We're dedicated to all things Vanessa Kirby, the enhanting English stage, tv and film actress. You may know her from her starring roles in BBC's Great Expectations and Labyrinth or remember her as tragic Ruth Elms in The Hour's first season. Besides her outstanding work in stage, in productions like A Streetcar Called Desire, Three Sisters or Uncle Vanya, she could also be seen on the big screen with roles in Me Before You, Everest and About Time.
After wrapping her 2 season-run as Princess Margaret in Netflix's The Crown, for which she was even nominated for an Emmy Award, she drove head first into action blockbusters and stole the show in Tom Cruise's massive Mission: Impossible - Fallout and the Fast and Furious Spin-Off Hobbs and Shaw. Staying true to her drama roots though, she will be next seen in a array of more dramatic movies, like The World to Come along side Katherine Waterston and Pieces of Woman, exec produced by Martin Scorsese.
Vanessa Kirby, the British actress best known for playing Princess Margaret in the first two seasons of The Crown, has set up a production company and struck a first-look deal with the global streamer that helped her break out.
Netflix on Tuesday unveiled a multi-year deal with the award-winning actress and her new London-based banner Aluna Entertainment for a slate of feature films with a focus on projects that it said would “explore the spectrum of the female experience.”
The partnership was unveiled on the eve of the 2021 Venice Film Festival, where last year Kirby cemented her fast-rising leading lady credentials with two critically-lauded features, The World to Come and Pieces of a Woman. For the latter, which was picked up by Netflix, she won the top Volpi Cup best actress award and and went on to land Oscar, BAFTA, Golden Globe and SAG nominations.
In founding Aluna — which was formally incorporated in the U.K. in April — Kirby has also partnered with Lauren Dark, who joins from Film4 where she was senior executive and worked on titles including Florian Zeller’s Oscar-winning debut The Father, Rebecca Hall’s Passing and Prano Bailey Bond’s Sundance-bowing horror Censor.
“It has long been a dream of mine to produce and I have found the perfect partners in my friends at Netflix,” said Kirby, who received a BAFTA TV award and an Emmy nomination during her time on The Crown. “They have been an inspiring creative home for me from The Crown to Pieces of a Woman and I am thrilled to be on this journey alongside them. In Lauren I’ve found a true ally and we are united in our ambition to explore stories that relate to the uncharted female experience.”
Added Dark: “Vanessa is an extraordinary artist and I’m excited to be joining her and our new partners at Netflix on this journey. We share a passion for telling untold stories in their most ambitious and dynamic form. It has been an enormous privilege to be at Film4 for the past four years with such a talented and supportive team, alongside some of the very best filmmakers.”
Currently one of the most in-demand actresses around, Kirby is in production on both The Son, Zeller’s follow-up to The Father, starring alongside Hugh Jackman and Laura Dern, and the next installment of the Mission: Impossible franchise. She will next start shooting Thomas Bidegain’s Suddenly opposite Jake Gyllenhaal.
“Vanessa has delivered powerful and unforgettable performances as an actor and we know that she will equally captivate audiences with her creative vision as a producer,” said David Kosse, VP of international original films at Netflix. “I couldn’t be more thrilled to work with her and the team at Aluna to bring their films to our members around the world.”
Kirby is represented by CAA, Hamilton Hodell, Linden Entertainment and Narrative and Ziffren Brittenham.
Vanessa Kirby has joined the cast of “The Son,” Florian Zeller’s follow up to his Oscar-winning feature debut “The Father,” Variety has learned.
Kirby, who was Oscar-nominated for “Pieces of a Woman,” will star in the film opposite Laura Dern and Hugh Jackman. As with “The Father,” “The Son” was adapted by Zeller and Christopher Hampton (“Dangerous Liaisons”), from Zeller’s critically acclaimed stage play. Zeller and Hampton just won the best adapted screenplay Oscar.
“The Son” focuses on Peter (Jackman) as his busy life with new partner Emma (Kirby) and their baby is thrown into disarray when his ex-wife Kate (Dern) turns up with their teenage son, Nicholas. The young man is troubled, distant and angry, playing truant from school for months. Peter strives to be a better father, searching to help his son with those intimate and instinctive moments of family happiness. But the weight of Nicholas’ condition sets the family on a dangerous course.
