Hollywood star Eddie Redmayne also plays one of the accused in the court drama “The Trial of the Chicago 7”. Cinema correspondent Scott Orlin met Redmayne for a video interview.
Eddie made an appearance on the Tonight Show Starring Jimmy Fallon from home. He talked about his time during Covid 19 raising chickens and spending time in the countryside.
Eddie Redmayne’s Home Became an Animal Sanctuary During Quarantine
Eddie Redmayne Gushes About Working with Aaron Sorkin
We have an all-new look here at Eddie Redmayne Web thanks to the designing talents of Claudia at Never Enough Design.
The theme features images from Eddie’s photoshoot for Sharp Magazine.
Eddie is featured in Issue #72 of The Rake.
Oscar winner Eddie Redmayne is back with a new film — The Trial of The Chicago 7 — whose tagline reads ‘In 1968 democracy refused’. Little wonder its release coincides with this year’s U.S. presidential election. As Eddie Redmayne tells Tom Chamberlin, it is an urgent movement.
Have you met Eddie?” I was asked several times before I met Eddie Redmayne. It would be easier to relay the meaning behind that question in person rather than on paper, but the gist of it was this: when going through the standard operating procedure of setting up a cover shoot, questions like “Does he need a car?”, “Does he have any catering needs?”, or “Can we shoot behind-the-scenes content?” all elicited the response, “Have you met Eddie?” He took the tube, by the way.
This being my 36th issue of The Rake, with no fewer than 30 of those covers being handled by publicists who represent the great and good of the big screen, it is difficult to elucidate just how unusual it is to get a response like that. That is not to say that any of the actors we have featured on our cover have been swallowed up by their own image or seek to make life difficult for us Earth-dwelling normies, but to witness an actor voluntarily eschewing the trappings to save others the hassle is mindblowingly refreshing. So it was safe to say I was interested in meeting Eddie, and I was not disappointed.
Eddie Redmayne has the kind of social skills I am particularly fond of: he appears to be interested, if not actually interested, in what the person he is talking to is saying; he is affable and kind and self-deprecating; and he doesn’t seem to take himself too seriously, which, given he is an Oscar winner, you might forgive him for doing. He undermines the theory that fame changes and ultimately blemishes character.
Our interview, a week or so later, got off to a good start. “Oh my God, you bastard,” he said, though in every way I deserved it. I had dialled in over Zoom from my holiday in France, and I wasn’t going to keep the view to myself. Once the smugness faded, and I had to remember to try to be professional, I got on with the questions.
Redmayne was not brought up in an artistic household. He had several brothers and sisters, whom he credits with helping him stay grounded, along with his wife, Hannah Bagshawe. His adventure in the creative arts began with music rather than acting. He says: “When I was very little, when I was staying at a friend’s house, there was a piano there, and though I never learned, I could play a bit and make some tunes. My mum was a bit shocked by that, and rented a piano, and before I started learning I had the facility to be able to improvise.” In school concerts and weekend classes, he nurtured his enthusiasm for singing and acting — sometimes, in concert, he’d be given no music and would simply riff off his own aptitude. He goes on to say that, “I got a great thrill in those moments, of being the freest, and then began to find that in acting.”
School was where things began to gather steam. He was a beneficiary of terrific teaching. His tutor in drama at Eton, Simon Dormandy, was someone who, as Eddie put it, arrived as a teacher practically straight from the rehearsal rooms of the West End. “He treated us like professionals, and I remember feeling like he rated you, but he also wanted to push you. It was a mixture of my own passions as a kid, but he was one teacher who really gave me the tools and emboldened me by rating me. Sometimes it takes someone having faith in you.”
Eddie is featured on the cover of Style Magazine Italia. Here are some of the images from the feature.
– Eddie Redmayne Web > Outtakes > 2020 > 002
Eddie has spoken out in regards to the twitter backlash that J.K. Rowling has received since making comments related to transgender individuals earlier this year. The Telegraph has shared his done a right up on the situation.
The actor may be ‘cancelled’ for refusing to join the trolls. Or have his critics never forgiven him for The Danish Girl?
Eddie Redmayne has made a terrible mistake – he has attempted to say something nuanced in an interview. Was he not aware that in an age of Twitter soundbites and conveniently cropped screenshots, nuance is for fools?
In said interview, Redmayne, who has just started filming the third film in the Fantastic Beasts series, attempted to convey the sentiment that, while he doesn’t agree with JK Rowling’s stance on trans issues, he also doesn’t support the vitriol she has received on social media. In case you missed it, the abuse involved #RIPJKRowling trending for several days.
