Collider posted an interview with Saoirse. She talk about promotional process of the Lovely Bones, Twitter and Facebook, making the film and her next movie, The Way Back.
2010 : Collider
Travel Around The World With ‘Lovely Bones’ Star Saoirse Ronan
11 January, 2010 · Posted by Hillie under Videos · 3 Comments
MTV posted a video diary of Saoirse traveling for The Lovely Bones which is filmed by her dad. There are three other parts coming up, so, stay tuned.
2010 : Travel Around the World with Saoirse Ronan
2010 : Travel Around the World with Saoirse Ronan (Part 1)
Fancy frocks and hunky leading men aren’t the only perks of being a Hollywood starlet. These lucky ladies also get to travel—a lot! To publicize her latest film “The Lovely Bones,” which goes wide on January 15, 15-year-old Saoirse Ronan has become a bit of a jet-setter, hopping from New York to London to who knows where to premiere her movie and dish with the press. So who does a young Oscar nominee take as her traveling companions? Her family and publicist, of course! Along the way, dear old dad Paul filmed the trip for a video diary, which we have the pleasure of presenting to you! Click play on the clip below to see the first of four parts.
The premiere episode shows Saoirse jumping for joy on the tarmac before boarding a private jet and admiring the goodies waiting for her. She snaps a few pics inside the cabin before jokingly telling her camera-wielding father in her Irish drawl, “The best footage you’re gonna get on this tour is right here,” pointing to own her face. What a comedian!
Irish actress Saoirse Ronan has praised moviemaker Peter Jackson for his decision not to show the rape and murder of her character in his adaptation of Alice Sebold’s bestseller “The Lovely Bones”. Jackson and his co-producer wife Fran Walsh have came under fire from fans of the book for failing to depict Ronan’s tragic Susie Salmon falling victim to the horrific act.
Ronan agreed with their decision – and admits she is baffled by anybody wanting to watch the harrowing scene. She says, “To be honest, I really don’t know why anyone would want to see a 14-year-old girl raped in a movie and killed.”
“I feel very strongly about this. That’s certainly not the type of movie that… (we) wanted to make. And Peter Jackson or not, that was not the kind of movie that I would want to be in. Plus, Susie actually runs away from her murder so the story is fueled by that.”
“By her going on this journey to trying to understand what happened to her body. That scene is very, very intense. So I think if we had put something else in, anything else, it would have completely overwhelmed the story.”
Saoirse Ronan: It’s lonely playing a girl gone to heaven
The Globe and Mail posted a new interview about Saoirse.
2010 : Session 02 (The Globe and Mail)
Saoirse Ronan is a special effect all by herself. She’s only 15 years old, and she looks it, dressed in jeans and a shrunken striped cardigan for an interview in Toronto on Thursday. Her limbs are long and skinny, her silky blond hair is a little staticky, and her oval face is pale and fine-boned. Born in New York but raised in Ireland – her first name, pronounced “Sur-shuh,” means “freedom,” and her father is the actor Paul Ronan ( Veronica Guerin ) – she speaks with a musical Irish accent that’s unlike any she has used on screen.
But it’s the look in her sky-blue, almond-shaped eyes that’s the real grabber: intelligence coupled with an old-soul otherworldliness. The combination made her perfect to play both Benji McGarvie, a Victorian-era con girl, in 2007′s Death Defying Acts , and Briony Tallis, a budding writer in Atonement (also 2007), which netted Ronan a best-supporting-actress Oscar nomination at age 13.
It also makes her ideal to play Susie Salmon, a Pennsylvania teenager who watches the aftermath of her murder from her personal heaven, in Peter Jackson’s The Lovely Bones , opening Friday. In the film, based on the best-selling novel by Alice Sebold, Susie exists in a boundless, cotton-candy, computer-generated afterworld. She’s only dimly aware of how she died – we see her life in flashbacks – and unable to comfort her grieving parents (Mark Wahlberg and Rachel Weisz), grandmother (Susan Sarandon) and sister Rose McIver, who was interviewed with Ronan. (The two snuggled sweetly together on a sofa, finishing the other’s thoughts; at one point Ronan idly played with a strand of McIver’s hair).
Ronan expertly communicates both Susie’s human panic and her post-mortem wafting, even though she had to do much of her acting alone, in front of a blue screen. “They showed me a bit of artwork of how it would look, and it was described pretty well in the script,” she said. “And during the takes Pete would talk to me about what was going on around me, so I was able to react to that. When I look at it now, there’s quite a few scenes where it’s all about the landscape, how things are shifting and changing. But when I was doing it, it was just me.”
“Quite a few scenes” is an understatement. Jackson is an intensely visual director (he previously lavished his paint box on King Kong and The Lord of the Rings trilogy), and at times his fantastical heaven can overwhelm what’s happening down on earth. It’s a problem a lot of directors seem to be having these days: The wealth of what’s available to them via CGI – like a bottomless box of toys – may actually be distracting them from the story the toys are allegedly being deployed to tell.
