GaspardUllielMéxico

Festival International Cinemá Mediterraneen "L' Art d'aimer"

2011-11-28T10:22:00.000-08:00

fuente

“The Descendants” Premiere (Another picture I've found)

2011-11-26T19:14:00.000-08:00

Happy 27 Birthday!!! Gaspard Ulliel

2011-11-25T10:24:00.000-08:00

Pues para festejar el cumple de Gaspard les traigo una entrevista que acabo de encontrar con unas preguntas muy interezantes, aqui se las dejo! y dejen sus felicitaciones para Gaspy abajo!

Gaspard Ulliel: "Creo en la amistad entre el hombre y la mujer"

El actor interpreta a uno de los bocetos de El arte de amar, Emmanuel Mouret. La oportunidad perfecta para hacerle cinco preguntas seleccionadas al azar por él mismo en una cuadrícula de 49.

Usarias tatuajes o piercings?

Tatuaje. Y estoy trabajando más y más. Por contra, he plantado algo en el cuerpo ... Podemos caer en el amor con un ex?

Yo creo que sí, pero lleva algún tiempo, un montón de tiempo en sí mismo. Esto nunca me sucedió a mí, pero ¿por qué no? Más amigos de los chicos o las chicas?

Me gustaría decir que tengo más a los chicos a mi alrededor. Tengo muchos deseos de creer en la amistad sin ambigüedad entre niño y niña, pero por ahora creo.

¿Qué ves desde tu ventana?

Otras ventanas. Y uno, veo a una mujer que pasa sus días jugando al solitario en su ordenador. Por la noche, este es un punto de color verde claro. Esto me intriga ... En París, hay unas vistas impresionantes, pero también tengo una opacidad con la ciudad, a la altura de las persianas.
Termina esta frase: no hay más después de ...

Más después de la pared ... No hay capa tras .... Yo estoy en el trabajo completo. Me dibujó los planos de mi casa, mi primera vocación fue ser arquitecto.

Y la pregunta complementaria: los votos acaba de terminar el rodaje el honor Tú a tu madre, Brigitte Jouan. Entonces, ¿qué impresión te hizo a su vez en traje de baño?

No tiene nada que ver con jugar desnudo!. El lado divertido de la historia es que se incluya en la hoja llamada ", ahora, traer su traje de baño." Se trata de una comedia social sobre una madre (Nicole García) y su hijo de cuatro. Pasar dos meses en una isla griega, que es menos estudioso de tiro Bergmanian.

Una palabra sobre el arte del amor? (se refiere a la pelicula)

Sí. Emmanuel Mouret hizo una película en dibujos y en la que juego, he leído novia Vanessa Williams (Elodie Navarra). Esta es una pareja que nunca se ha equivocado. Ella también quería pro

bar, que está de acuerdo, pero no apoyan la idea. Esta es una amplia reflexión sobre la fe: "La infidelidad en caso de que siguen siendo ignorados?"

Fuente: Entrevista
Traduccion: Google traductor (sii no se frances, por lo pronto nos tendremos q conformar con eso)

“Styles of Generations” L’Express Styles 2011

2011-11-16T12:37:00.000-08:00

fuente: Gaspard Ulliel Online

Gaspard Ulliel “The Descendants” Premiere

2011-10-26T15:26:00.000-07:00

fuente: Gaspard Ulliel Online

Gaspard Ulliel News Footage

2011-09-07T13:55:00.000-07:00

Gaspard Ulliel, Bertrand Tavernier, Melanie thierry

2011-09-07T13:53:00.001-07:00

Bertrand Tavernier And Gaspard Ulliel News Footage

2011-09-07T13:53:00.000-07:00

Gaspard Ulliel 2004 pic

2011-09-01T17:45:00.001-07:00

La Princees du Montpensier Interview

2011-07-28T15:24:00.000-07:00

Gaspard Ulliel is a young French actor best known for his roles in films such as A Very Long Engagement and Hannibal Rising. Co-starring alongside Melanie Thierry in The Princess of Montpensier by Bertrand Tavernier, he plays the Duc d’Guise, a soldier who is a passionate defender of his faith, who marries a woman that does not love him. Talking to View’s Matthew Turner recently, he spoke about the difficulties of filming battle scenes, working with the famous filmmaker Tavernier, and the eternal nature of love.

What is the film about and who do you play?

Gaspard Ulliel

So, in this film I'm the Duke of Guise, which is a historical character – he really existed. And this man – well, in all the information I found, on the internet or in some readings, he was always described as a great fighter and a great soldier and really committed to the Catholic cause and the campaign against the Huguenots. And then, the writer, Madame de Lafayette took some real historical characters then she would invent this romance. Because Marie, the main character, this lady never really existed. So it was quite interesting to work on the real aspect of this character and then create most of the feelings and the emotions in his relationship to this lady, because this never really existed.

He is one of the greatest French filmmakers and such an interesting man – he's like a cinema encyclopaedia...

Is that what attracted you to the part in the first place?

Gaspard Ulliel

I think the major thing that really attracted me in this project is the idea of working with Bertrand, because obviously he is one of the greatest French filmmakers and such an interesting man – you know, he's like a cinema encyclopaedia. So it was great to be working with him and experiencing his direction on set and also just talking with him in between the takes and travelling with him during the publicity of the film, because I could talk with him for hours, he is so interesting.

Had he seen your previous films?

Gaspard Ulliel

I think he sees every French film released anyway. I think he goes like five times to the cinema in a week, so obviously he saw most of the films I've done before. I know that for Melanie's character he auditioned many different actresses. For my part, he chose me straight away, the same for Gregoire, who plays the Prince. We were the two first actors to be engaged on the film, so basically, it's just the producers who phoned my agent saying that Bertrand wanted to meet with me to offer me a part in his next film and I was so thrilled.

And we just met in a cafe on the Champs-Elysees – a bit of a cliché, but it was great. I just met with this sweet man and we talked for two hours about many things and about the script, obviously and I could see that he was so, so into it and really excited about this project. And the next day I read the script and the short story and I just thought that it was a great film, because they managed to find this perfect balance between an entertaining piece and a more visceral and intellectual film.

When you read the short story by Madame de Lafayette, for a young person like me, at some point it can feel a bit cold and stiff, because the style of the writing is a bit old-fashioned. And also the way it is written is really elliptic, with long sentences full of dense information. The script was totally different – it was full of energy, full of life and with a modern touch to it, a modern feel. I think this comes from strong themes that emanate from the story that have really high resonances to our modern daily life, like the condition of women in society or the idea of fighting for religious beliefs. [This] is something that is still happening today in a lot of different countries, so I think in that way it was quite modern and would strike modern audiences.

Also most of the feelings and the situations the character had to deal with in the story is something that most young audiences would still identify with. It's something eternal, I think. So in that way, the story was quite appealing to me and I thought it would make a great film. Because when you think about a period film, you always think it's going to be boring, slow and with heavy dialogue and a bit stiff. And that's not the case in this film; I think it has a lot of rhythm, a lot of energy and a mixture of love scenes, emotional scenes and really entertaining scenes, like the fights and the battle. And it has beautiful landscapes, beautiful sets.

I liked the way Bertrand filmed it, because it's quite modern in a way – a lot of handheld shots, a lot of steadicam. It's quite unusual in a period piece.

You didn't mention the swordfighting. Did you train for a long time to do that?

Gaspard Ulliel

Well, I tried to train as much as I could, because the film at some point was on stand-by, because we were waiting for the money and the financing. So all of a sudden, when we got the money, the producers phoned everyone to say, 'Okay, everyone, we're shooting in a month and a half,' so we had to rehearse as much as we could. Because Bertrand told us since the very beginning he wouldn't use any doubles or any stunts, we had to be able to do those fights from the beginning to the end, because he also said he would film it with long shots and not a lot of cuts.

So it was quite daunting and exciting and you know, fighting with a sword is a bit like going back to my childhood and just having fun. And it also felt a bit more like a dance at some point, because obviously you know all the moves in advance, you know what your opponent is going to do, so it's more about the choreography and getting the right rhythm and the right pace, so yeah, it can be a bit more like a dance.

Did you get injured?

Gaspard Ulliel

I did, only once, actually. On the shoot, for the duel scene in the courtyard, the second fight with the Prince. During one of the takes, the knife went into my mouth and it just caught my lip. But the blade was blunt so I didn't get severely injured – I only had a bit of blood and that's it, so it was not a big deal.

You've mentioned Bertrand as a director already but how does he compare to other directors you've worked with?