The full quote from the Daily Mail reads: “[Redmayne] said he has many “trans friends and colleagues” who are ‘having their human rights challenged around the world and facing discrimination on a daily basis”.
It goes on: ‘Though [Redmayne] disagreed with Rowling’s comments on the issue, he was alarmed by the ‘vitriol’ hurled at her on social media, which he termed ‘absolutely disgusting’, and which prompted him to write her a private note. However, Redmayne felt that the insults to trans people on social media is ‘equally disgusting’. He said: ‘Similarly, there continues to be a hideous torrent of abuse towards trans people online and out in the world that is devastating.’
So in short, Redmayne has gone for the old “I disagree with what you say but I will defend to the death your right to say it”, which until recently was regarded as rather a reasonable sentiment. But unfortunately for Redmayne, we are apparently no longer capable of understanding any statement other than “this is very good” or “this is very bad” – especially when it comes to high profile public figures like JK Rowling.
Redmayne’s cancellation is somewhat reminiscent of the film Final Destination, where people who cheat death are then hunted down by death itself. Back in 2015 he somehow got away with playing trans woman Lili Elba in the film The Danish Girl, a role for which he was Oscar nominated. By comparison, in 2018, when Scarlett Johansson was announced as the lead in Rug & Tug, playing a trans man, the objections were so fulsome that she was obliged to relinquish the role.
Let’s not forget that earlier this year, when JK Rowling first nailed her colours to the mast, Redmayne joined Harry Potter stars Daniel Radcliffe and Emma Watson in speaking publicly about his disagreement with Rowling’s views. He told Variety: “I disagree with Jo’s comments. Trans women are women, trans men are men and non-binary identities are valid. I would never want to speak on behalf of the community but I do know that my dear transgender friends and colleagues are tired of this constant questioning of their identities, which all too often results in violence and abuse. They simply want to live their lives peacefully, and it’s time to let them do so.”
And yet despite all this, his role in The Danish Girl, combined with his comments about Rowling, is now being used as comprehensive ‘evidence’ that he himself is a transphobe. Or perhaps just transphobic by association, because he does not support outpourings of online abuse and threats towards women like Rowling. Similarly, actor Tom Felton who played Draco Malfoy in the Harry Potter films, became the object of online objections because he didn’t make a statement in which he disagreed with Rowling, and apparently liked one of her tweets in the aftermath of her open letter.
There is a sense that it’s permissible to do whatever you like to someone, if you find their politics abhorrent. But tweeting JK Rowling telling her that you wish she had cancer belongs to the same category as throwing milkshakes on people who voted for Brexit. It does not ultimately further your argument, it merely sets fire to the moral high ground you were attempting to occupy.
Probably the most compelling part of this entire saga was when a trans group came together to publicly condemn a headline in The Sun which read “I slapped JK Rowling and I’m not sorry.” Trans and non-binary activists, who were clear about the fact that they disagreed with Rowling’s personal views, wrote an open letter to Victoria Newton, the Sun’s editor, reading: “We stand alongside JK Rowling against this cruel and malicious reporting, which sends a dangerous message to all survivors that their stories are only valid when corroborated by their abusers. It sends a message to all survivors of domestic and sexual violence that they will not be believed, and it is dangerous.”
Surely such support for someone with whom you disagree is infinitely more likely to win respect for your cause than tweeting that JK Rowling can “suck my big transgender c**k”.
Press has officially started for Eddie’s newest film The Trial Of The Chicago 7. I can’t even begin to express how excited I am for this film. Eddie speaks with Sean O’Connell from CinemaBlend.
“The Trial of the Chicago 7” actors Eddie Redmayne and Yahya Abdul-Mateen II discuss their upcoming Netflix film (from writer/director Aaron Sorkin) in this interview with CinemaBlend Managing Director Sean O’Connell. Find out what they think makes Sorkin’s scripts stand out, how he was able to make the serious subject matter funny and more.
Two images from the Hollywood Reporter shoot.
– Eddie Redmayne Web > Outtakes > 2020 > 001
The cast of The Trial of the Chicago 7 is featured on the cover of the new issue of the Hollywood Reporter.
The director of the Netflix film, which stars Sacha Baron Cohen, Jeremy Strong, Eddie Redmayne and Yahya Abdul-Mateen II, reveals why it took nearly 20 years to get the project about the politically motivated prosecution of protestors made and why it couldn’t be more timely: “I never imagined today would go so much like 1968.”
In October 2019, hundreds of protesters marched down Chicago’s Michigan Avenue toward the Hilton, chanting phrases like “No justice, no peace!” and “A people united will never be defeated!” as police in riot gear descended on the crowd with billy clubs and tear gas. Earnest and energized, clad in 1960s period costumes and flanked by vintage police vehicles, this group thought they were acting out the past, staging a scene from Aaron Sorkin’s The Trial of the Chicago 7. As it turned out, they were performing the future, too.