The film is being produced by Oscar winners Iain Canning and Emile Sherman (“The King’s Speech”), as well as Joanna Laurie of See-Saw Films and Christophe Spadone (“The Father”) alongside Zeller. Film4 are co-financing. Shooting is expected to start in the coming weeks.
“Vanessa Kirby is for me a very great actress: intense, inventive and powerful. I am especially happy to take her on this cinematic adventure,” said Zeller.
Laurie added that the project “holds a mirror up to our families and our emotions and we’re very excited to add Vanessa to the already exceedingly talented cast of Hugh Jackman and Laura Dern in bringing this story to life.”
In addition to her Oscar nod for “Pieces of a Woman,” Kirby won the Volpi Cup for best actress as the 2020 Venice Film Festival. She gained international acclaim for her portrayal of Princess Margaret in “The Crown,” winning a BAFTA Award for best supporting actress. Her film credits include “Mission: Impossible – Fallout” and the Fast universe spinoff “Hobbs & Shaw.” She is also an Ian Charleston Award winner for her roles in “Three Sisters” and “Uncle Vanya.” Kirby’s upcoming projects include “Suddenly” from writer-director Thomas Bidegain, in which she will star with Jake Gyllenhaal.
International sales on “The Son” are being handled by Cross City Films and Embankment, with Cross City Films and CAA Media Finance co-repping U.S. rights.
Kirby is represented by CAA and Hamilton Hodell and Gregory Slewett at Ziffren Brittenham, and managed by Linden Entertainment. Florian Zeller is represented by CAA.
Zeller is rolling off “The Father” which won two BAFTAs and a pair of Oscars for adapted screenplay and leading actor for Sir Anthony Hopkins. “The Father” also earned Oscar nominations for best picture, editing, production design and supporting actress.
EXCLUSIVE: In some powerhouse two-hander casting, we can reveal that Oscar nominees Jake Gyllenhaal (Brokeback Mountain) and Vanessa Kirby (Pieces Of A Woman) have been set to lead survival thriller Suddenly, which quickly becomes one of the must-have packages at the Cannes virtual market. The movie will be the sophomore directorial outing for acclaimed screenwriter Thomas Bidegain, known for scripting films such as A Prophet, Rust And Bone and Dheepan, which won the Palme d’Or. Bidegain is also scripting the English-language project.
The feature is based on Isabelle Autissier’s French-language novel Soudain Seuls, which follows a couple who become stranded on an island in the South Atlantic and must fight for survival when their dream journey becomes a nightmare. The novel shines a light on the dynamics of their relationship and also holds a mirror up to modern society.
Studiocanal is launching world sales this week and is teaming up with Tresor Films and Gyllenhaal’s Nine Stories on the blue chip prospect.
Producers are Alain Attal (Tell No One), and Gyllenhaal and Riva Marker for their Nine Stories (The Guilty) banner. Studiocanal is financing. Artemis Productions (Belgium) and True North Productions (Iceland) will co-produce.
Gyllenhaal and Bidegain previously worked together on The Sisters Brothers. The actor was last seen on the big screen in Spider-Man: Far From Home and upcoming has thrillers The Guilty, directed by Antoine Fuqua, and Ambulance, directed by Michael Bay.
The in-demand Kirby is in the middle of a hot streak that has included The Crown (for which she won a BAFTA), three Mission Impossible movies, Fast & Furious Presents: Hobbs & Shaw and well-received Venice Film Festival duo Pieces Of A Woman (for which she won the festival’s best actress prize) and The World To Come.
Writer-director Thomas Bidegain commented: “With Suddenly, I wanted to analyse the deep dynamics of a relationship stripped of all the artifices of the modern world, when facing life and death situations in a wondrous but hostile environment. Jake and Vanessa are a dream pairing who elevate the film to an entirely new dimension and are dream partners for making the film, along with our friends at Studiocanal.”
Studiocanal CEO Anna Marsh added: “We are thrilled to be working with such an incredible group of creative talent who have come together for Suddenly. Over the years, we have enjoyed great success together with Alain Attal, a producer of impeccable taste. The moment he came to us with this compelling story, we immediately believed in its major worldwide potential. The entire team at Studiocanal are such fans of Thomas’ work as a writer and filmmaker and can’t wait to see two of our favorite actors, Jake Gyllenhaal and Vanessa Kirby bring these profound, but complex characters to life together on screen.We have wanted to work with Nine Stories creatively for some time, I couldn’t be happier that Alain, Jake and Riva have partnered on this film.”