Gaspard Ulliel

Well, there is one thing I really liked in the way he works. First of all, he is one of those directors, the kind of director who really loves his actors – you can really feel it, even when you watch his films. He's really concerned about the acting and that's not always the case. He gives you a lot of importance and a lot of freedom as an actor, so that's great. And also, I really enjoyed the experience to be able to work ahead of the shoot and we would meet up with Bertrand, go to lunches and readings and just discuss the character and create the character together.

That's not always the case. Many directors I've worked with, I only met them for the first time on the set and that's a shame. Because here we were able to talk a lot about the character ahead of the shoot and even go to readings with the rest of the cast. And I remember he would insist on the fact that he wanted to meet with each single actor on the film, even small parts that would only have two days of shooting. He met with all of them, one-to-one, to have a discussion about the character and go through each single scene, and this is just amazing.

For the duel scene in the courtyard, during one of the takes, the knife went into my mouth...

So does he insist that you stick to the script?

Gaspard Ulliel

Well, you know, it's a period film, so obviously, regarding the dialogue, we couldn't really change it, because it's a precise way of speaking, it's old-fashioned French, so we were not really able to improvise. But if we had any problem with a word or a grammatical construction or a sentence, we could talk to him and change it, obviously. But yes, most of the time we would stick to the script.

Do you have a favourite scene in the film?

Gaspard Ulliel

The scene that really strikes me is the first night between the Prince and the Princess after the wedding, because [of] the first sexual relationship.

It's funny, Bertrand told me how he invented this scene. When he thought about the wedding, he said, ‘I wonder how it is, the first night you have to spend with your husband when it's a forced marriage, because obviously at that point she doesn't like him.' So, because most of the writing process was with a historian that he would consult, he went to the historian, asking about those first love scenes and that's when he learned that most of the time it was public and that actually the two families would assist to the love scene. And so he just said, ‘That's such an amazing scene to create,’ and it is. It's a mixture of different feelings. It made me so uncomfortable at some points and the way it's lit, the cinematography of it is just great.

What was the most difficult scene to film?

Gaspard Ulliel

Well, I think the most challenging part of the shoot was the battle scene, the main war scene. Because it was a really tight schedule, we didn't have all the money we needed for the shoot so we had to reduce the time of the shooting and we had only two days to do all those fight scenes. And it's the first time I remember when I arrived on the set in the morning and I just felt that it was totally impossible and we wouldn't be able to do it because we didn't have enough time.

And I don't know how but Bertrand managed to get everything he needed for those battle scenes. I remember that it was really tough and we would be working in a really quick pace. It was really demanding and the conditions were really hard. It was really cold, it was raining, we were in the mud all the time. Actually, I think we had like 300 extras and so it was a big deal, and we counted at the end – we lost 40 pairs of shoes in the mud.

Wow. I thought the battle scenes looked really good, actually.

Gaspard Ulliel

Yeah, yeah, they're great. But when you think they were shot in only two days, it's just amazing.

Did you work very closely with a fight co-ordinator?

Gaspard Ulliel

Yeah, he was great. And I liked the idea that Bertrand went and hired that guy, because this fight co-ordinator usually works on modern films with modern fights and police films, and he knew nothing about swordfighting and period films. So of course he worked closely with a specialist for those period swashbuckler films but he would give a more modern touch to it and it would feel a bit more violent and savage. And, yeah, he did a really good job, I think.

Did they cut anything out that you didn't want to lose?

Gaspard Ulliel

No, I think we used most of what we shot, actually. I can't even think of a scene that was cut. No waste.

We had like 300 extras and we counted at the end – we lost 40 pairs of shoes in the mud...

Had you worked with Melanie before?

Gaspard Ulliel

No, it was the first time I was meeting her, really. We had never really talked to each other before and the first time I met her was during the audition, because she auditioned for the role and as I was already chosen, I was there to work with all the actresses that were auditioning.

You got to work with all the auditioning actresses? That must have been nice.

Gaspard Ulliel

Well, it was odd. I don't really like it.

Really?

Gaspard Ulliel

Well, it's difficult, because you feel really – well, because as an actor, you know how difficult it can be to be auditioning for a role and then you're on the other side and you just – and you know, the thing that is quite terrifying is that you want to be as good as you were with every different actress and you know sometimes you feel a bit more tired and you gave more to one than to another. It's difficult to be even with all of them.

New Photoshoot #2

2011-07-23T19:46:00.001-07:00

fuente: Gaspard Ulliel Online

New Photoshoot #1

2011-07-23T19:43:00.001-07:00

fuente: Gaspard Ulliel Online

The Art of Love (L'art d'aimer) Gaspard's new film Screen Captures from Trailer

2011-07-09T19:14:00.000-07:00

You can watch the trailer HERE

source: Gaspard Ulliel Online

Interview Melanie Thierry - Gaspard Ulliel - Bertrand Tavernier

2011-07-07T14:28:00.000-07:00

Pictures I've found

2011-06-30T11:19:00.001-07:00

Gaspard Mustache new pictures

2011-06-21T13:34:00.001-07:00

Roland Garros June 2011

2011-06-06T11:15:00.000-07:00

fuente: Gaspard Ullien Online, Pure People, Just Jared

Gaspard Ulliel at Roland Garros 2011 - The 2011 French Open

2011-06-06T10:55:00.000-07:00

Gaspard Ulliel - LPM Shirtless Scene

2011-06-02T20:22:00.000-07:00

Gaspard Ulliel - Princess of Montpensier 2011 Official Trailer [HD] (English sub)

2011-06-02T20:18:00.000-07:00

Event in Paris of Vitamin Water

2011-05-02T19:56:00.000-07:00

fuente: Gaspard Ulliel Online

French Cinema in London

2011-05-02T19:49:00.000-07:00

fuente: Gaspard Ullien Online

Heartthrob Gaspard Ulliel in The Princess of Montpensier

2011-04-28T15:31:00.000-07:00

The tres adorable French actor Gaspard Ulliel may be best known to American viewers who saw him in Hannibal Rising, or from his part in the Gus Van Sant segment of Paris Je T’aime. But anyone who saw his seductive performance in out filmmaker André Téchiné’s Strayed, or as one of the lovers in A Very Long Engagement knows Ulliel’s sex appeal.

Now starring as Henri, a dashing rogue caught in a love quadrangle in the fabulous historical costume drama/romance The Princess of Montpensier, this French dreamboat may be once again poised for breakout success.

The San Francisco Bay Times met with Ulliel to discuss his career and his character, as well as his thoughts about love, sword fighting, and his dimple-like facial scar.

(Bay Times) You are a heartthrob in France - and to American viewers who know you. Do you find that quality difficult? Do your striking good looks play into your characters, and your roles?

(Ulliel) It can be a privilege, but at the same time, it can prevent you from going to certain roles - you can be typecast. If you look handsome, or you have this image as a young, handsome guy, sometimes you want to break it and play certain characters, but you are too good looking. Some directors, have a lack of imagination. For an actor, the most pleasurable job is to work on a character that is far from who you are in real life. I think the most important thing is in your eyes and your look - it can add to your acting. But obviously, if you are born [handsome], you have to embrace your body.

It’s interesting to trigger other things by working on your body and the way you look. You can see this with many actors who transform themselves and change their whole body - like Christian Bale.

American viewers may know you best from your role as young Hannibal Lecter in Hannibal Rising. Can you discuss that experience? Were you looking for a breakout success?

I was aware of the risks when they asked me about the part. At the same time, it was really appealing to me, to play such an amazing part, and working in English, with an American team. I think I refused the first two times they came to me. It was awkward to have a French guy do Hannibal Lecter. But the thing that made me change my mind was my first meeting with the director, Peter Webber, who was really witty and clever. I appreciated his first film The Girl with the Pearl Earring. I thought it was nice and interesting idea for the producer to pick someone like this to direct this film.

But a breakthrough American success would have changed your career…

True, true. Another important thing I took into consideration was that this gave me the opportunity to work in English with a great director and to work on a fascinating character.

What appealed to you about playing Henri in Princess of Montpensier?

I was asked to meet Bertrand [Tavernier, the director], who is a great filmmaker in French cinema. It was easy to say yes before I read the script. We had a simple meeting and he talked about the project, and I read it, and I was in. The story was adapted from a famous French story I studied in school, and it was interesting to see what they did with it. The [story’s] style of writing is pretty specific - concise and elliptic - and a bit cold, and the film is the total opposite, full of energy and told at a quick pace. The sentences in the book are so dense and rich. But they did a great job in finding a way for the characters to speak in the period style, but for the audience to understand it. I never had a problem with the dialogue.

