Margarethe von Trotta speaks with us in an interview about her new period film “Hannah Arendt”. The project takes Trotta on-location in three different countries and sees her teaming up for the sixth time with actress Barbara Sukowa.
After films like Rosenstraße (2003), I am the Other Woman (2006) and Vision – From the Life of Hildegard von Bingen (2009), TV movies on Hessischer Rundfunk, including an episode of Tatort (2007) in Frankfurt, and a chamber play, Die Schwester (2010), director Margarethe von Trotta is now completing a film recounting four years in the life of German-Jewish philosopher Hannah Arendt (1906-1975). The screenplay for the film was written by the director herself and American co-author, Pam Katz, who she also teamed up with for Rosenstraße in 2003.
Barbara Sukowa plays the lead, making it the sixth time she has worked with the renowned director. She’ll share the limelight with Axel Milberg, Ulrich Noethen, Michael Degen, Julia Jentsch, Victoria von Trauttmansdorff, Janet McTeer and others in front of French camerawoman Caroline Champetier’s lens. The drama is set in the 1960s and was filmed between October 16 and December 17, 2011, in just 37 filming days in North Rhine-Westphalia, Jerusalem and Luxembourg. The planned release is October 2012.
"Five of Broadway’s finest actors are in the running for 2012 Academy Awards! In honor of their stellar work onscreen, Broadway.com is looking back at the most unforgettable stage roles of Oscar nominees Glenn Close, Viola Davis, Janet McTeer, Christopher Plummer and Meryl Streep. Check back each day for a different Oscar Watch feature, then tune in to ABC’s live telecast on February 26, hosted by Broadway vet Billy Crystal, to find out which stage great will take home Hollywood’s biggest prize.
JANET McTEER, Best Supporting Actress Nominee for Albert Nobbs
Uncle Vanya (1992): After graduating from the Royal Academy of Dramatic Art, Newcastle native McTeer launched an instantly successful stage career, including lauded turns as Titania in A Midsummer Night’s Dream and Beatrice in Much Ado About Nothing. McTeer cemented her reputation with an Olivier Award-nominated performance as Yelena, the bored and seductive heroine of Uncle Vanya, in a National Theatre revival co-starring Ian McKellen.
A Doll’s House (1997): McTeer collected every award on both sides of the Atlantic, including a Best Actress Tony, for her Nora in Ibsen’s classic drama. (Times critic Ben Brantley began his review of her by gushing, “This is why I love the theater.”) At six feet tall, McTeer was anything but doll-like in the role, but her impassioned performance made modern audiences understand why this 19th-century housewife would feel compelled to shut the door on her family.
The Taming of the Shrew (2003): Almost a decade before her Oscar-nominated performance as faux-male painter Hubert in Albert Nobbs, McTeer explored her masculine side as Petruchio in an all-female company of The Taming of the Shrew. Directed by Phyllida Lloyd (Mamma Mia!) at London’s open-air Globe Theatre, McTeer was praised for her comic take on a man modern audiences love to hate.
God of Carnage (2008/2010): Yasmina Reza’s dark comedy about how parenthood makes couples crazy had its English language debut in London with McTeer giving a sly performance as Veronique, the role that later won Marcia Gay Harden a Tony….. “
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"Janet McTeer and Glenn Close can’t get enough of each other these days. They worked together in Albert Nobbs and both veteran actresses received Oscar nominations for their performances. So they’ll be seeing each other on Oscar night. And the two are currently in the middle of filming the fifth and final season of the legal thriller Damages, set to air this summer exclusively on DIRECTV’s AUDIENCE Network™. Our friend, Damages writer Josh Payne, recently caught up with them to talk about working together, what they think is the best part of the Oscars, and much more. Read Josh’s exclusive interview with Janet McTeer below and check back tomorrow for his chat with Glenn Close.
You and Glenn Close worked together for the first time on Albert Nobbs. What would you like people to take away from that film?
I would like them to take away the idea that one should never judge a person, really. It’s about being non-judgmental. It takes an ordinary person an extraordinary amount of courage to get through an ordinary day sometimes. And certainly in the case of Albert [Close’s character in Albert Nobbs]. And also it’s a film about poverty and the people who end up at the bottom of the food chain are usually the women. And there’s something wonderful about Hubert [McTeer’s character in Albert Nobbs], who— before women could vote, before women had any power—Hubert takes on the role of a male figure and has power, and can end up rescuing Helen [played by Mia Wasikowska] and can end up doing things that we now slightly take for granted. If they’re financially independent then they can look out for each other. And I think also, just that thing of big dreams. Big dreams in little lives.
Has the friendship you formed with Glenn on Albert Nobbs had an impact on your Damages work? Does it make it easier to do scenes with her?
Well, we haven’t done that many scenes because we’re in opposition [on opposing sides of a lawsuit]. But when we do have scenes it makes it easier, yes, because you’ve already got a relationship going.
Read the full article… DIRECTV
“The expat British star of The Woman in Black talks about gothic horror, awards season madness and cross-dressing with Glenn Close in Albert Nobbs
When Janet McTeer gets homesick in New York, she does as many expats do: she reaches for the Downton. “It’s fantastic,” she says, over boiled eggs and soldiers on the Upper West Side. “I am completely addicted. Did you see that scene when Maggie Smith almost falls out of the chair? I pressed rewind on that so many times. It made me laugh until I peed myself. And that hadn’t happened in a very long time.”
Like Downton Abbey, McTeer is proving a durable UK export. She is currently scaring up a storm in The Woman in Black, a moody gothic adaptation of the novel by Susan Hill, which serves as a vehicle for Daniel Radcliffe’s emergence into a post-Potter world. McTeer plays a grieving mother whom viewers quickly twig is completely deranged. Her approach is game, rompy. She sinks her Rada-honed fangs into the scenery with abandon, but her character is never cartoonish, always sympathetic. “I tried to be extremely real and normal for the first minute,” she says, “and then in the second minute I go bonkers.”
The Woman in Black is the high-profile, high-grossing, high-camp title in what’s shaping up to be a year of McTeer. The high acclaim is Albert Nobbs, for which both she and Glenn Close have earned Oscar nominations for their roles as women who live as men in 19th-century Dublin – in McTeer’s case, complete with wife. Though McTeer’s gruff-voiced house painter won’t fool audiences for long (after about half an hour, a show-stopping flash confirms things), it’s a great fit. Aged 50, classically trained McTeer is as limber at this kind of leap as she is at ease with The Woman in Black’s nouveau Hammer horror.
“There are some roles that are a no-brainer. You just have a sure, instinctive ‘Yes!’ I could have looked at Albert Nobbs and been all logical about it. But there just wasn’t a choice. You look at it and go: ‘Of course!’” Her gut proved right. She’s fresh back from yet another awards ceremony in Los Angeles. Well, fresh-ish. “It was a crap flight. I’m too tall. You can’t lie down.” (She’s 6ft 1in.) Generally, though, she’s having a blast. “You either dread it [the awards season] or decide it is going to be fun.”
McTeer is notably unpretentious uncompany. Born in Newcastle, raised in York, she took a job aged 16 serving coffee in the York theatre. She could meet boys and see shows for free. “I remember thinking: ‘Wow. This is where I belong.’” But her relaxed attitude to celebrity also stems from the fact that this is her second bite of the cherry. In 1999, McTeer won a Golden Globe and an Oscar nomination as a strung-out single mother in the Sundance hit Tumbleweeds, a part she landed off the back of the Tony she picked up for a Broadway transfer of The Doll’s House.
Read the full article… the guardian