Diana Joffe

Hey guys! I want to share with you this new magazine with Eva Green Harper’s Bazaar Taiwan😍
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 eyes—another 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 Marlène Jobert. She debuted in 2003 with films like The Dreamers and Kingdom of Heaven, already displaying a unique presence—a 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 Peregrine’s House for Peculiar Children to Dumbo, Eva Green has built a dark fantasy universe. Later, she was nominated for Best Actress at the César 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 ​​and 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 bookworm—Harper'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 yet—the 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 dramatically…and then immediately calmly laugh at yourself for it. But it's a very practical combination—you 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 nap—civilization still depends on well-rested people.

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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 strangers—conversations that somehow change your mood for the week.

HB: Who is your biggest support in life?

EG: I'm lucky—I 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 dramatic—it'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 eyebrow—like 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 quiet—a 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 precious—stable, 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 spark—a 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 line—and 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 me—the 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.

💖🍶

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3 weeks ago | [YT] | 8

Diana Joffe

Eva Green shared with us today about her new interview, let’s 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.

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1 month ago | [YT] | 2

Diana Joffe

I’m in love with this interview, I wish I could have a copy of the magazine😭 there is so much wisdom in these words and the photos🥹 ABSOLUTELY LOVE IT! So let’s enjoy it more💖 #EvaGreen #evagreenfans #evagreenlovers

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2 months ago | [YT] | 1

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 I’m sharing it with you🩵✨

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. It’s a bit confusing, isn't it?

Maybe a little, I admit. But, like everyone else, I am not just defined by my profession—which 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 techniques— 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 wouldn’t 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 clichés. 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 ferment—a type of fungus—that transforms the starch in cooked rice into sugar, while yeast converts this sugar into alcohol. It’s fascinating to see that with simple elements—rice, water, koji, and yeast—you 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. It’s 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 me—like 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 creative—sometimes 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 poetry—literary, 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 that’s 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 don’t calculate anything... I can’t 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

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2 months ago | [YT] | 2

Diana Joffe

Hi🩵
Today I found this magazine with an article about Seiun and a little interview with Eva Green☺️
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 — a troubled nigori with notes of citrus and flowers — 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 €45 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"

Marlène 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 — who has lived in Asia for a long time, particularly in Japan — 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 — humbly — 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. That’s 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 — 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.

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2 months ago | [YT] | 1

Diana Joffe

Hi guys<3 As I created a page on Boosty, I added there an interview that I could't post before. The first Eva's interview now you can find it there. I love it and I think it is one of my favs, because she is with her mother Marlene Jobert there and it was before The Dreamers.
It may be uncomfortable, but at least I will have a collection of every video despite of YT rules.
https://boosty.to/dianajoffe/posts/3aa9a745-05c3-48ba-a89a-8f4a36b0b931?share=success_publish_link

3 months ago | [YT] | 3

Diana Joffe

Hello everyone! I created a page on Boosty where I will publish interviews that YouTube doesn't allow due to copyright issues. I want to say that for now I'm releasing a new translated interview every Tuesday, so if you don't see a video, there’s probably a post with a link instead.

Today, I want to share Eva's interview from Cannes with Mads Mikkelsen. It may not be very informative, but it’s very lovely and sweet, and also not very popular, so welcome!
https://boosty.to/dianajoffe/posts/247536f2-a5b3-4d12-9f04-c75c1d230ea8?share=post_link
(I'm sorry the link is probably not active, but you can find me by my name on Boosty - Diana Joffe)
#EvaGreen #MadsMikkelsen #interview

3 months ago | [YT] | 1

Diana Joffe

Hello everyone! It's been almost two days since I hardly slept and have been very stressed because I was working on a video that YouTube won’t allow due to copyright issues, and I couldn't find a way to bypass this restriction. Moreover, I respect them. As you know, I’m trying to translate some interviews of Eva Green for you and share content in other languages featuring her.