How did you research your role?

We were lucky to have Bertrand, who knows so much about so many things. He’s really precise on everything. He’s fascinated by history, so he knew a lot of really important details to help us actors get a full glimpse of daily life at that time. He asked the whole crew to read a biography of King Henry III, and in it, there were details about the way people were living at that time.

What do you like to read?

I’m reading Dostoevsky. I recently read Notes from the Underground, and I’ve always wanted to - I never did it, but I’m going to pick it up soon - to read Remembrance of Things Past by Proust. So many people have told me about it. It’s thick.

How as it work in period costume, and sword fighting in the mud?

I’m really thankful to the costumes, and makeup. The idea of having long hair and a heavy costume was quite helpful for the character, and this was Bertrand’s choice. He insisted on the fact that I let my hair grow for this part - especially for the fight scene, where I have my hair pulled back a bit like a samurai. We had to do a lot of adjustments with the costumes. When they created them at first, we just did fittings. But when we started to rehearse with the costumes, we couldn’t move the way we wanted to. We had two months of rehearsals for the fighting - this was totally new to me - and quite fun to do. But it’s more like a dance than a fight, because it’s choreographed. And riding the horse was a big load of fun. That was totally new to me as well, and I really loved it. After the film, I missed the horse so much - the feeling of freedom.

Henri is described as a man of impulse - are you impulsive?

He is in the present all the time. I’m not like that. I’m the opposite. Impulsive at some point, but I try to take a lot of distance with things. Think before I act. Sometimes, I would like to be like Henri. He embraces life fully. When you think too much, you have a lack of life…You need to be impulsive.

Your character weighs love against money. Are you more romantic or practical in your life?

More romantic I think. Well, I hope. For me, I need to experience some love in my daily life. It’s really stimulating and gives you power and confidence.

I wouldn’t be able to act like this character. At the same time, in this story, he sacrifices for other purposes, but Henri’s feelings for [the Princess] is true passion - it’s really visceral, and linked to sexual attraction. The story is a bit like a Western. The story has the same construction of a female figure in the middle of all these men. It’s a like the only rose in the middle of a desert.

Henri has a morality - he never forgets an offence. He also weeps, and admits it. Do you think he’s tough or vulnerable? How did you find his internal struggle?

When I read the script, I thought that Henri was quite direct and easy to understand as a character, but when I started thinking about it, and talking to Bertrand, I realized his personality was much more complex. He has this strong harsh appearance and at the same time, when he is facing the princess, he becomes softer, and quite weak.

What was it like working with you costars - was there camaraderie on the set?

Most of the experiences I’ve had on set [previously] were with older actors, because I started acting quite young. Here, I worked with a lot of actors from my generation, who were my age. It was moving to work with Gregoire [Leprince-Ringuet, who co-starred with Ulliel in Strayed in 2003]. He’s so different now - he became a man, so it was really nice to work with him again. Raphaël Personnaz [who plays Duc d’Anjou], was a friend, so it was nice to work with him.

You have a scar on your left cheek and in the film your character is scarred. Do you equate any meaning to that?

It was fun - it was the first time they added a scar to my face! I already have this one [indicates scar on his cheek], but it can look like a dimple. I am thankful to the surgeon. It was fun for me to have another scar, and it worked well in the story, because my character already has one scar, but adds another during a fight. So we used my scar for the first scar and they added the other one.

I think it’s a nice metaphor in the story - he wears it on his face, but his deepest scar is in his heart.

L.A and New York Screening

2011-04-25T18:37:00.001-07:00

Source: Gaspard Ulliel Online

The Inside Reel Interview

2011-04-22T11:44:00.000-07:00

IR Interview: Bertrand Travernier & Gaspard Ulliel For “The Princess Of Montpensier” [IFC Films]

Clic the link to watch the interview

Photoshoot April 2011 DailySingle

2011-04-20T09:56:00.001-07:00

fuente

ATENCION: Chicas Daily Single abrio un buzon para mandarle un mensaje a Gaspard Ulliel, por si quieren escribirle lo maravilloso que es, lo guapisimo que es y lo perfecto que es les deho AQUI el link

ATTENCION: Girls, Daily Single has open a mail to send Gaspard Ulliel a letter. So if you want to tell him how amazing, handsome and perfect he is, you have to click HERE

Q&A With Gaspard Ulliel

2011-04-15T13:00:00.000-07:00

In the States, Gaspard Ulliel (pronounced ull-yell, preferably with a French accent) is most commonly referred to as ‘that one French dude’ or ‘the sexiest man on the planet’—depending on who you ask. Since getting his modest start in made-for-TV movies in France at 12 years old, Ulliel has built the sort of CV that nobody could have predicted, least of all the actor himself. Now, 26, he has already worked with Gus Van Sant (Paris, Je t’aime), took on Anthony Hopkins’ career-defining role as Hannibal Lector (Hannibal Rising), became the face of Chanel’s new men’s fragrance (Bleu de Chanel), and was nominated as the Most Promising Male Newcomer at the César Awards—the equivalent of the Oscars in France—for three consecutive years.

Ulliel’s most recent role in Bertrand Tavernier’s The Princess of Montpensier, a costume drama that premiered in competition at the Cannes Film Festival last year, continues to take him beyond home turf recognition toward international idolatry. An adaptation of Madame de La Fayette’s 17th century short story, the princess in question is Marie de Mézières (Mélanie Thierry), a beautiful aristocrat who falls for the rakish Henri de Guise (Ulliel), but promised by her father in a political match to marry his childhood friend, Prince de Montpensier (Grégoire Leprince-Ringuet).

The Princess of Montpensier opens this Friday in New York and Los Angeles with a national rollout to follow.

When did you get into New York?

I flew in yesterday. I really enjoy this city a lot and have a couple of friends here. I think I’ve been here maybe 10 times now.

Do you get recognized on the street?

It happens, but not as much as in France, obviously. It’s mostly French people that recognize me in New York.

I find it interesting that a lot of people know who you are outside of France and Europe, but they’re not so familiar with the specifics of your film work. I think that will change, though, especially with The Princess of Montpensier hitting theaters in the US. How did you get involved with that project?

It all happened quite smoothly. My agents told me that Bertrand Tavernier, one of the major filmmakers in France nowadays, wanted to meet with me. I had coffee with him at this little café in Paris and he was very straightforward and offered me the role. I read the script the next day and really liked it. I was keen on working with him even if the script didn’t meet my expectations, but thankfully it did.

The film is based on a famous short story, right?

It’s a really important story in French literature. It’s such a lovely story and I studied the author, Madame de La Fayette, when I was in school. I thought Bertrand did a great job on the script with his co-writer, Jean Cosmos, because the short story is quite old-fashioned. It’s from the 17th century, the beginning of romanticism in French literature. It’s written in a style that, for young people especially, can feel a bit cold in certain parts. The construction is so elliptic that it feels cold. But they managed to do the complete opposite with the film, which feels very modern and full of life. I was also pleased with the dialogue because they managed to form this special language that’s credible for this period in history and, at the same time, totally understandable for modern audiences. It’s not at all how I would speak in modern life, but it was really interesting to work with this kind of language.

There’s a lot of sword fighting and horse riding in the film. What kind of training did they put you through?

I had never been on a horse before. I learned how to ride from this great trainer and he had amazing horses. It was actually quite easy because the horses were so well behaved and they were specifically trained to work in cinema. They’re like a Rolls-Royce. [Laughs] You whistle and they would stop what they’re doing. I’ve actually continued to ride horses after the shoot. I think I discovered a real passion for it. As for the sword fighting, we worked on the choreography for about a month and a half before shooting. It was tough at certain points because I have many fights in the film. We started training too close to the beginning of the shoot, so we had to work on it very intensely. It felt more like a dance than fighting because everything is planned in advance. But yeah, this was really interesting too.

You often say that you fell into acting by chance. If I was a struggling actor, I think I would absolutely detest hearing stuff like that from uncommonly successful people like yourself.

[Laughs] Well, I studied acting when I was really young, but it was something I did after school for fun with other kids. When I was 11 or 12 years old, a friend of a friend my mother was working at an agency and she was looking for young actors. She asked me if I wanted to give it a try and I said ‘yes,’ but just for fun. Quite quickly, I ended up with some small parts in films and I kept doing it, shooting maybe 1 or 2 things a year. I started acting on French TV with small parts. I like looking back on that today because I had a slow and regular progression as an actor. I started with small parts before going into feature films and that gave me time to think. It’s not before I reached 17 that I really decided to continue working in this industry. At first, it was just something I wanted to do for fun.

