Saoirse is on the August cover of VOGUE! This marks the beginning of the promotion for the film Mary, Queen of Scots, one most of us have been waiting for literally years. A brand new, stunning photoshoot by Jamie Hawkesworth was released along with the article on the magazine’s website. The images have been added to our gallery, and you can read Saoirse’s cover story below.
Saoirse Ronan is describing the aftermath of her first acting job. “I went into this melancholic state for a few weeks,” she tells me. “I remember sitting on the bed with Mam next to me, and I was like: ‘I’m never going to have that experience again.’ ” The community that had come together on set and developed real bonds had now permanently dispersed. “It was that thought: That exact crew will never work together again. Never.” The project was an Irish television drama called The Clinic. When she appeared on it, Ronan was nine years old.
Now 24, Ronan has come to meet me in a coastal Irish town on a sunny afternoon in May. Ireland is facing a referendum to repeal its ban on abortion, and lurid posters of fetuses are everywhere. Ronan recently appeared in a video supporting the reproductive rights campaign—a long-growing grassroots movement that finally succeeded in pressuring the government to hold a referendum—and everyone is talking about it. In the café where we pick up lunch, we fall into conversation with our server about the upcoming vote.
Saoirse is back on the press junket for her new movie ‘On Chesil Beach’, out this May 18 (US and UK). We have new interviews with her when she was in London, as posted below. We’ll be updating this post for more in the future. Enjoy!
Vanity Fair recently had a feature on ‘On Chesil Beach’ along with a new portrait of Saoirse and Billy Howle. You can view it right in our gallery.
With On Chesil Beach, which will be in theaters next month, Saoirse Ronan sustains an unbroken streak of acting excellence that has encompassed The Grand Budapest Hotel, Brooklyn, and Lady Bird. The film is set in the narrowest sliver of historical time, the immediately pre-youthquake Britain of 1962, when, as Ian McEwan writes in the novella upon which the movie is based, “to be young was a social encumbrance . . . a faintly embarrassing condition for which marriage was the beginning of a cure.”
But the picture, directed by Dominic Cooke and co-starring Billy Howle, is tender toward its virginal newlywed protagonists rather than mocking and mean. “Satire creates distance. I wanted the reader, and now the viewer, to get right up close to them,” says McEwan, who handled the screenplay adaptation himself.
In bearing and appearance—”certainly beautiful, but in a sculpted, strong-boned way,” as the book has it—Ronan is uncannily right for the role of Florence Ponting, the violinist who takes the hand (but not willingly much else) of her groom, Edward Mayhew. “The physicality of Florence is so important, because there is so much that isn’t said,” Ronan explains. “And Ian writes with such love and understanding. I don’t think there are many films that have tackled this subject this way. Usually, it’s either a caricature, like American Pie, or overly sentimental.”
This week, The Hollywood Reporter released their 25 Most Powerful Stylists issue, featuring Saoirse and her stylist Elizabeth Saltzman. We uploaded the photoshoot along with the video/interview, which you can watch below.
It was published today by the Irish Times a new interview with Saoirse in which she talks about fame, Hollywood scandals, the abortion referendum and more. Read it below:
You wouldn’t guess that Saoirse Ronan carried the expectations of a nation on her narrow shoulders. The art of being Saoirse is, perhaps, the art of not seeming disconcerted. Her acting conceals effort. She appears to drift through performances on waves of unpretentious sincerity. Without kicking up scandal, causing kerfuffle or exposing any aggressive elbows, she has secured three Oscar nominations before the age of 24. (Jennifer Lawrence is the only other person to have managed that feat.)
Her turn in Atonement scored a best supporting nod in 2008. Two years ago, during the annus mirabilis of Irish cinema, she was nominated in the best actress race for Brooklyn. Now, up in the same category for playing a difficult teenager in Greta Gerwig’s wonderful Lady Bird, she has her best shot yet at the title.
When I meet her, I’ve just come from fellow nominee Daniel Kaluuya at another press bash. He said to say hello.
“Ach, I love him,” she burbles. “I said it to him the other day: ‘You don’t seem fazed by it at all.’”