm playing a role, I always try to forget myself and be true to the character.
HB: What film have you watched more than ten times, and still rewatch repeatedly?
EG: I know this sounds a bit unusual⊠The Shinning. It's an absolute masterpiece. It offers a very unique experience. The tension builds slowly. The first few times you watch it, it's scary, but the more you watch, the funnier it gets because of Jack Nicholson's extraordinary performance. No one can portray madness like him.
A Role That Changed My Life Trajectory
HB: What's the kindest thing you've ever experienced in your career?
EG: Someone believed in me before I even had the courage to believe in myself. That kind of belief is very preciousâstable, principled, and unwavering when your own beliefs waver. Such support can change a person's life trajectory.
HB: You've worked with many directors from different backgrounds and genres. What experience still influences your approach to choosing projects?
EG: Working with people who lead with "passion and humanity." Vision is important, but kindness is the real superpower on set. Tyranny is just too outdated.
HB: What do you instinctively look for when you first read a script? Compared to earlier times, what kind of role would you take on now?
EG: A sparkâa complex, flawed, vibrant, even slightly frightening character. I get excited if the script is both intelligent and genuine, and dares to be silently bold.
HB: There was a lot of discussion on social media recently about "No is a complete sentence." How did you learn to "say no" to conserve emotional energy?
EG: I'll refuse anything that "disguises chaos as opportunity," and shoes that are purely malicious and hurt your feet. I've learned that if the price is your peace (or your toes), it's not worth the performance. When you say "Yes," there always needs to be a lineâand every time you draw that line, you don't owe anyone a paper.
HB: If you weren't an actor, what unexpected career path do you think you might have taken?
EG: I'd love to work with animals. I live in the countryside surrounded by all sorts of creatures who have no interest in the entertainment industry, and it's refreshing and peaceful. Dogs don't care if you're rehearsing Shakespeare or ordering cheese: they only care about sincerity, and maybe a cookie. But they'd make amazing acting partners.
HB: What are your impressions of Taiwan?
EG: I haven't been to Taiwan yet, but I really want to. Asia has always deeply fascinated meâthe culture, the history, the art, there's something profound and fascinating there that I really hope to explore myself.
HB: What are you looking to explore?
EG: Because I've always loved sake, I attended sake workshops in various regions. Finally, with the help of a Japanese sake brewery, I decided to launch my own brand, "Seiun," with a friend. It's just small-batch sake production, and I'm learning every day: it's been an exciting and humble experience.
HB: Why do you like Japan?
EG: I've always been drawn to Japan. It's a place that touches my heart, a place where "beauty lies in the details." It finds its elegance in simplicity and purity. There's also a certain mysterious and poetic atmosphere.
đđ¶
4 months ago | [YT] | 8
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Diana Joffe
Eva Green shared with us today about her new interview, letâs look at the quotes from it:
1. Japan inspires me with its relationship to time, to slowness, to precision. It is a country where every gesture has meaning, where beauty arises from restraint, simplicity, and modesty.
2. For me, it is a sake of light. I love to imagine it being enjoyed with music, in the rain or under the stars. It is a sake to be savored slowly, without any unnecessary ceremony, like a breath.
3. I don't like borders, neither geographical nor artistic. I love to travel between worlds, languages, and cultures. Seiun embodies this, the meeting of a Japanese tradition and a European perspective. I feel good in these.
5 months ago | [YT] | 2
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Diana Joffe
Iâm in love with this interview, I wish I could have a copy of the magazineđ there is so much wisdom in these words and the photosđ„č ABSOLUTELY LOVE IT! So letâs enjoy it moređ #EvaGreen #evagreenfans #evagreenlovers
6 months ago | [YT] | 1
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Diana Joffe
I bought the new magazine with Eva on the cover and there is also an interview. It seems like the interview is the same as the previous one, but with some additional questions, anyway Iâm sharing it with youđ©”âš
EVA GREEN
From Cinema to Author's Sake
WE EXPECTED HER ON A MOVIE SET, BUT WE FIND HER AT THE HEART OF A JAPANESE BREWERY. BETWEEN KYOTO AND THE STARS, EVA INVENTS A SAKE LIKE A LIQUID POEM: SEIUN, A LIVING BEVERAGE, HAND-BREWED AND INFUSED WITH MUSIC.
Eva, we expected you in the worlds of cinema and fashion. And unexpectedly, at first glance, you take us into the world of sake. Itâs a bit confusing, isn't it?
Maybe a little, I admit. But, like everyone else, I am not just defined by my professionâwhich I continue to pursue with as much joy, of course. For many years, I have developed multiple interests, and some have turned into true passions. Generally, I am deeply attracted to craftsmanship, ancestral know-how, and immutable rituals where the history, culture, and soul of a people are revealed. I immediately loved sake, having had the chance to taste excellent kinds from my very first experiences. Over the years, I have refined my knowledge and taste for this drink, through travel and encounters. More recently, learning about the history of sake and the ancient brewing techniques has truly captivated me.