What was it like working with Gus Van Sant on “La Marais” for Paris Je t’aime?

I’m a big fan of Gus and his films, so I was so happy to be able to work on that with him. We kept in touch for a bit and discussed making bigger films together, but this never happened. We had a really nice project together that would’ve been shot in France, but it didn’t happen in the end. I regret that because I’m a really big fan of his work.

How did that collaboration come about?

On Paris Je t’aime?

Yeah. Did he seek you out?

No, not really. I was attached to the project before he came in. I don’t know how it all happened, but this film was meant to mix a lot talent from different nationalities. I was supposed to work on another district with a different director, but the producers phoned me a year later saying, “We’re still working on Paris Je t’aime and we still want to work with you. But we want you to work on a different district with Gus Van Sant.”

You also worked with Martin Scorsese on the Blue de Chanel campaign not long ago. How did you get paired up for that?

I wasn’t directly connected to Marty. It’s the Chanel people who phoned me saying they were interested in working with me on a campaign. We had a lot of discussions about it. At the time, they hadn’t chosen a director. One day, they came to me with the idea of asking Martin Scorsese and of course I said, ‘That’s a great idea. I would be the happiest man in the world to work with him.” So that’s how we ended up working together. I pinched myself on the set every day—“Yup. I’m not dreaming.” [Laughs] It was really great because Chanel gave Marty and me total freedom. He works so precisely and you can see that his team loves him so much that they work really hard. Marty knows exactly what he wants, how he’s going to get what he wants, and knows when he has it. This shoot only lasted 4 to 5 days.

It all certainly looks very good.

The perfume sales are so good. That’s the purpose of commercials, so it was a big success.

Looking back at your career and what you’ve accomplished, what else sticks out to you? What are you particularly proud of having done?

I think one really memorable experience for me was on a film called Strayed by André Téchiné, a great filmmaker in France. That was an experience where I learned the most because he wouldn’t leave me alone, even for a second, between takes. [Laughs] He was really focused on his actors and that was really wonderful. I was really young at the time and that was a really important film for me.

Do you want to eventually direct your own films?

I do, but it’s a bit difficult. I think I was around 17 years old when I had my first parts in feature films and that’s when I really started to get interested in all of cinema, not just acting. After high school, I went to film school for 2 years. That was a great moment for me because I discovered a lot of directors from around the world and a lot of different types of genre. It would’ve taken me a long time to make these kinds of discoveries on my own without school, so I’m really thankful. At the time, I wanted to express myself with my own films as a director, but as I was getting more and more offers as an actor, I had to stop those studies to focus on acting. I feel trapped now because I really enjoy acting. But it’s true, I wake up every morning with this idea stuck in my mind that I want to write and direct my own film one day. As I work more and more on different sets, I see how hard it is to be a director. It’s insane the amount of work and confidence that goes into it. I’m so respectful of filmmakers and I admire what they do. I hope that one day I’ll find the right subject and the confidence to try it. I’m still young.

Have you come across any good screenplays lately?

I’m reading a lot, but nothing really interesting. I’m in this very tricky moment in my career where I have to be really aware about where I’m going and what I want to show the audience and the industry. This is a shame, but you have to keep in mind what kind of image you want to put out there. I think the hardest thing for a young actor is to breakthrough and keep working toward a long career. Right now, I’m at a level where I have to pick the right projects in order to maintain a good stature in the industry. I have a few projects coming up in France and I’m going to shoot something this summer with a director friend of mine, a young director.

Aside from a good story and interesting characters, do you look for anything specific when you’re considering screenplays?

I think something has to speak to your identity with every role, both as an actor and a public figure. So you have this kind of repetition from one film to another, from one part to another. At the same time, you need to try and find the right balance and be able to move from one character to another where you can surprise the audience all the time. Obviously, the idea is to work on characters that I never really explored before and projects that are different from what I’ve done before. I like working with new directors and different styles of film. I think the more you work as an actor, the more you’re looking for parts that are the furthest from what you are in real life.

I guess Hannibal Lector is a good example. What kind of pressure were you under with Hannibal Rising?

It was terrifying. When they asked me if I wanted to do this project, I refused many times before finally agreeing to it. I didn’t think it would be a good idea to pick up this role after Anthony Hopkins because he did the most amazing job in creating this character. Also, working on this role with a French accent was a bit awkward. It was meeting with the director, Peter Webber, that really influenced my decision because he was really witty and had interesting thoughts on how he would make it. I really liked his first film, Girl with the Pearl Earring. Also, being able to work abroad with an American and British crew, shoot it in English, and work on such an amazing and mythical character was what convinced me to give it a try. It wasn’t easy.

Can I ask you about the scar on your cheek? It’s your trademark.

It is. I have to thank my surgeon who did a great job. It almost looks like a dimple. When I was maybe 6 years old, I stayed at my parents’ friend’s country house in France and they had this huge dog. The dog was sleeping on a tree and I jumped on his back like I was riding a horse or something. The dog wasn’t aggressive or mean, but it was just totally surprised when I did that and he tore up my cheek with his big paw. But it’s true, maybe the scar helped me in some way because it adds something to my face. It’s very interesting because it’s asymmetrical. It’s like a dimple that I only have on one side of my face. Many directors have used it for scenes in their films. The most memorable one was in Jean-Pierre Jeunet’s A Very Long Engagement where I’m kissing Audrey Tautou and she runs her finger across the scar. [Laughs]

What films have you seen most recently?

The King’s Speech was a good film. I think it was a bit classical in the directing and I liked that. Then I saw True Grit. I kind of liked it. I prefer their last film, A Serious Man, but this one was also quite nice. The young girl in it is just amazing. I saw this Australian film called Animal Kingdom and I really liked that. It has really great atmosphere and great actors, too. I also saw Black Swan. I loved it. It’s a masterpiece for me. It’s very clever in the way that the director brought together the codes of a B-movie and made it mainstream. Natalie Portman is just amazing.

Gaspard Ulliel and Bertrand Tavernier on the Making of a Princess

2011-04-15T12:53:00.000-07:00

While most period films hold viewers at a distance, Bertrand Tavernier's The Princess of Montpensier draws you in. Based on the a classic short story by Madame de La Fayette, the story follows Marie, played by a luminous Mélanie Thierry, as she becomes the titular princess and subsequently the object of affection for most of the French court. Telling a story of young love and lust gone awry, the film manages to avoid feeling like a history lesson. Legendary director Tavernier eschews most of the frills associated with costume dramas in favor of showing a grittier version of 16th-century France in the throes of civil war. Balancing out Thierry's coquettish princess is Gaspard Ulliel as a devoted but untrustworthy suitor. We caught up with Ulliel and Tavernier to ask about updating history for today's audience and what to avoid in a costume drama.

GILLIAN MOHNEY: What struck you about the short story when you first read it?

GASPARD ULLIEL: I had read the short story along time ago at school, but I had forgotten it. [When] I read it again I noticed [in] the short story from La Fayette—her style is sometimes quite short, and it can feel a bit stiff—

BERTRAND TAVERNIER: Austere—

ULLIEL: Yeah, and the script was the opposite. I could feel a lot of life and energy and also a lot of pace and rhythm. Also... as an actor, I could read the lines with real pleasure. It was really easy to understand for a contemporary audience and for young actors like us. It was a pleasure to work with that dialogue.

TAVERNIER: I worked with Jean Cosmos, who is a very talented screenwriter, he's one of those unsung heroes of French cinema... We respected the essence of the short story and the construction of the emotion. But I think we brought the flesh and the blood. Our job was trying to find the roots of the emotion of the short story. Madame de La Fayette just described one fact. I want to understand why that fact happened.

MOHNEY: It's a much grittier staging than most period films; how did you approach that?

TAVERNIER: A lot of people do a costume drama to show you they're doing a costume drama. I wanted to forget it. I want to keep the drama—and it happens to be costume, but it's not what's important. I've [always remembered] a line by one of the actors who worked on my second film, it was a historical film set in 1750. He said "You are doing the film like the camera had just been invented." That's the idea—let's do a period film like the camera had just been invented. When the Lumière brothers were shooting, they did things they did not know were going to become historic. They were shooting what they were seeing... I would shoot the moment of love or passion as if it was just happening—those characters don't know they're a part of history. They are just living. In many films, people do the opposite. People want to remind you that they did all their homework. The set piece and the furniture is right... The important thing is that all the actors must feel like it's normal, it's casual—it's something they do every day. Not something that will be part of a museum later on.