Look at Avatar , for example. Writer/director James Cameron’s 3-D extravaganza may well break the $1.84-billion worldwide box-office record set by 1997′s Titanic , also by Cameron. (He was the first director to have a movie cross the $1-billion mark, and now he’s got two.) But though Avatar ‘s visual effects have a mind-boggling depth and density, its plot about a primitive society threatened by military-industrial forces is almost 100-per-cent recycled. (As a friend put it, “They spent $300-million, and that’s the best story they could come up with?”)
“When I look at it now, there’s quite a few scenes where it’s all about the landscape, how things are shifting and changing. But when I was doing it, it was just me.”
Or take The Imaginarium of Doctor Parnassus . Terry Gilliam is another voraciously visual director, and his latest is crammed with psychedelic fantasy worlds. Unfortunately, Gilliam forgot to imagine a coherent story. Key plot points are mumbled in master shots, and characters travel willy-nilly between states of being, until there are no stakes to care about. Halfway through I gave up trying to force it to make sense, and resigned myself to watching a slide show of images rather than a movie.
Regular readers of this column know how much I loathed Transformers: Revenge of the Fallen , the top-grossing film of ’09 until Avatar came along. Regarding its attention to visuals versus story, let’s just say that even if you put a gun to my head, I could not tell you who the Fallen were, much less the nature of their Revenge. And I bet that most people who saw Fast & Furious and G.I. Joe: the Rise of Cobra (which each grossed over $150-million) couldn’t tell me their plots, either.
It’s almost as if big-budget directors have decided that story is beneath them – that since character development and dialogue don’t cost any extra money to film, and since any sap with a credit card and an HD camera can convey a narrative, coherence is something only the little guys need to worry about.
Several mega-directors are addressing this problem by buying established stories to display their trinkets in. Guy Ritchie tarted up Sherlock Holmes with a bunch of CGI, as did Robert Zemeckis in 2009′s animated, 3-D A Christmas Carol . As well, all the trailers that played before Avatar were old dogs using new tricks. Percy Jackson & The Olympians: The Lightning Thief , due in February, retools ancient Greek myths. Robin Hood , due in May, soups up its familiar story with epic battle scenes courtesy of director Ridley Scott and star Russell Crowe (the duo behind Gladiator ). Tim Burton’s Alice in Wonderland , due in March, applies 3-D and star Johnny Depp to the already trippy tale. (Alice’s phrase “stuff and nonsense” seems apt here: The more stuff a film has, the more its story can be nonsense.)
Regardless of how prominent the visuals are in The Lovely Bones , however, as an actor Ronan felt well cared for by Jackson. He arranged for the cast to spend two weeks together before filming so they could jell as a family. They went bowling, and sang karaoke at the wrap party – though Jackson spent most of that night playing video games.
“Pete is a big kid,” Ronan said. “We went to his house, and they do this laser tag thing. He plays games. He’s got a passion for having fun.” On set, he’d leap to his feet, cup of tea always in hand, to act out scenes for Ronan and McIver. “He’s always there. He gives you so much,” Ronan said.
Most importantly for Ronan, Jackson decided that one set of images would not be in his movie: the scene of Susie’s rape and murder. “From the off, Pete didn’t want to make a movie where you see a child being sexually assaulted and murdered,” she said. “It’s happened a lot in movies where it completely overwhelms the story, and the story is so much more than that. That was the deal-maker for me.”
What good storytellers know – and what CGI-lovers sometimes forget – is that what you don’t show can be as powerful as what you do.
Saoirse Ronan and Rose McIver were on MuchOnDemand yesterday. They talk about working with Peter Jackson and what drew them to their roles and taking on the American accent and tell us which words gave them difficulties. Here are the links of the clips:
Part 1 Part 2
‘Lovely Bones’ star Saoirse Ronan doesn’t mind differences between book, film
TORONTO – In “The Lovely Bones,” 15-year-old Irish phenom Saoirse Ronan’s character dies early on, then spends much of the rest of the film waiting in limbo before she can ascend to heaven.
Ronan’s career seems destined for the stratosphere without the pause. While the film has thus far received mixed reviews (it scores a 40 per cent “fresh” rating on online review aggregator rottentomatoes.com), Ronan is, once again, the subject of rave notices.
The New York Times singled out Ronan’s “unnerving self-assurance and winning vivacity,” the Los Angeles Times called her an “enormously gifted performer” and the Hollywood Reporter simply called her extraordinary.
An Academy Award nominee for 2007’s “Atonement,” the Irish teen has the respect of her co-stars, too.
“I can’t believe she’s 15,” said Rose McIver, a New Zealand newcomer who plays Ronan’s sister in “The Lovely Bones.”
“She’s one of my really dear friends now. I’m 21, she’s 15, but she feels like she’s my older sister. I mean, she’s wise beyond her years and I guess a lot of it is that she’s worked with adults for a long time and she just has this kind of old soul sort of vibe about her.”