How did this project come about?
Very simply and in the most sincere way. A few years ago, between two professional projects, I contacted my best friend, Hadrien Wolff, to propose taking a course on sake, its history, and its brewing techniquesâ solely for the pleasure of learning. He had no experience in this field, but he had lived in Asia for a long time, particularly in Japan, and we share a very similar taste: I knew it would excite him.
We quickly became "passionate apprentices." We had no idea that this curiosity would lead us, a few months later, to hand-brew rice in the early morning in icy water, at the heart of a traditional Japanese brewery! We loved this learning experience, both demanding and fascinating. And from there to becoming creators, it was just a small step... that dreamers like us quickly decided to take! I wouldnât dare to call us visionaries: we indeed created a drink with a unique recipe, of which we are very proud, but the category of low-alcohol sparkling nigori sakes already exists in Japan, even if it remains niche.
What draws you both to Japanese culture, and to the art of sake in particular?
Japanese culture is so vast, complex, and mysterious... We don't know it well enough to speak about it without risking clichĂ©s. However, Hadrien and I are beginning to know sake culture well, and our interest has only grown as our understanding has developed. The art of sake is about transforming an ingredient as simple and seemingly mundane as rice into a drink of infinite richness and diversity, thanks to the natural action of koji and yeasts. Koji is a fermentâa type of fungusâthat transforms the starch in cooked rice into sugar, while yeast converts this sugar into alcohol. Itâs fascinating to see that with simple elementsârice, water, koji, and yeastâyou can create many different sakes, each with its unique character.
Beyond the millennia-old art of brewing, the art of drinking sake is equally fascinating. It has long had a spiritual dimension in Japan: it accompanied Shinto rituals, weddings, seasonal celebrations, and served as offerings to the deities. Itâs still common to see sake barrels stamped with the names of local breweries at the entrances of Shinto temples. Even in its more mundane dimension, certain practices touch meâlike the one where you never pour for yourself but serve others. This gesture of attentiveness and sharing seems to me very beautiful.
Is it a product you see as niche, or do you aspire to establish it in the world of gastronomic luxury?
Sake is still relatively unknown in the West and can therefore be considered niche. Our ambition is to contribute humbly to its growth by inviting people to discover it. But Seiun is not a traditional sake: it even surprises connoisseurs. Its very accessible nature has all the chances of appealing far beyond the circle of enthusiasts. Gastronomic establishments like Michel Sarran, Le Relais Bernard Loiseau, Omija, La Table de Mougins, and others have been captivated and offer Seiun paired with sweet or savory dishes. We are, of course, very happy and proud of this.
How did the collaboration with Japanese artisans go? Is it a creative exchange or a strict respect for local know-how?
We worked with a French toji (master brewer) Guillaume Ozanne, who has nearly 15 years of experience in some of Japan's most respected sakagura. He recently joined a brewery located between Kyoto and Osaka, Kotobuki, which welcomed our experiments with a lot of kindness. Hadrien and I naturally showed much respect and gratitude for the know-how that Guillaume and the Kotobuki teams shared with us. But the exchange was also creativeâsometimes even a bit bold! We became interested in the phenomenon of stimulating fermentation through musical waves, already documented in France in the context of winemaking. This idea, at the intersection of science and spirituality, immediately intrigued us. Apparently, music stimulates yeasts and helps accelerate the fermentation process. So, we timidly asked if it would be possible to place speakers in the fermentation tanks to play a playlist we had prepared. This somewhat poetic request was kindly received, and Seiun was thus infused with the vibrations of the pieces we had chosen.
Your image is associated with an elegant, mysterious universe. How do these traits translate into the identity of your sake?
Seiun is a bit like my baby! It's normal that it resembles me! I am very sensitive to all forms of poetryâliterary, of course, but also visual, gustatory, or auditory. Poetry, for me, is beauty that touches you through a sense or an idea and provokes an emotion. With Hadrien, we share this aesthetic sensitivity. We wanted to make Seiun a multisensory experience: the taste, with an acidity that awakens and a sweetness that flatters; the complexity of fruity and floral notes; the hypnotic movement of the nigori in the bottle; the design of the label, created by Miryam Muller, a very talented graphic designer; the textured rustic Japanese washi paper; and of course, the quote "My soul is in the sky," taken from A Midsummer Night's Dream, inscribed in Japanese kanji on the label. And then, of course, the music that literally infuses the fermentation... All of this, for us, is poetry.
More generally, in recent months, we have seen you in very different projects, between auteur cinema, international production, and series. How do you choose your projects?
Continuing from what I was saying, I need to be moved to embark on an adventure: it can come from a script, a subject, a director, an actress, or an actor. Of course, the reality of our job sometimes requires compromises, but when thatâs the case, I always try to make sure they serve projects supported by people I love.
Which recent shoot has particularly marked you?