MOHNEY: The characters in the film are these historical figures, but they're also barely out of their teens, and it gives the film a youthful presence. How did that affect the filming?

ULLIEL: Well, for me, it was great, because I got the chance to act with a lot of actors my age. That's not always the case for me, because I started quite young working in this industry, and most of the time I was working with much older people. It was really nice to be with all those young actors... Most of the characters in the film really existed, and at that time, they were even younger than we are now. It's crazy if you think about it, because the king was only 20 years old, or he was the head of the army at 17.

TAVERNIER: Age 17 in the 17th century isn't the 17 of today. A historian will say, add four or five years to the age of the period, because they were so young when they were confronted with reality. The Duke was in the army since the age of 14... One great thing in the film is that you had all these actors of the same generation and the same age, and they loved working together. It was like a family. Every night they were having dinner together—that paid off in the film. You can see they were getting along. There is so much that can be added by creating that spirit. And Mélanie worked very, very well with Gaspard and Lambert and Grégoire. Both Mélanie and Lambert were connected. It was like seeing two soloists working on a piece of music and creating their own rhythm and beat. I love that. I had several moments when I was really moved by all of them.

MOHNEY: She was so great in the film—what made you want to cast her? She's the only female presence in the film.

TAVERNIER: Yes—yes, and surrounded by a bunch of very sexy men. She was very happy. [laughs]

ULLIEL: She was the center of attention.

TAVERNIER: She was cast in the most classical way, in a series of tests. But—I remember the first test with her was not completely successful, because she arrived late, and her story about why she was late—no one believed, but it was true!

ULLIEL: Apparently she got [a ticket] while in the back of a cab because she wasn't wearing a seat belt.

TAVERNIER: She did many tests. But right from the beginning, my wife was absolutely passionate about her."‘She's the best!" She has the exact beauty of the time. The forehead, the eyes, the color of the skin, and she has an intensity—when she got the right mood, she was totally unique. Nobody was like her. I will never forget when I picked her. I spoke with an actress who was on the stage with her and I said, "Monique, I've chosen Mélanie." And she said "Bertrand, you could not have picked a better choice. She's like a Stradivarius. She will give you everything you want."

MOHNEY: Gaspard, you were playing an historical figure—is it helpful to have his back story, or intimidating to play a real figure?

ULLIEL: No, it's great. I think it's great. When you work on a contemporary role, you have to mostly create it and sometimes you can feel a bit lost. Here, it's like you have all this food to feed yourself and create the character. Working with a historical character is great because you have all these readings you can do to get information on this man. Also, I was so thrilled to be able to discover this part of French history and to understand how they lived their daily lives. In working with Bertrand, it was great, because this is one of his great passions. He would work with a great historian, and then he would give the actors really precise references.

TAVERNIER: Nothing abstract! Fact! How you would wash or don't wash. An actor doesn't have to know the date of a treaty—

ULLIEL: Yeah, casual facts.

TAVERNIER: He has to know that during a duel at that time there was no code. You could do anything. You could bite. You could kill. You could be ruthless.

ULLIEL: Most of the work actors do, he would do it for us. He would come with all the information you need.

TAVERNIER: History isn't just dates and battles—it's made of flesh and blood.

THE PRINCESS OF MONTPENSIER IS OUT TODAY IN LIMITED RELEASE.

SOURCE

Last Session Photoshoots

2011-04-14T20:19:00.001-07:00

Source: Gaspars Fans Photogallery

Gaspard Ulliel: The French Acting Star and the Male Face of Chanel

2011-04-14T19:47:00.000-07:00

Gaspard Ulliel, above. Photo by Nora Schaefer, used with permission

While playing a French historical character with the nickname of "le Balafré," or "the Scarred," in his new film The Princess of Montpensier, actor Gaspard Ulliel also risked his own famous features during the shooting of some of the film's highly realistic fight scenes. Although Ulliel does, in fact, sport a small scar on his left cheek from an accident with a dog when he was a child, the marks carried by his young warrior character in the film, the Duc de Guise, are considerably more pronounced, which isn't surprising when you see Ulliel as the Duc in the heated battle scenes of Princess.

Directed by legendary filmmaker Bertrand Tavernier ('Round Midnight), The Princess of Montpensier takes place during the French Wars of Religion of the 1500s, and the director opted not to use many stuntmen, so when Ulliel's Duc intensely fights on foot, or on horseback, it really is the young actor performing those scenes. During one highly memorable sword duel that proceeds down a staircase and into a courtyard, Ulliel engages with fellow actor Grégoire Leprince-Ringuet, who portrays the historical figure of the Prince of Montpensier, in a fight composed by Tavernier using raw, long takes, without cutting away from the moments in which the actors stumble, or miss a thrust. As a result of this fly-on-the-wall approach, the fights in Princess appear genuinely dangerous, and they potentially were, requiring Ulliel to train for two months prior to shooting with martial arts expert Alain Figlarz. Recalling the moment when he came closest to injury, Ulliel says, "In the fight with the Prince, in the courtyard, his knife went into my mouth and cut me a little. The blades were not sharp, so it was okay!" A good thing for many reasons, including the fact that Ulliel is also the current male face of Chanel and can be seen today on thousands of billboards, and assorted advertisements, around the world.

After acting in television, and also attending the University of Saint-Denis, where he majored in cinema, Ulliel broke into feature film acting with a small part in 2001's Brotherhood of the Wolf. In 2004, he then attained greater prominence in the United States, via his leading role opposite Audrey Tautou in the worldwide hit A Very Long Engagement, which earned him the French Cesar Award for Best Newcomer. He went on to play the young Hannibal Lecter in 2007's Hannibal Rising in the U.S., and co-star in international productions with the likes of Jean Reno in Le Premiere Circle, and Isabelle Huppert in Barrage Contre Le Pacifique.

Based on a short 17th century novel by Madame de la Fayette, The Princess of Montpensier centers on a young beauty named Marie de Mézières (played by Mélanie Thierry), who is poised to inherit one of the country's greatest fortunes. Although she loves Ulliel's Duc de Guise, Marie is married off to the Prince of Montpensier for financial and political purposes. As the Wars of Religion rage, Marie finds that her affections have become the prize of a much smaller battle, between the Duc de Guise, the Prince, and the Duc d'Anjou (played by Raphael Personnaz), who will one day ascend the throne as King Henry III. Acting as Marie's confidante and tutor is an older warrior, the Comte de Chabannes (Lambert Wilson), who abandoned the battlefield after killing a pregnant woman, and hopes to teach the young Marie the value of an open and inquisitive mind.

Tavernier manages to imbue Princess with an energy that is often missing in period productions, in which everyone from the performers to the set designers often seem to be very aware that they're making a film set in the distant past. By contrast, Princess feels as if the cameras were just sort of dropped into this earlier century and began capturing pieces of it. Ulliel elaborates on some of the elements that give Princess a more modern feel:

"When you see period films, it tends to often be with older actors. Here, you have all these younger actors and that gives a lot of energy and a modern feeling. At the same time, usually, 'period film' means really precise filming with [dolly] tracks, and it feels stiff at some point. But here, Bertrand wanted to film this more like a documentary, in a way. He would be in the middle of the set with handheld shots and action."

Source

Gaspard Ulliel - Inside Ring scene

2011-04-10T17:49:00.000-07:00

Pictures March 2011

2011-04-03T17:03:00.001-07:00

Screen Captures Unifrance Interview

2011-04-03T16:50:00.000-07:00

Unifrance/ Mélanie Thierry, Gaspard Ulliel et Bertrand Tavernier

2011-04-03T16:47:00.000-07:00

Gaspard 2007

2011-03-30T13:51:00.000-07:00

Gaspard Ulliel - Signing Autographs at the 'Princess of Montpensier' Scr...

2011-03-25T14:49:00.000-07:00

Gaspard Ulliel and Bertrand Tavernier signing autographs...

2011-03-25T14:48:00.000-07:00

Screen Captures March Interview

2011-03-21T12:59:00.000-07:00

You know how much I love to make screen captures.. So here they are! He's really cute love him so much. By the way, I already upload the page # 300!!! Thanks for all of your support. And we'll go for more!

Saben cuanto me gusta hacer screen captures.. Asi que aqui estan! Sale realmente hermoso, lo amo. Por cierto, Ya subi la publicacion #300!! Gracias a todas por su apoyo. Y vamos por mas!

atte: Flor Ulliel

Los Angeles Premiere LPDM

2011-03-17T21:16:00.000-07:00

source

DP/30: The Princess of Montpensier, director Bertrand Tavernier, actor G...