I’m very upset because I really love this interview and it isn’t very popular. This is the first (available to us) interview with Eva, where she is 21 years old and talks about her role in a play. It also features her mom, and it’s just an incredible and sweet interview. I will share the translated text with you and attach the link to the original.
The original video (Eva's part starts from 11:30): https://youtu.be/OuGvVNlgeZk?si=1syVr...

The interview translation:
Thierry Ardisson: Here she is, Eva Green, ladies and gentlemen. We just talked about mom's life
Eva Green: Yes, everything
Thierry Ardisson: The story about mom. You knew everything, right?
Eva Green: Not everything, not everything
Thierry Ardisson: You are also very beautiful, it's a family matter. So "Jalousie in three faxes" at the Petit Théâtre de Paris.
The other host: It is true that the two twins don't look alike (points at Eva and Marlene, they are laughing)
Thierry Ardisson: So, "Jalousie in three faxes" by Esther Villar, directed by Didier Long, featuring Dominique Laborier, Isabelle Gelinas, and you at the Petit Théâtre de Paris as I've said. I'll do the pitch it's simpler, and people like it when I do the pitch. So, it's about three women who revolve around the same man, who is only mentioned but never seen. They live on three different floors of the same building and communicate by FAX. So, you play the young Iris very detached, with a bit of a Buddhist perspective and you explain at the beginning of the play that jealousy is unnecessary, that it serves no purpose, and that it's ridiculous, of course. You end up falling into the trap yourself, right?
Eva Green: That's exactly it.
Thierry Ardisson: You unwittingly discover jealousy and at that moment, you become quite vulnerable, even aggressive, almost animalistic.
Eva Green: Yes, like the other two. We know all three of us face the same frustrations. It starts with Hélène, then Yana, and then me, and we are all at different ages experiencing jealousy in different ways according to our personalities. At the beginning, I’m very Buddhist, very Zen, very calm and then, well, I fall into the trap. I’m very young and BAM, it's true that I’m the one who suffers the most, I think the others already have a certain maturity regarding existence and a bit of perspective and it’s true that I’m the only one who really, BAM, attempts suicide and all that.
Thierry Ardisson: You were chosen from among sixty candidates, right?
Eva Green: Yes, that's right.
Thierry Ardisson: Is she happy, Marlène?
Marlène Jobert: Yes, I am very proud!
Thierry Ardisson: So, before going on stage, some days it's pleasant and other days it's not. You say that sometimes you feel like you’re going to the guillotine and other times like you’re going to meet God. It's terrible, is it every other day or how does it go?
Eva Green: Well, it feels a bit like diving into a pool of cold water, actually, yes. We get goosebumps, all three of us are doing a circle focusing. And it's true that we are all a bit nervous, but it’s for sure on stage we’re with God all the time. It’s a guillotine before going on stage.
Thierry Ardisson: It’s a guillotine before, and God after.
Eva Green: Exactly.
Thierry Ardisson: How many times have you seen the play, Marlène?
Marlène Jobert: Seven.
Thierry Ardisson: Seven times!
Eva Green: It is important!
Thierry Ardisson: It is charming!
The other host: But why, because you didn't understand or what?
Marlène Jobert: I'm so happy! It's true that she succeeded on her own because, well, she really went through her auditions and she was chosen. If you have a difficult role, she has a wonderful opportunity, it's a magnificent play. She has two partners but truly magnificent, it's an incredible chance with a great director and having her there is just... well, you'll see.
The other host: I haven't seen the play, but it’s one of those shows that has excellent word of mouth in Paris. Everyone talks to me about this play and I'm going to rush to see it, because the word of mouth is truly wonderful.
Thierry Ardisson: It's "Jalousie in three faxes" at the Petit Théâtre de Paris, I repeat. Is your sister jealous of you?