WME and attorney Carlos Goodman negotiated the deal on behalf of Gyllenhaal and Nine Stories. A shoot date has yet to be set.
Studiocanal’s Cannes virtual market slate also includes Cat Person with Nicholas Braun and Emilia Jones and Baghead with Freya Allan.
Kirby is represented by CAA, Hamilton Hodell, Linden Entertainment and Ziffren Brittenham. Bidegain is represented by UTA and by Film Talents. Representing Tresor Films was Hubert Caillard of Intervista.
[on celebrating her Oscar nomination during lockdown] I heard the news and I was so shaky, and then I just got to hold my sister’s hand all night and talk to my best friends. I got to experience it from such a calm place and I’m just feeling deeply grateful.
I just so happen to be in a job that is in a public medium, and I’m grateful for that, because it’s lovely to tell a story that you really care about, and to have other people share it with you. But the public nature of it is strange and sort of random, because I don’t feel that what I do is any more important than anyone else. It’s not because I’m more interesting than the next person doing something that they love and care about. [...] I remember getting my first paycheck – it was like a lightning bolt for me, walking from the theater in Bolton back to my flat. It’s just the biggest blessing to do something you truly love with your day. I wake up feeling that, and I go to sleep feeling that, so, in some ways, I still feel like that girl walking home from the theater.
One of my first questions will always be, ‘Is this something that scares me?’ A lot of movies have these very neatly drawn female archetypes who are a film version of women, and that’s not what I identify with. From my experience of being a woman in the world, I know that you have to be an agent of that change. I know how wonderful it felt for me to have that space on a set, and now to be creating a company where I can continue to make those choices.
Claire [Foy] asked me, ‘Do you feel really empowered on this?’ and I was like, ‘Yeah, I actually feel like I have space to do the work I’ve always wanted to do.’ She said the same, and we realized that [it was because] we were the protagonists of our own story. It was that [moment] which illuminated the number of times when you were in [projects] where you were saying things that only helped the psychological journey and the narrative of the male characters.
VANESSA KIRBY’s beautifully wrought performance in Pieces of a Woman has earned her Best Actress nominations across the board this awards season – but filming it has changed her on a deeply personal level, too. She talks to KATIE BERRINGTON about gratitude, grief and how preparing for the role on a maternity ward was the best afternoon of her life
For Vanessa Kirby, celebrating her first ever Oscar nomination during a national lockdown meant a party for two at home, with balloons and champagne from her sister, and an evening spent FaceTiming her friends. This might have been a more low-key affair than the festivities of other years – a treadmill of press breakfasts, lunches and events in LA – but Kirby wouldn’t have had it any other way. “I heard the news and I was so shaky, and then I just got to hold my sister’s hand all night and talk to my best friends,” she smiles, still incredulous, when I congratulate her the next day. “I got to experience it from such a calm place and I’m just feeling deeply grateful.”
There is a lot that Kirby is expressing gratitude for when we connect over Zoom – she from her bedroom in the south London flat she shares with friends and her younger sister Juliet, an assistant director. She is thankful they could spend the lockdown months together: “[Juliet] was that year for me,” says Kirby. “Every hour of it, really, was with her.” The London-born actor is also feeling grateful to have two movies released amid such an extraordinary, testing time: American frontier drama The World to Come, in which she and Katherine Waterston play two married women who begin an affair in the midst of desolate circumstances, and Pieces of a Woman, a heart-breaking portrait of trauma in the aftermath of a couple losing their newborn baby. Both films have received critical acclaim, and, for the latter, Kirby’s quietly gut-wrenching performance of the grief-stricken Martha has swept up Best Actress nods from the Golden Globes, BAFTAs, SAG Awards, Critics’ Choice and Academy Awards.
Kirby, 32, is no newcomer to the awards circuit. Her ability to segue with utter authenticity between genres and mediums has captivated stage and screen audiences alike in the 12 years since she started out. But this awards season has felt rather different. “You do these Zooms of the ceremonies – they’re usually at 4am here because it’s LA time – and I drag my sister out and we sit there and giggle, and they come to you and you clap. Then the computer closes, and we eat a bar of chocolate at 5am, watching some random TV, laughing, in our pajamas.”