2011-03-17T17:28:00.000-07:00

Making the Screen Captures NOW
dont forget to take another look to the blog later

Corner Interview with Gaspard Ullien Screen Captures (42 images)

2011-03-13T21:02:00.000-07:00

Corner Interview with Gaspard Ulliel

2011-03-09T17:23:00.000-08:00

More of the Chanel Fashion Week x2

2011-03-06T15:49:00.000-08:00

fuente: Gaspard Ulliel Online

A twitt pic from 16th Annual Rendez-Vous

2011-03-06T15:46:00.000-08:00

Le Dernier Jour Part 1 - English Subtitles

2011-03-05T16:33:00.000-08:00

Gaspard Ulliel Mx onTumblr

2011-03-05T16:13:00.000-08:00

http://perfectfrench.tumblr.com/

http://perfectfrench.tumblr.com/

http://perfectfrench.tumblr.com/

First post.. since TODAY :)

16th Annual Rendez-Vous With French Cinema

2011-03-05T15:43:00.000-08:00

fuente: Gaspard Ulliel Online

Gaspard in New York at the 16th Annual Rendez-Vous

2011-03-04T10:09:00.001-08:00

Your original can not be replazed :)

2011-02-26T17:50:00.000-08:00

Dresscode invités Chanel Fashion Week Paris 2011

2011-02-25T11:01:00.000-08:00

7 jours pour 1 film

2011-02-25T10:58:00.000-08:00

2011 Photoshoot

2011-02-24T12:58:00.000-08:00

Source: Gaspard Ulliel Online

Wanna 5 awsome more?

2011-02-11T11:10:00.000-08:00

Source: Gaspard Ulliel Online

2007 Random Pic that I found.. and more

2011-02-10T15:14:00.001-08:00

old sexy new one

2011-02-09T18:25:00.000-08:00

Chanel Fashion Week

2011-02-09T14:45:00.000-08:00

Hannibal Rising [Eng. version] part 1

2011-02-09T14:42:00.000-08:00

If you want to watch the movie online.. clic on the video to watch the other 10 parts
enjoy!

Unknown Photoshoot (2010)

2011-02-05T14:16:00.000-08:00

Source: Gaspard Ulliel Online :)

Le Premiere Cercle (Inside Ring) Old Photoshoots

2011-02-04T16:07:00.000-08:00

Source: Gaspard Ulliel Online

Melanie and Gaspard on "La 3e édition du Prix Beauté Stars Madame Figaro"

2011-02-02T10:22:00.000-08:00

Gaspard all the way...

2011-02-02T10:13:00.000-08:00

source: Gaspard Ulliel Online

and another one..

2011-01-30T16:36:00.001-08:00

Cuatro sencillos pasos de seduccion de Gaspard Ulliel

2011-01-30T15:57:00.000-08:00

Four easy seduction steps of Gaspard Ulliel...
First of all.. Go to Roland Garros/ Primero que nada ir al Roland Garros

Second/Segundo: Whisper romantic words to her ear/ Susurrar palabras romanticas al oido
Third/Tercero: Eat a delicious Magnum watching the game and make sexy posses/ Comerce una deliciosa Magnum viendo el juego haciendo poses sexys

And our finally four/Y nuestra cuarta y ultima: Go to César Awards as an official couple/ Ir a los Premios César como la pareja oficial

Source/Fuente

CHANEL exit STREET SCENE Paris Fashion Week 2011

2011-01-27T14:03:00.000-08:00

Gaspard till minute 1:26

'Cause we just care about Gaspard Ulliel

2011-01-27T13:52:00.000-08:00

More of the Chanel Fashion Week

2011-01-27T13:24:00.001-08:00

source: Gaspard Ulliel Online

The Dream Twilight Cast

2011-01-27T08:59:00.000-08:00

If you, as same as me, used to imagine Gaspard as Edward Cullen clic HERE
my complete dream cast is there! gosh! hope things were different, anyways I think it's better for Gaspard.. he needs the best things on his carrer. Not thing with 9 nomination on Razzie's Awards

Si ustedes, al igual que yo, solian imaginar a Gaspard como Edward Cullen den clic AQUI
mi cast de enseñueño esta ahi! dios! como me encantaria que las cosas fueran diferentes, en fin, creo que es mejor para Gaspard.. el necesita las mejores cosas en su carrera.. no cosas nominadas a 9 premios Razzie.

Gaspard Ulliel mencionado en pagina web de noticias mexicana

2011-01-26T19:14:00.001-08:00

Aplaude Almodóvar colección del diseñador Karl Lagerfeld

El director español celebró la propuesta Primavera-Verano alta costura de Chanel. En el desfile destacaron los rosados y grises pálidos evanescentes. También estuvieron las actrices Kirsten Dunst y Sandrine Kiberlain, así como con el actor Gaspard Ulliel.

Ver nota completa AQUI

(si eso me emociona jejej)

Which Haircut do you prefer on Chanel Hottie Gaspard Ulliel?

2011-01-26T18:53:00.000-08:00

VOTE HERE

VOTEN AQUI

Paris Fashion Week Haute Couture S/S 2011

2011-01-25T15:03:00.000-08:00

Gaspard Ulliel y Pedro Almodovar

yo quiero su bufanda Chanel!

AND A VIDEO HERE Y UN VIDEO AQUI

fuente

WOW!

2011-01-23T16:21:00.001-08:00

Gosh! If I hear something like that from him.. I'll automaticly die

Unknown Pictures

2011-01-23T16:18:00.000-08:00

Thnks to Gaspard Ulliel Online

An unknown video

2011-01-23T16:17:00.001-08:00

Can watch it HERE

Press Conference pics without tags

2011-01-22T19:34:00.001-08:00

Gaspard really looks very bored haha! love you my dear.
By the way, Hi to the people all over the world who takes the time to look at this page.
Thats why I try to write in english :) let me you comments!

More last year's pics

2011-01-22T19:24:00.000-08:00

New last year Photoshoot

2011-01-11T18:57:00.000-08:00

Xas & Sobran from The Vintner's Luck

2011-01-04T17:56:00.000-08:00

Gaspard shirtless Photoshoot

2011-01-02T17:03:00.001-08:00

01/01/11

2011-01-01T18:55:00.000-08:00

Happy New Year!!!!
Feliz Año Nuevo!!!

A sexy .gift

2010-12-28T19:20:00.000-08:00

Photoshoot of this year

2010-12-28T19:00:00.000-08:00

Gaspard premiere LPDM in New York

2010-12-21T20:47:00.000-08:00

HQ New Gaspard Pic

2010-12-20T18:03:00.000-08:00

New Photoshoot

2010-12-20T09:07:00.000-08:00

Gaspard Ulliel in New York

2010-12-15T17:21:00.001-08:00

Gaspard Ulliel attending ..."The Way Back" Paris Premiere

2010-12-14T19:23:00.000-08:00

fuente: Just Jared

France Amerique Interview

2010-12-09T16:20:00.001-08:00

Gaspard Ulliel, new Ambassador of Blue perfume by Chanel, was guided through the streets of New York by Martin Scorsese for making an advertisement, currently broadcast on the screens. Maintenance.

France-America: You're the new brand ambassador Chanel, whose film directed by Martin Scorsese advertising is broadcast at this time. How did the meeting between Chanel, Scorsese and you?

Gaspard Ulliel: The Chanel contacted me for a perfume. I refused such a proposal so far. I accepted subject to know the film's advertising. When I heard that Martin Scorsese would be behind the camera, obviously I did not hesitate a second. The shooting lasted for five days in New York. Five days where I could observe the mannerisms of the master. He wrote everything: storyboard, statements of intent, camera movements, cuts, everything is square! He isolates himself after the catch, then back on the tray and runs quietly. I was not going around advertising. First, because the film, even if its format is very short, is narrative. Secondly, because the technical team was worthy of a feature film. The cinematographer, Stuart Dryburgh, who conceptualized the image of The Piano Lesson, did a great job. Visually, it's beautiful. The film has real energy, with the Stones as a soundtrack.

F. A.: And off stage, how is Martin Scorsese?

G.U.: It is very funny. We shared a drink in his office, I felt like being with a friend, it was very casual. His face is so nice

F. A.: The fashion world fascinates you there?

EM: My parents are stylists, I bathe in this environment since childhood. Paris is a city and inspiring in fashion. I appreciate the beautiful things, but I am not an obsession. Longchamps offered me an advertising campaign with Kate Moss, in a spirit of New Wave, I'm tempted. I found the shooting at Longchamps Flora fun, like shooting with Paolo Roversi in March 2010, for The New York Times. This phenomenon is back: fashion approaches the film. Audrey Tautou and Marion Cotillard are other examples that highlight this trend.