Eva Green: Like any sister, I think. But right now she’s very happy for me, that surprised me a lot at first, she listened to my interviews on the radio and follows all the articles. No, I'm really touched, actually.
Thierry Ardisson: You mean that at first when you were doing classes and all that, she wasn't too interested, but suddenly since you’ve been on stage
Eva Green: Yeah, yeah. Even she reacts very well.
Thierry Ardisson: But what does this sister do?
Eva Green: This sister is studying business, which is very different.
Thierry Ardisson: Yes?
The other host: It's a shame she doesn't really resemble you, the twin, because …
Eva Green: But that's a good thing
The other host: At night, you'll get tired and there you send her in your place, it is great! Every other night.
Eva Green: I don't know if she would like that, but yeah.
Thierry Ardisson: So when you were a child, Marlène, you were somewhat distanced from the showbiz world, right? You didn’t really see stars, you were quite protected from that, do you?
Eva Green: No, not at all, we never went to the shoots, we weren’t immersed in that world, never met anyone, never went to parties, all of that. So no.
Thierry Ardisson: And plus, since her career slowed down a bit you didn’t realize how famous she was in a certain way, do you?
Eva Green: No, I really saw her as someone, well, we’re very protected, in a cocoon, a bit out of reality, so yeah, it’s true. It is not Isabelle Huppert who always worked all of that.
Thierry Ardisson: Do you see many dentists?
Eva Green: So a lot of dentists, I don’t go often enough, I should.
Thierry Ardisson: So tell me, will you two play on stage together one day?
Marlène Jobert: I wouldn’t say that, no.
Thierry Ardisson: It would be funny. You’re a very serious girl?
Eva Green: Too good. It feels like I’m truly living now, actually, yeah, that I perform.
Thierry Ardisson: You’re not too much into nightclubs and all that, are you?
Eva Green: Not at all, I'm very old like a grandma who listens to classical music on my bed. But I really like...
Thierry Ardisson: Doesn’t it come from Marlène? Classical music, the very serious side
Eva Green: My mother is quite serious…
Thierry Ardisson: Now, yes. It's called "Jealousy in Three Faxes”, it's by Ester Vilar and it's at the Petit Théâtre de Paris. You’re going to witness something terrible, horrible, I swear, some crazy questions. I’m going to do a very difficult interview, it’s the beginner interview, meaning I’m going to act as if I'm a beginner journalist. And I’m going to ask you the questions that beginner journalists ask, it’s very complicated. If you need a joker, it’s Pierre Moscovici who will answer. You have a minister as a joker, after all, complain about that. I am sorry.
Pierre Moscovici: I’m very proud!
Thierry Ardisson: So for example, beginners ask, "What is your play?"
Eva Green: It’s "Jealousy in Three Faxes," yeah.
Thierry Ardisson: Do you think you are a role model for those who admire you? It’s for the record.
Eva Green: I don’t have many admirers yet, but it’s coming.
Thierry Ardisson: Do you think about failure?
Eva Green: All the time, every second, too much actually.
Thierry Ardisson: Do you need to immerse yourself in your character before performing?
Eva Green: Yes, I try to concentrate before going on stage and send myself the necessary information for the character.
Thierry Ardisson: Continuing with the beginner interview, what is the message of the play?
Eva Green: Jealousy is a means of excitement to maintain the couple.
Thierry Ardisson: Iris, is a little of you or a lot of you? You’ll have to get used to it, because there are many beginner journalists out there.
Eva Green: A little bit.
Thierry Ardisson: Do you eat before or after the play?
Eva Green: After.
Thierry Ardisson: Do you have a career plan?
Eva Green: I was planning to work with Spielberg, with Lynch, well, we’ll see later.
Thierry Ardisson: What advice would you give to a beginner?
Eva Green: Not to let herself be consumed by the gaze of others, to truly do what you want and to be… to be very free.
Thierry Ardisson: But you’re answering in a very professional way, that’s a beginner's question.
Eva Green: Exactly! You’d like to be like that.
Thierry Ardisson: Very good.
#evagreen #fanpage #fans #interview

3 months ago (edited) | [YT] | 3