Kirby finished filming The World to Come and Pieces of a Woman back to back, and flew home just weeks before the pandemic hit and every corner of the industry shut down. “Honestly, I didn’t know if the films would ever come out. Cinemas were closed and neither of the [films] were with Netflix or any distributor [at the time]. It was five months of absolutely nothing. I wasn’t attached to any other jobs, so it wasn’t like I was preparing for anything. I was in equal parts a 13-year-old and a retiree,” she shares of her own experience, quick to note how very lucky she has felt, knowing the challenges and tragedies faced by so many others.
Then, after months of lockdown nothingness, Venice Film Festival called. While almost all other industry events had been cancelled, it was “surreal” to see both movies premiere there, in a theater with a live audience, last September. TWTC received the Queer Lion award for the Best Movie with LGBT Themes & Queer Culture, while Kirby won the Volpi Cup for Best Actress for Pieces. This felt all the more incredible, she says, given the subject.
Beginning with a near-30-minute uncut take of the home birth that ends in tragedy, the film, directed by Kornél Mundruczó, is unrelenting as it delves into the agonising psyche of loss and the subsequent disintegration of Martha’s relationships. “Films about a woman giving birth, for literally a quarter of the screen time, just wouldn’t get financed a couple of years ago,” says Kirby. The birth scene is harrowing to watch and impossible to look away from. It took four takes over two days to shoot, with only one short rehearsal beforehand, and the little dialogue was mostly improvised.
To prepare, Kirby shadowed a friend working on a maternity ward in a London hospital, even getting to be present in a room as a woman gave birth – an experience she was awe-struck by. “It was the best afternoon of my life, I would say,” smiles Kirby, still shaking her head in wonder. “I hope I get to do it one day.”
It is evident how much it meant to Kirby to do justice to the collective experience of the women she spent time with in researching the role. This included working with Sands, the stillbirth and neonatal-death charity, and being introduced to a woman, Kelly, who she has become close friends with, who suffered a similar experience to that of Martha’s. Embodying this raw, anguishing element of human existence, one so often ignored in society, took a long time to leave the actor. Does she think it has changed her in any way? “I notice now, I’m so acutely sensitive to other people’s pain, much more than I ever have been,” Kirby considers. “I can read it more; I can see it more and, if I see it, I know how to stand beside it and hold space for it.” She is learning, too, to afford herself the same emotional room, to give “permission for any [feeling] to come up that wants to or needs to, and I can just hold space for it as it does, rather than being like, ‘OK [she shakes herself off], now I don’t have those feelings anymore.’”
Kirby has done most of the press campaign for Pieces by herself, after allegations were made against her co-star Shia LaBeouf prior to its release. FKA Twigs, a former partner of LaBeouf, filed a lawsuit in December accusing him of “relentless abuse”, including assault and sexual battery, during their relationship. At the time, LaBeouf told The New York Times: “I have a history of hurting the people closest to me… I’m ashamed of that history and am sorry to those I hurt,” though he denied the allegations made by FKA Twigs in a response to the lawsuit in February. In December, Netflix reportedly removed his name from the For Your Consideration awards campaign. Responding to a question from The Times at the beginning of the year, Kirby said: “I stand with all survivors of abuse and respect the courage of anyone who speaks their truth. Regarding the recent news, I can’t comment on an ongoing legal case.”
Honoring and raising up the experiences of women through her work is clearly of great importance to Kirby. She cites the fact that in TWTC, she and Waterston play characters at the center of the narrative, from a time when there is little trace of the lives led by women. “They lived in such difficult circumstances, even more so if you were a woman, and if you loved someone of the same sex… It could be fatal in those times, to take any risks outside of what you were expected to do.”
She specifically seeks out roles that pose a challenge and that she can learn from – “One of my first questions will always be, ‘Is this something that scares me?’”– and feels drawn to honest depictions of the messiness of the human experience. “A lot of movies have these very neatly drawn female archetypes who are a film version of women, and that’s not what I identify with,” she says. This commitment goes beyond the roles she gravitates towards. Kirby is in the process of setting up her own production company, to be part of paving the way for female-centered storytelling. “From my experience of being a woman in the world, I know that you have to be an agent of that change. I know how wonderful it felt for me to have that space on a set, and now to be creating a company where I can continue to make those choices.”
A realization about problematic female representation on screen came to Kirby a few months into playing Princess Margaret in The Crown, when she and Claire Foy (who was playing Elizabeth II) were waiting to go on set. “Claire asked me, ‘Do you feel really empowered on this?’ and I was like, ‘Yeah, I actually feel like I have space to do the work I’ve always wanted to do.’ She said the same, and we realized that [it was because] we were the protagonists of our own story.”Kirby continues: “It was that [moment] which illuminated the number of times when you were in [projects] where you were saying things that only helped the psychological journey and the narrative of the male characters.”