F. A.: You were at Cannes in May for the film by Bertrand Tavernier's La Princesse de Montpensier. What feelings inspired you climbing the stairs, after seven years of Téchiné The Perplexed?

GU: I was very excited to be back on the carpet, like Bertrand, who had no film in competition at Cannes since long. His emotion, manifests itself [distilled] in the team. The Princess of Montpensier is exactly what I needed in my career right now. The film will be released abroad, including the United States, through the purchase of rights by IFC.

F. A.: You alternate mainstream films and art films. Are you afraid of being typecast?

GU: Yes, I wanted to touch everything, do not lock me in a style of cinema. I made films that give sharp stripe and movies less elitist. In hindsight, I tell myself that maybe I made a mistake. In the profession, no one knows exactly where to stand. Film purists authors do not tolerate too getaways in the world of film grand public. United States, it is less sticky labels easily, filmmakers are more open to change registry, family movie. I appreciate a lot of styles of movies, I love Tarkovsky and Bergman. I also like the movie less cinematic. When I started, I made my choice of films at random and naive. Now I'm trying to build an artistic career. A player needs to acquire a reputation to afford freedom of choice ...

F. A.: You have to realize project. What story would you tell?

GU: I'm trying to write for several years, but I am very perfectionist and I'm never satisfied. I would like to address the human feelings, making a film based on an intimate character. Right now, I write with a friend, share the pen is a difficult exercise. I syndrome, the French fascination with the original script, a legacy of the New Wave and politics of the authors. There's something enjoyable to write her own script. [At the same time, adaptation may serve as a binding framework that serves the creation]. Americans are once more uninhibited than us in relation to the question of the text.

F. A: Who are your mentors in the profession?

G.U.: Ometzguine Jacques and André Téchiné. They introduced me to the game, they did not let go of the shoot, I learned a lot.

F. A.: Which American directors and actors revered you turn?

G.U.: With Gus Van Sant, of course. We are in contact, I think this project will materialize. Among young directors who stand out, I love James Gray - from film to film it imposes its style - and Paul Thomas Anderson. I like the fact Woodie Allen chooses his actors for roles against type, though not necessarily the film that I prefer to time a spectator. I harbor a profound respect for Sean Penn, whose career has been exemplary. Leonardo DiCaprio impresses me: he was able to discard the clothes of the young infant, his game is experimental. DiCaprio is a generational pattern. It seems he wrote prefaces to books of contemporary art. I would love to talk with him. Finally, I am bowing before the silky Kate Blanchett, I'm the first fan.

F. A.: Kate Blanchett And if you asked, you live in the U.S.?

G. U. Why not. New York takes me by the guts, there's something going on in this city. Scorsese perfectly aware of this impression in After Hours.

Source

Gaspard Ulliel, nuevo Embajador de perfume azul de Chanel, se guió por las calles de Nueva York de Martin Scorsese para hacer un anuncio, emite actualmente en las pantallas. De mantenimiento.

Francia-Estados Unidos: Usted es el nuevo embajador de la marca Chanel, cuya película dirigida por Martin Scorsese, se emite la publicidad en este momento. ¿Cómo fue el encuentro entre Chanel, Scorsese y usted?

Gaspard Ulliel: El Chanel puso en contacto conmigo para un perfume. Me negué dicha propuesta hasta ahora. Acepté objeto de conocer la publicidad de la película. Cuando me enteré de que Martin Scorsese estaría detrás de la cámara, obviamente, no dudé un segundo. El tiroteo se prolongó durante cinco días en Nueva York. Cinco días en los que pude observar los gestos del maestro. Escribió de todo: guión, las declaraciones de intenciones, movimientos de cámara, cortes, todo está cuadrado! Se aislados después de la captura, a continuación, de nuevo en la bandeja y se ejecuta de forma silenciosa. Yo no iba torno a la publicidad. En primer lugar, porque la película, incluso si su formato es muy corto, es narrativa. En segundo lugar, porque el equipo técnico era digno de una película. El director de fotografía, Stuart Dryburgh, quien ideó la imagen de La lección de piano, hizo un gran trabajo. Visualmente, es hermoso. La película tiene una energía real, con los Stones como banda sonora.

F. A: ¿Y fuera del escenario, ¿cómo es Martin Scorsese?

G.U.: Es muy divertido. Compartíamos una bebida en su oficina, me sentía como estar con un amigo, fue muy casual. Su rostro es muy agradable

F. A.: El mundo de la moda no le fascina?

EM: Mis padres son estilistas, me baño en este ambiente desde la infancia. París es una ciudad e inspirador de la moda. Aprecio las cosas bellas, pero no estoy en una obsesión. Longchamps me ofreció una campaña publicitaria con Kate Moss, en un espíritu de la Nueva Ola, estoy tentado. He encontrado el tiroteo en Longchamps divertido Flora, como disparar con Paolo Roversi en marzo de 2010 para The New York Times. Este fenómeno está de vuelta: se acerca la moda de la película. Audrey Tautou y Marion Cotillard, son otros ejemplos que ponen de relieve esta tendencia.

FA: Usted estuvo en Cannes en mayo, la película de Bertrand Tavernier, La princesa de Montpensier. ¿Qué sentimientos te inspiró a subir las escaleras, después de siete años de Téchiné El perplejos?

GU: Yo estaba muy emocionado de estar de vuelta en la alfombra, como Bertrand, quien había ninguna película en competición en Cannes desde hace tiempo. Su emoción, se manifiesta [destilada] en el equipo. La Princesa de Montpensier es exactamente lo que necesitaba en mi carrera en este momento. La película se estrenará en el extranjero, incluidos los Estados Unidos, a través de la compra de derechos por la CFI.

FA: Usted películas de corriente alterna y películas de arte. ¿Tienes miedo de ser encasillada?

GU: Sí, quería tocar todo, no me encierres en un estilo de cine. Hice películas que dan fuerte películas banda y menos elitista. En retrospectiva, me digo que tal vez cometí un error. En la profesión, nadie sabe exactamente dónde pararse. puristas de Cine autores no toleran demasiado escapadas en el mundo del cine gran público. Estados Unidos, es menos fácil de etiquetas adhesivas, los cineastas están más abiertos al cambio de registro, película familiar. Agradezco un montón de estilos de las películas, me encanta Tarkovski y Bergman. También me gusta la película menos cinematográfico. Cuando comencé, hice mi elección de las películas al azar e ingenuo. Ahora estoy tratando de construir una carrera artística. Un jugador necesita para adquirir una reputación para dar libertad de elección ...

F. A: Usted tiene que darse cuenta del proyecto. ¿Qué historia le diría?

GU: Estoy tratando de escribir durante varios años, pero soy muy perfeccionista y nunca estoy satisfecho. Me gustaría hacer frente a los sentimientos humanos, haciendo una película basada en un carácter íntimo. Ahora mismo, yo escribo con un amigo, la cuota de la pluma es un ejercicio difícil. Yo síndrome, la fascinación francesa con el guión original, un legado de la Nueva Ola y la política de los autores. No es algo agradable de escribir su propio guión. [Al mismo tiempo, la adaptación puede servir como un marco obligatorio que sirve la creación]. Los estadounidenses son una vez más desinhibidos que nosotros en relación con la cuestión del texto.

F. A: ¿Quiénes son sus mentores en la profesión?

G.U.: Jacques Ometzguine y André Téchiné. Me presentaron al juego, no dejar de lado el rodaje, he aprendido mucho.

FA: ¿Qué directores americanos y los actores reverenciados que a su vez?

G.U.: Con Gus Van Sant, por supuesto. Estamos en contacto, creo que este proyecto se materialice. Entre los jóvenes directores que se destacan, me encanta James Gray - de película a película que impone su estilo - y Paul Thomas Anderson. Me gusta el hecho de Woodie Allen elige a sus actores para los papeles contra el tipo, aunque no necesariamente el cine que prefiero vez que un espectador. No albergo un profundo respeto por Sean Penn, cuya carrera ha sido ejemplar. Leonardo DiCaprio me impresiona: fue capaz de desprenderse de la ropa del niño pequeño, su juego es experimental. DiCaprio es un patrón generacional. Parece que escribió prólogos a los libros de arte contemporáneo. Me encantaría hablar con él. Por último, estoy cediendo ante la sedosa Kate Blanchett, yo soy el primer fan.