Sorkin’s film, which opens in select theaters Sept. 25 and hits Netflix on Oct. 16, tells the story of the riots at the 1968 Chicago Democratic National Convention and the circus-like trial of political activists that followed the next year. Thanks to Hollywood development hell, the movie is arriving 14 years after Steven Spielberg first mentioned the idea to Sorkin but just as its themes and plot points — civil unrest, a self-proclaimed “law and order” president’s vilification of protesters (Nixon then, Trump now), the police’s excessive use of force, tensions within the Democratic Party over how far left to move — have become bracingly current.
“I never wanted the film to be about 1968,” Sorkin says in an interview over Zoom from his house in the Hollywood Hills on Labor Day weekend. “I never wanted it to be an exercise in nostalgia or a history lesson. I wanted it to be about today. But I never imagined that today would get so much like 1968.”
For only the second time in a career spanning nine films as a screenwriter, Sorkin serves as director with Chicago 7, helming a sprawling ensemble cast that includes Eddie Redmayne as anti-war activist Tom Hayden, Sacha Baron Cohen as Youth International Party (Yippie) provocateur Abbie Hoffman, Succession’s Jeremy Strong as counterculture figure Jerry Rubin and Watchmen’s Yahya Abdul-Mateen II as Black Panther party co-founder Bobby Seale. There are undeniable parallels not only between the film and the present political moment but also between the performance-art activism of the actors and the men they’re playing, most vividly Cohen, who, like Hoffman, has made a career of political self-expression through comedic stunts, including crashing a far-right rally in Olympia, Washington, this summer while pretending to be a racist country singer. (Cohen, who shoots most of his satirical projects incognito, impishly calls reports of his appearance at the rally “fake news.”)
Eight months after Sorkin filmed the protest scenes in Chicago, Abdul-Mateen was marching in Black Lives Matter protests in West Hollywood, as was Strong in Brooklyn. “There’s power when a lot of people come together to protest out of anger, out of frustration,” Abdul-Mateen says. “Everybody has a role in the revolution; this film shows that.”
Though the movie feels crafted for this political moment, it was born of another. At Sorkin’s first meeting with Spielberg, “I remember him saying, ‘It would be great if we could have this out before the election,'” Sorkin says. The election Spielberg was talking about was 2008’s, when Barack Obama and Joe Biden faced John McCain and Sarah Palin.
The film hit multiple roadblocks, beginning with the 2007-08 writers strike and continuing as financing faltered repeatedly, a fate illustrated by the more than 30 producers who can claim some sort of credit on Chicago 7. It took another unscheduled detour this summer after Sorkin finished it as the pandemic worsened, and the odds of original distributor Paramount mounting a successful theatrical release before the Nov. 3 election seemed increasingly slim. For some involved with the film, there is a question about the ethics of Hollywood inviting audiences to return to theaters before a COVID-19 vaccine is widely available. “There’s a moral quandary, that we, the motion picture business, have to be careful that we don’t become the tobacco industry, where we’re encouraging people to do something we know is potentially lethal,” says Cohen.
Before his visit to Spielberg’s Pacific Palisades home to discuss the project on a Saturday afternoon in 2006, Sorkin knew next to nothing about the Chicago 7. The federal government had charged seven defendants — Hoffman, Rubin, Hayden, David Dellinger, Rennie Davis, John Froines and Lee Weiner — with conspiracy for their participation in the protests against the Vietnam War outside the Democratic National Convention. (Originally the men were known as the Chicago 8 and included Seale, who asked to have his trial separated from that of the others and postponed so that he could be represented by his preferred lawyer, who was ill; that trial never took place.) When Spielberg proposed a movie about the riots and the trial that followed, Sorkin, who was 7 in 1968, said, ” ‘You know, that sounds great. Count me in.’ As soon as I left his house, I called my father and said, ‘Dad, do you know anything about a riot that happened in 1968 or a crazy conspiracy trial that followed?’ I was just saying yes to Steven.”
Despite his ignorance, Sorkin was a logical choice to write the project: Having penned Broadway’s A Few Good Men and its 1992 film adaptation as well as the long-running NBC series West Wing, he’d shown a flair for dramatizing courtroom procedures and liberal politics, and he turned in his first draft of the Chicago 7 script in 2007. Originally, Spielberg planned to direct the project himself, but by the time the writers strike was over, he had moved on and a number of other potential directors circled, including Paul Greengrass, Ben Stiller, Peter Berg and Gary Ross, though none was able to get it off the ground. “There was just a feeling that, ‘Look, this isn’t an Avengers film,'” Sorkin says of the studios’ move away from mid-budget dramas and toward action tentpoles in the 2010s. “This isn’t an easy sell at the box office. And there are big scenes, riots, crowd scenes. How can this movie be done for the budget that makes sense for what the expectation is at the box office?”