Ronan aside, however, the film – an adaptation of Alice Sebold’s cherished 2002 novel – has had a bit of a bumpy ride.
Director Peter Jackson (“Lord of the Rings”) spent eight months shooting the movie, which centers on a family coping with the brutal murder of their daughter in 1970s Pennsylvania.
After delays and the high-profile exit of original star Ryan Gosling (he was replaced by Mark Wahlberg in the final days before shooting began), “The Lovely Bones” is finally due to hit theaters across Canada Jan. 15.
Part of the mixed critical reaction has stemmed from complaints that the film glossed over the graphic rape and murder of Ronan’s character that was depicted in the book.
Ronan, for her part, is decisively on the side of the filmmakers.
“To be honest, I really don’t know why anyone would want to see a 14-year-old girl raped in a movie and killed,” Ronan told The Canadian Press in an interview Thursday at a Toronto hotel.
“I feel very strongly about this. That’s certainly not the type of movie that . . . (we) wanted to make. And Peter Jackson or not, that was not the kind of movie that I would want to be in. Plus, (her character)Susie actually runs away from her murder so the story is fuelled by that. By her going on this journey to trying to understand what happened to her body.
“That scene is very, very intense. So I think if we had put something else in, anything else, it would have completely overwhelmed the story.”
The scene in question? A pivotal moment early in the film, in which a creepy neighbor (played by Stanley Tucci) lures Ronan’s Susie Salmon into a pit he’s constructed in the middle of a cornfield.
There, Tucci’s sinister George Harvey urges Ronan’s character to drink a bottle of Coke and fiddle with the toys he’s arranged for her, while she slowly figures out what’s in store for her before trying to escape.
Ronan’s character then dies off screen while her spirit sprints away. The rape is never mentioned.
“What’s so potent about this film is that people in any range of ages and experiences and people who have had their own experiences can go and watch it,” McIver said.
“I’m sure that they’re very aware of the subtlety. There’s no need to put something explicit to trigger what that means for people. And it’s amazing that a 13-year-old can go and watch it and be safe to watch it and not be emotionally scarred by something they don’t need to be thinking about.”
Even without that more graphic content, Tucci was apprehensive about the scene, which the actors had hanging over their heads through months of the lengthy shoot.
Jackson has reportedly said that it was Ronan who helped Tucci – 34 years her senior – through that unnerving time on set.
“Stanley and I were quite anxious about doing the scene and getting it over and done with, especially for Stanley because he’s the bad guy,” Ronan recalled cheerfully in her lilting Irish brogue. “I was looking forward to getting that out there but it was a little bit nerve-racking. I wasn’t really sure what we were going to do or how Pete was going to go about it.
“Stanley and I get on really, really well and I was worried about him because it was Mr. Harvey’s fault, it was all down to him. I just took care of him. I’m glad it’s out of the way.”
What follows is a melancholy look at how a family fractured by death manages to cope. Ronan’s character watches her father (Mark Wahlberg) obsess over her murderer and her mother (Rachel Weisz) drift away to a commune. She worries for the safety of her feisty sister (McIver), who may be her killer’s next target.
Following her death early in the film, Ronan’s character is transported to a space in between heaven and hell because she’s unable to let go of her family. This trippy, gorgeously crafted CG realm is a wonderland of sprawling oceans, massive ships within even-bigger glass bottles and lush gardens that extend into the distance.
Of course, this meant that Ronan appeared in many scenes alone, often in front of a blue screen.
“It wasn’t that tough,” she said with a shrug. “The script describes the in-between very well, so I could just look over it the night before and have a picture of it in my head of what it was going to be like. And then during the day, during takes, Pete would actually talk to me and he would describe what was going on around me, so I was able to react to that, and we had music.
“It was made very, very easy for me.”
And the accomplished teen made it look even easier.
“She’s just magnificent in this film,” McIver said. “I’m so proud of her, and so honoured to play her sister.”
Byzantium Role: - Release Date: 2012 Genre: Drama - Fantasy - Thriller Official - Info - IMDB - PhotosThe Host Role: Melanie Stryder/Wanderer Release Date: 23 March 2013 Genre: Sci-Fi - Thriller Official - Info - IMDB - PhotosViolet & Daisy Role: Daisy Release Date: 2011 Genre: - Official - Info - IMDB - PhotosHanna Role: Hanna Release Date: 8 April 2011 Genre: Action - Adventure - Thriller
Official #1 - Official #2 - Info - IMDB - Photos - VideosThe Way Back Role: Irena Out on DVD: 19 April 2011 Genre: Drama
Official - Info - IMDB - Photos
Saoirse Ronan Web is an unofficial, non-profit fansite. We have no affiliation with Saoirse Ronan herself or her management. All copyright is to their respective owners, no infringement is ever intended. This website is best viewed in FireFox.