FA: Kate Blanchett Y si se le pregunta, usted vive en los EE.UU.?

G. U. ¿Por qué no. Nueva York me lleva por las agallas, hay algo pasando en esta ciudad. perfectamente consciente de esta impresión en After Hours Scorsese.

Gaspard Ulliel in "Hunger Games" with David Slade

2010-12-09T16:09:00.000-08:00

David Slade has confirmed via his Twitter that he was well into the ranks of directors of the film The Hunger Games and that he had declined the film "Pride and Prejudice and Zombies". We have known for some weeks now that it is likely that the director's cap for Hunger Games land on the head of Gary Ross.

Meanwhile, we learn that Gaspard Ulliel, French actor aged 25, joined the agency ICM in the United States. It is also represented by ACT 1 in France.

Ulliel has recently turned into "The Art of Love," a film currently in post production. We recall that it was the darling of fans Hunger Games for the role of Gale. Is it going to be his next project?

Source

David Slade, ha confirmado a través de su Twitter que estaba bien en las filas de los directores de la película Los Juegos del Hambre y que había disminuido la película "Orgullo y prejuicio y zombis". Sabemos desde hace algunas semanas, ahora que es probable que la tapa del director de El hambre de tierras Juegos en la cabeza de Gary Ross.

Mientras tanto, nos enteramos de que Gaspard Ulliel, actor francés de 25 años, se unió a la agencia ICM en los Estados Unidos. También está representada por ACT 1 en Francia.

Ulliel se ha convertido recientemente en "El arte de amar", una película actualmente en post-producción. Recordamos que era el favorito de los fans Juegos del Hambre para el papel de Gale. ¿Va a ser su próximo proyecto?

Festival Cannes Karl Lagerfeld, Gaspard Ulliel

2010-12-07T10:05:00.000-08:00

Decoding a really good interview with Gaspard Ulliel

2010-12-06T20:29:00.000-08:00

All women know at least something about Gaspard Ulliel: they would welcome an appointment with him. For those who wonder, yes, it is important - it will blow 26 candles at the end of November - and he has experience ... cinema. His talent was noticed in 2002 in See How They Run, and was confirmed in 2005 when he received the Cesar for most promising actor for his role in A Very Long Engagement. Since then, we have seen in Paris, I love you, in Hannibal Rising, and it monitors the upcoming release of La Princesse de Montpensier. Four questions to understand what makes the charm of Gaspard.

1. How do you take care of you?

Practicing my weekly dose of physical activity. It counterbalances my otherwise somewhat paradoxical, to take care of me, good food and wine. I am an Epicurean!

Decoding is not obsessed with her appearance. Moreover, his taste for good food to suggest that it is not the type to leave his girlfriend at McDonalds

2. How would you describe your style?

Far from being a fashion victim, I attach some importance to my general appearance. I appreciate the beautiful things in style. I am qualify for aesthetic, I could not acquiesce.

Decoding He grows love of beauty. It is therefore understandable that a woman could buy new shoes, even if she has 20 pairs in her wardrobe.

3. What was your first fragrance?

My mother fragrant early. Already when I was little, she was putting her scent to the bath. Just a little hair.

As decoding is perfumed since childhood, we can assume it is something as natural to him than brushing your teeth.

4. What is the smell of love for you?

It's the smell that I love. Simply.

Decoding No doubt, this is a romantic.

Source

Y ahora en español...

Todas las mujeres conocen por lo menos algo de Gaspard Ulliel: acogerían con agrado una cita con él. Para aquellos que se preguntan, sí, es importante - que soplará 26 velas a finales de noviembre - y que tiene experiencia ... cine. Su talento fue notado en 2002 en See quien quieras, y se confirmó en 2005 cuando recibió el César al actor más prometedor por su papel en un compromiso muy largo. Desde entonces, hemos visto en París, Te amo, en Hannibal Rising, y los monitores de la próxima versión de La princesa de Montpensier. Cuatro preguntas para entender lo que hace el encanto de Gaspar.

1. ¿Cómo cuidar de ti?

La práctica de mi dosis semanal de actividad física. Se compensa a mi otra un poco paradójico, para cuidar de mí, la buena comida y el vino. Yo soy un epicúreo!

Descodificación no está obsesionada con su apariencia. Por otra parte, su gusto por la buena comida para sugerir que no es el tipo de dejar a su novia en el McDonalds.

2. ¿Cómo describirías tu estilo?

Lejos de ser una víctima de la moda, hay que adjuntar cierta importancia a mi aspecto general. Aprecio las cosas bellas en el estilo. Estoy calificar para estética, no podía aceptar.

Decodificación Crece el amor de la belleza. Por tanto, es comprensible que una mujer podía comprar zapatos nuevos, incluso si ella tiene 20 pares en su armario.

3. ¿Cuál fue su primer perfume?

Mi madre fragante temprana. Ya cuando yo era pequeña, ella estaba poniendo su aroma al baño. Sólo un poco de pelo.

Como descifrar se perfuma desde la infancia, podemos suponer que es algo tan natural para él que cepillarse los dientes.

4. ¿Cuál es el olor de amor por ti?

Es el olor que me encanta. Simplemente.

Decodificación Sin duda, este es un romántico

The english version is better I think.. anyways Love it!
La version en ingles es mejor creo.. como sea me encanto!

Interview in the 10th Internacional Marrakech Film Festival

2010-12-06T19:41:00.000-08:00

Watch it HERE

"Un Balcon Sur la Mer" Screening

2010-12-05T20:15:00.000-08:00

Fuente: Gaspard Ulliel Online

Gaspard Ulliel with a new hair cut in the Marrakesh Film Festival

2010-12-04T16:42:00.000-08:00

Gaspard with shaved his hair!!!! For the new movie L'art de aimer.. What do you think?? Leave your comments below.

Gaspard con la cabeza rapada! Para la nueva pelicula L'art de aimer.. Que opinan?? Dejen sus comentarios.

Fuente: Gaspard Ulliel Online y Just Jared

La Princesse de Montpensier (behind scenes video)

2010-12-02T19:59:00.000-08:00

You can watched HERE
lo pueden ver AQUI

La Princesse de Montpensier ( Asian Poster)

2010-11-29T16:44:00.000-08:00

El Estilo de Gaspard Ulliel

2010-11-29T16:13:00.000-08:00

Gaspard Ulliel se ha convertido en los últimos años en todo un personaje revelación, tanto dentro como fuera de las pantallas de cine, demostrando que posee un estilo fuera de toda duda.

El actor francés, que se ha convertido recientemente en imagen del perfume Bleu de Chanel, reencarna a la perfección el estilo más parisino, con ese aire bohemio y al mismo tiempo con ese toque canalla y rebelde, tan difícil de imitar, y sin dejar ningún detalle a la improvisación.

Como os decíamos posee un look bohemio y desenfadado, que hace que mucha gente ya le sitúe como el nuevo Johnny Depp. Y es que a menudo podemos ver en sus looks chalecos, borsalinos, corbatas de nudo aflojado y camisas remangadas, toda una declaración de intenciones de que los looks más clásicos no van con él.

Aunque también es más que habitual verle con jeans y blazers, con un aire sport y desenfadado que combina con camisetas básicas de cuello en V o con camisas un tanto desabrochadas, sin descuidar un detalle fundamental, el calzado, casi siempre botas.

Y es que la relación de Gaspard Ulliel con el mundo de la moda no viene de ahora, sin ir más lejos protagonizó hace dos años la campaña de Longchamp junto con la mismísima Kate Moss y es más que habitual verle en alguna que otra portada como ésta de Danzed and Confused, donde queda de manifiesto que estamos hablando ya de uno de los próximos hombres a seguir.

Gaspard Ulliel gusta mucho de combinar colores oscuros y apagados dejando de lado cualquier estridencia cromática. El azul y el gris son dos de sus colores predilectos a la hora de vestir y la verdad que lo hace con gran acierto como veis en la imagen o en la imagen de portada donde luce americana azul marino.

Incluso también se atreve con el tweed, como veis en la imagen donde combina una americana en estampado tweed con una camiseta básica de cuello en pico y bufanda, recordando al más puro estilo casual de Jude Law.

En definitiva, uno de los hombre de moda, y no sólo por sus campañas publicitarias o su reconocimiento como actor, y para que quede constancia os dejamos con ésta galería con imágenes del actor en sus apariciones públicas.

Vean el articulo completo directamente de la fuente AQUI