Kirby’s career began on and has returned frequently to the stage (director David Thacker gave her three starring roles at the Octagon Theatre in Bolton in 2009, which kickstarted her résumé), and so the transition to high-profile screen roles has taken some getting used to. “I just so happen to be in a job that is in a public medium, and I’m grateful for that, because it’s lovely to tell a story that you really care about, and to have other people share it with you. But the public nature of it is strange and sort of random, because I don’t feel that what I do is any more important than anyone else. It’s not because I’m more interesting than the next person doing something that they love and care about.”
Hollywood might disagree, as Kirby has become one of the most in-demand names among her peers. Next up, we will see her reprise the role of the White Widow in Mission: Impossible 7, slated for release later this year. These huge blockbusters may be a far cry from her beginnings treading the board, but her love of the craft hasn’t changed.
“I remember getting my first paycheck – it was like a lightning bolt for me, walking from the theater in Bolton back to my flat,” she recalls. “It’s just the biggest blessing to do something you truly love with your day. I wake up feeling that, and I go to sleep feeling that, so, in some ways, I still feel like that girl walking home from the theater.”
Gary Oldman and Vanessa Kirby discuss their separate journeys as actors, moments when they felt discouraged from chasing their dreams and their Oscar®-nominated performances in David Fincher's Mank and Kornél Mundruczó's Pieces of a Woman, respectively.
Some may remember British actress Vanessa Kirby, 32, as Princess Margaret in the first two seasons of the TV series The Crown, or as black-market arms dealer White Widow in Mission: Impossible-Fallout, with Tom Cruise as Ethan Hunt. This year she received a Golden Globe nomination as Best Actress in a Drama from the journalists of the Hollywood Foreign Press Association for her performance in Pieces of a Woman, by Hungarian director Kornél Mundruczó, a role which had already earned her the Volpi Cup for Best Actress at last year’s Venice Film Festival. She costars with Katherine Waterston in The World to Come, by Norwegian filmmaker Mona Fastvold, which also premiered in Venice, and won the Queer Lion award for Best LGBTQ-Themed Film.
The story of Pieces of a Woman is based on a tragic loss that really happened to the director and his wife, Kata Wéber, who wrote the screenplay. What did they communicate to you about their experience?
I knew that for Kornél and Kata this was a personal story, I didn’t know exactly the circumstances of how they lost a baby, but as we started approaching the movie, they did share that with me. I felt that it came from such a viscerally deep part of Kata and from a real need to share and break the silence around something that for women is so rarely talked about. So, this was a quite therapeutic journey for them, and it was very healing, between them as a couple, to go through this process. I literally saw that every day on set, the conversation that was happening between them, the facing of really painful moments, and their very different grieving experiences. That taught me a lot actually because when you go through any kind of loss or trauma, everyone processes it differently, but sharing that it’s healing, so we always hoped that the film would offer some small comfort for people out there who might need it.
Ellen Burstyn plays your mother in the film. What was it like for you to work with such an experienced actress and to get to know her as a person?
Ellen has always been such an icon in my life and such a legend, I’ve seen all of her performances, and she reminds me of Gena Rowlands, who’s also one of my favorite actresses. She has such a fire as an actress, such a strong energy and presence, and yet you always feel this vulnerability, this fragility, underneath. So, I was excited to go head-to-head with Ellen, because she’s done so many incredible films and she’s head of the Actors’ Studio. It was amazing to work with her and actually, we became really good friends. During rehearsals she invited me over to her house for a sleepover, she called it a pajama party, and we really bonded, we spent many hours talking, we went to bed at 3 am. Since then, we’ve been really close, and she’s definitely very maternal towards me. She’s such a soulful spiritual person and she’s so wise, that I’m very lucky to have her in my life.
In The World to Come you play a farmer’s wife living in Upstate New York during the 1850s. What did you discover about how women lived back then?