As the project languished, Sorkin tried writing it as a play, ultimately spending 18 months on a fruitless effort to fashion a stage treatment. “What I didn’t like was having a script in my drawer,” he says. “I was just thinking, ‘Jeez, this is a good movie and it feels like it’s stillborn.'”
It was the confluence of two events that ultimately revived the film with Sorkin in the director’s chair in 2018 — the 2016 election of Donald Trump and the 2017 release of Sorkin’s well-received directorial debut, Molly’s Game, which doubled its production budget at the box office. “This is before George Floyd and Breonna Taylor and police protests or confrontations,” Sorkin says. “This is just when Donald Trump was musing nostalgically about the old days when they used to carry that guy [a protester] out of here on a stretcher and punch the crap out of him.”
With Trump’s throwback rhetoric lending the subject matter a new timeliness and Sorkin’s directing chops confirmed in Spielberg’s eyes, the movie moved forward with its screenwriter at the helm.
Cross Creek Pictures came in to finance, and Paramount bought the domestic rights. But all those years in development had left an expensive imprint on the project — a jaw-dropping $11 million had been spent on casting costs, producing fees and the optioning of Brett Morgen’s 2007 documentary about the event, Chicago 10, leaving just $24 million for the actual 36-day production.
One way Sorkin attempts to achieve a sense of scope despite that budget is by intercutting real black-and-white news footage with his dramatized protests. He rounded out his large cast with a deep bench of experienced and award-winning actors including Oscar winner Mark Rylance as defense attorney William Kunstler, Oscar nominee Frank Langella as Judge Julius Hoffman, Joseph Gordon-Levitt as prosecutor Richard Schultz and Oscar nominee Michael Keaton as former U.S. Attorney General Ramsey Clark — with the filmmaker and many of his actors working for scale. (Abdul-Mateen and Strong both became first-time Emmy winners Sept. 20.)
Sorkin shot the protest scenes on location in Chicago and built a courtroom set in an old church sanctuary in Paterson, New Jersey, because none of the available courtroom locations in the Garden State conveyed the scope he wanted. “If we’re saying the whole world is watching, I want a packed courtroom for six months full of press and spectators,” Sorkin says. “I wanted the big, cavernous feeling of the federal government and its power coming down on these people.”
Eddie spoke with Cinema Blend and confirmed that the cast and crew of Fantastic Beasts 3 is back on set!
Like many other films, Fantastic Beasts 3 was put on hold in early spring. While we got word earlier this summer that production would resume soon, the official start date wasn’t certain. However, now it appears that they’re back in business. During a recent interview for his upcoming film, The Trial of the Chicago 7, Eddie Redmayne told CinemaBlend’s Sean O’Connell that the cast and crew of Fantastic Beasts 3 are back to work:
It’s interesting because we’ve started shooting now. We’re two weeks in, and again, it’s a whole new process. It’s a whole new normal. Testing frequently, masks. And I wondered, actually, whether the masks would affect creativity, in some ways. Maybe that was a bit ignorant, but I just thought, as humans, do we need interaction to spark from each other. What is really reassuring is that it is a different process, but it still feels like it’s fizzing and that everyone is working at the top of their game.
Eddie Redmayne didn’t go into great detail surrounding safety protocols on the Fantastic Beasts 3 set, although he seems to confirm that crew members are required to wear masks on set. This news shouldn’t come as a surprise to those who’ve been watching the way Hollywood has adapted to the COVID-19 pandemic.
In July, Warner Bros. executives stressed that the studio would be enforcing strict protocols to keep casts and crews safe as they headed back into production. The Batman had to close up shop shortly after resuming filming after a crew member — allegedly Robert Pattinson — tested positive for COVID-19. But if anything, that’s a sign that the studio’s reporting system works.
Hopefully, the Fantastic Beasts 3 crew will be able to complete the film without further delay. There are still a lot of unknowns regarding what fans can expect to see in the latest installment of the franchise, though we do know the characters will be heading to Hogwarts. While cast members like Dan Fogler have hinted at big events on the horizon — and the potential introduction of other Harry Potter characters into the prequel series — the filmmakers aren’t revealing all of the film’s secrets yet. Fantastic Beasts 3 is currently scheduled to hit theaters on November 12, 2021.