I recently shot in Turkey (The Trees, by Bahman Ghobadi) with a young deaf and mute girl (Neva Kus) who played my daughter and was extraordinary in her intelligence and sensitivity. Beyond being a born actress, she turned out to be a remarkable person. She deeply touched me and became one of the most beautiful partners I have had the chance to work with.
Are you currently filming or preparing a role that you can mention?
I just completed filming in the Canary Islands with Martin Campbell, the director of Casino Royale, alongside Samuel L. Jackson. A very complex and dense role. A jubilant comedy!
You are one of the few French actresses who have built an international career without renouncing your uniqueness. How does one achieve this balance?
Oh dear... I donât calculate anything... I canât help but remain myself. Accepting oneself is a constant work.
Creating sake is like creating a character: you must give it a soul. Did you approach this project as an artistic performance?
Yes, that's right. To create a character, you have to draw from within and find the emotions that belong to it, to be true and sincere. Creating Seiun required the same level of involvement: an absolute sincerity and a deep reflection. The soul of a creation, I believe, is born from the mix of true emotions and conscious thought.
CONTINUED IN THE COMMENTS
#EvaGreen #Seiun
6 months ago | [YT] | 2
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Diana Joffe
Hiđ©”
Today I found this magazine with an article about Seiun and a little interview with Eva Greenâșïž
Translation:
THE LEFT SIDE
Women are also in the spotlight: actress Eva Green, a Japan enthusiast, has just launched a sake (read more alongside). Together with her childhood friend Hadrien Wolff, they founded "The Green Wolff," a house that aims to blend Japanese tradition, French elegance, and gentle innovation.
Produced in Japan at the two-century-old Kuninocho brewery (near Osaka), with master brewer Guillaume Ozanne, "Seiun" is a modern sake that is slightly sparkling, unfiltered â a troubled nigori with notes of citrus and flowers â infused with natural mindfulness: no additives, controlled fermentation, and moderate alcohol (8%). Seiun was released in France and Belgium this autumn, available at select wine merchants and chosen fine dining establishments, with an initial run of 2,700 bottles priced around âŹ45 each.
With Seiun, Eva Green is not aiming for ostentatious luxury but for authenticity, the slow rhythm of fermentations, and the mystery of a drink that is still unfamiliar to many. It's a poetic gamble, a sensory exploration.
Like other celebrities before her, Eva Green intends to act as a true lever for the democratization and desirability of spirits that are still somewhat niche. Conveniently, according to an American study, consumers are willing to pay 73% more for celebrity-branded alcohol. Whether it's brands founded by celebrities or operated by celebrity shareholders, the power of stars gives incredible strength to these labels. The average price of celebrity spirits is nearly double that of other brands.
This significant price difference is particularly strong due to the fact that celebrity involvement adds a dimension of "sophistication," elevating these products to the level of luxury and lifestyle expression. Their aura attracts an international and heterogeneous audience, thereby naturally broadening demand.
THE RIGHT SIDE
Eva Green: "In Japan, sake is a sacred alcohol"
MarlĂšne Jobert's daughter is venturing into sake production, an emblem of Japanese refinement. She even went to Japan to learn the trade in the best traditional breweries of the archipelago. Upon her return, Eva Green spoke to "VSD."
VSD: What inspired you to embark on this Japanese adventure?
Eva Green: I have always had a genuine taste for sake. Over the years, I gradually explored its many facets, but despite my curiosity, I felt like I was just scratching the surface of such a vast and mysterious universe. I then proposed to my best friend, Hadrien â who has lived in Asia for a long time, particularly in Japan â to take a sake-making course. Our immersion in traditional Japanese breweries was thrilling. Creating our own sake became an obvious choice: to enjoy a drink that reflects us, but also â humbly â to help introduce others to this rich, deep, and fascinating universe.
Sake is a subtle, almost spiritual alcohol. What kind of world did you want to create around this drink?
Sake has indeed had a spiritual dimension in Japan for a long time. It accompanied Shinto rituals and served as an offering to deities. Seiun aligns with this symbolic lineage; it is a sake that speaks to the soul as much as to the palate. We particularly believe in the influence of sound frequencies on fermentation, an idea at the crossroads of science and spirituality. Thatâs why each fermentation tank of Seiun is equipped with a speaker that plays ambient and spatial music throughout the fermentation process. Hadrien and I are indeed dreamers.
The natural effervescence and fine particles of rice suspended in Seiun create a very poetic visual effect, reminiscent of a nebula, the celestial phenomenon from which stars originate. Moreover, Seiun is a phonetic adaptation in our alphabet of the Japanese word for "nebula."
What does this project reveal about you that the public doesn't yet know?
My passion for sake, of course, but more broadly, the shared love for authentic things: artisanal products, ancestral know-how. My curiosity and my taste for the elsewhere, for exoticism, as Japan, and sake in particular, remain a mystery to me⊠despite everything I have already discovered. And then, perhaps, my desire to undertake â beyond my career as an actress, which continues to excite me. This project is a different way of creating, telling a story, and conveying an emotion.
6 months ago | [YT] | 1
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