When I was researching the film, I couldn’t believe how ignorant I was that, not that long ago, women were completely owned by their husbands, that the home was your domain, you should serve your husband in his home and the children that you had, that it was your husband’s choice what you did with your time, what your name was and everything. That was the law, that was the religion and the way it was. In those days it was all about convention, what you were expected to do, who you were told to be by society and by the structures of a completely patriarchal system. These women, who are literally our ancestors in a way, had to make so many sacrifices and simply didn’t have the choices in their lives that we have now. So that made me incredibly grateful for the choices that I have today, whether it’s what I do with my afternoon or who I love, or how freely I can love. So, I felt very passionate about that story.
Did you come to understand some of the elements that make it so liberating for women to have romantic or sexual relationships with other women as opposed to relationships with men?
Mona Fastvold, the director, told us that these relationships between women have always been there, throughout history, and it’s important to tell those stories now, because, even in times when it was almost completely impossible, there would have been moments when two humans really wanted to be together and didn’t have the choice to be able to, because the only union that should happen is between a man and woman. I’m really proud of the film because it’s a brief moment in these women’s lives, when they are seen for who they really are and they really connect, they feel what they should have a right to feel, and they had the courage to actually do it and to be true to who they were. The film is an ode to those women, like a cry for them in a way. I really imagined all those moments in life that may have been lit up by a person or something that made you feel so free in yourself, and you may have had that only for a moment, because of the system and the restrictions on who you were allowed to be by society.
We have all had a very difficult year, because of the Covid pandemic, and many other problems in the world. What have been some of your thoughts during this time, and do you hope that this crisis could bring about a change for a better future?
Yes, this last year has been so hard on everyone, and so much of it has been about readjusting. We’ve all had a year, when in many different ways there has been loss and our idea of how our life always has been having completely changed, for everyone across the whole planet. I finished filming Pieces of a Woman about a week before the pandemic happened, and we filmed The World to Come right before that, and both films were about the loss of a child, so they strangely seem spiritually linked. They are also both about women who don’t have voices, so I felt like they were giving voice to a female experience that is so rarely if ever, depicted and represented on the screen. Doing those films definitely left me with a sense of hope, that we can come to terms with tragedies and come out of them stronger somehow, whether that means that we’re more united or more compassionate, that we feel more empathy or more solidarity with what every single person is facing right now across the world. That’s what I hope.
vanessa__kirby Lost for words. Just... can’t believe it. This is the greatest honour @theacademy. Thank you so, so much. While making this little film, all we ever hoped was for a few people to see it and relate - or recognise what it’s like to lose something so precious to you, to find a way to live alongside it, to somehow put yourself back together.
I am just so thankful to Kata and Kornel for trusting me to be your Martha, to Kevin Turin, Ashley and Sam Levinson, the entire cast and crew, Elan McAllister, Benjamin Loeb and David Jancso, my Gemma Hoff, Rea Nolan, my family at Netflix and Bron, and my beautiful Moynihan family - for being alongside me and believing in me and the film, in every way. This is shared with all of you. And to Kelly and Lucianna, and all the mothers and families who have lost their little ones - we stand beside you. You are not alone. @sandscharity @netflix
Congratulations to Vanessa Kirby, who earned her first Academy Awards nomination as Best Actress in a Leading Role for her heart-wrenching performance in Netflix's Pieces of a Woman, directed by Kornél Mundruczó.
Stories That Matter with Vanessa Kirby and Ellen Burstyn | Pieces of a Woman
Actresses Vanessa Kirby and Ellen Burstyn discuss their work on Kornel Mundruczo's acclaimed drama Pieces of a Woman, notions of generational trauma and their experiences portraying two women who are survivors in their own separate ways.
Netflix released a bunch of interviews with the Pieces of a Woman cast, lead by other respected actresses, for their For Your Consideration awards campaign. Click the picture above to watch Marcia Gay Harden moderating a conversation between Ellen Burstyn and Vanessa Kirby.
Netflix released a bunch of interviews with the Pieces of a Woman cast, moderated by other respected actresses, for their For Your Consideration awards campaign. Click the pictures above to watch Patricia Clarkson interviewing Vanessa Kirby.
Netflix released a bunch of interviews with the Pieces of a Woman cast, moderated by other respected actresses, for their For Your Consideration awards campaign. Click the picture above to watch I Care a Lot’s Rosamund Pike interviewing Vanessa Kirby.
Netflix released a bunch of interviews with the Pieces of a Woman cast, moderated by other respected actresses, for their For Your Consideration awards campaign. Click the pictures above to watch Hillbilly Elegy’s Amy Adams interviewing Vanessa Kirby.
