The October issue of Empire magazine contains a two-page look at Carey Mulligan’s upcoming film “Suffragette”. Thanks to Luciana at Jessica Chastain Network, you can find digital scans in the gallery.
Thanks to our lovely friend Luciana at Amy Adams Fan, I’ve just added scans from the July issue of Empire Australia and the August 21 issue of Entertainment Weekly.
We have now completely moved over to our new server and are running at full speed on our new domains carey-mulligan.com and carey-mulligan.org. There is a temporary redirect from our old .net domain, but that is only for a short period of time, so please bookmark these new domains.
You may also notice there are no longer any intermediate pictures in the gallery. From now on, when you click on a thumbnail, you will be given the full picture, resized to fit in with your browser and the gallery theme – just right click on it to save on its original size.
Their faces grace the covers of national magazines, and heads turn when they walk down the street.
But this season, they threw themselves into revivals of two highly regarded plays, he as the physically afflicted title character in “The Elephant Man,” by Bernard Pomerance, and she as a schoolteacher in “Skylight,” by David Hare.
Bradley Cooper and Carey Mulligan, both Oscar-nominated film stars, are now both Tony Award nominees and are embracing the stage, even as they continue to manage Hollywood careers. “The Elephant Man,” which closed on Broadway in February at the end of a limited run, is transferring to London this summer; “Skylight,” which ran in London last year, is scheduled to play until June 21 in New York.
The two have never worked together, although they have had a number of cinematic near-misses: He auditioned, unsuccessfully, to portray her husband in “The Great Gatsby,” while she sought, also unsuccessfully, a role in “Silver Linings Playbook.” Ultimately, as show business would have it, they met through a shared publicist and have since become friends.
Carey Mulligan and her co-star Matthias Schoenaerts sat down with USA Today to promote “Far From The Madding Crowd”. The print edition of the interview appeared in the April 28 issue, and you can now find the scans in our gallery. We also added the first photoshoot outtakes.
Carey Mulligan has a new tattoo. The phrase inked on the inside of her right wrist is so tiny I have to lean in to read it as she sits across from me in the airy lobby of the Crosby Street Hotel in lower Manhattan. It’s early morning, but Mulligan, 29, has already been up for hours; she’s still on London time after having just flown here for the Broadway run of David Hare’s Skylight. She apologizes for not eating anything—when her jet lag woke her at dawn, she ravenously ate breakfast. By the time we sit down, all she’s in the mood for is some Earl Grey tea, served the proper British way, with milk and one lump of sugar.
Her new tattoo—“Love That Overcometh”—is a reference from a film she recently finished shooting, Suffragette, which opens this fall. Co-starring Meryl Streep and Helena Bonham Carter, it tells the story of female activists who fought for the right to vote in Britain; the phrase on Mulligan’s wrist commemorates a suffragette who threw herself under the king’s horse in martyrdom to the cause. The tattoo was an impulsive act, she admits, but the line kept resonating in her head after shooting. “I texted a picture of this to everyone right after I got it,” says Mulligan. Even wearing no makeup and a slouchy blue cashmere sweater, her brown bob disheveled, she conveys a wry, impish quality immediately recognizable from her on-screen performances. “I sent it to Helena and Sarah [Gavron, Suffragette’s director], and they were like, ‘Holy s—! This movie had better be good now.’ ”
Fresh from a standing ovation, Carey Mulligan sits in her Broadway dressing room, one leg tucked under the other, hair pinned back from her face, her hands almost consumed by a long pale-blue sweater. “Today was a good show,” she says with a smile. “Yesterday I didn’t feel as good about it, but today I liked.”
She is surrounded by flowers (“I got flowers from Helen Mirren, which I thought was the nicest thing ever!” she says) and jars of Marmite sent by well-wishers concerned that she might get homesick. They needn’t have worried. “I’ve always felt better in New York, doing theater,” she says. “I think because there’s no one I know in the audience—or I can believe that more comfortably than I can in London.” On the mirror behind her—written, for lack of lipstick, in Laura Mercier eyeliner—are three lines of poetry designed to embolden her: “These are our days. Walk them. Fear nothing.”