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Welcome to Captivating Natalie Dormer one of the largest and longest running sources dedicated to British Actress Natalie Dormer (formely at natalie-dormer.com). Natalie is best known for her role as Anne Boleyn in Showtime's The Tudors but you also may recognise her from Casanova, Flawless and Game of Thrones. Currently, you can find Natalie as the voice of Dr. Lexi T'Perro in the video game Mass Effect: Andromeda and in upcoming roles as Mrs. Appleyard in the TV Miniseries Picnic at Hanging Rock, as Sofia in In Darkness and as Eliza Merrett in The Professor and the Madmen.

Captivating aims your most up-to-date and comprehensive source for Natalie. Check back daily for all the latest news, photos and info. Thank you for visiting the site and supporting Natalie and her career!

July 06, 2018   /   Claudia   /   In Darkness (2017) Movie Productions News

After being frustrated with the limited roles she was being offered, the actress co-wrote her new film with her partner Anthony Byrne.

In an Earl’s Court apartment block hallway, Natalie Dormer gestures for me to sit down. “Get yourself over to the stairs,” she smiles, “the red Hitchcockian stairs.”

The film she is shooting is In Darkness, a contemporary thriller – as if her nod to Hitchcock hadn’t already given that away – about a pianist named Sofia. Played by Dormer, the visually impaired Sofia gets entangled in a murder case when her upstairs neighbour is killed.

Today’s scene sees Dormer fumbling her way into the building’s lift, white cane in hand, with the creepy Marc (played by Ed Skrein) – who may or may not be the killer – in pursuit.

Dormer, the fiercely intelligent and striking-looking 36-year-old, who rose to fame on The Tudors and Game of Thrones, has spent days with people at the Royal National Institute for the Blind, getting “a crash course in visual impairment” to help perfect her character.

Intriguingly, Dormer is also the co-writer of In Darkness, scripting it with the director – and her off-screen partner – Anthony Byrne.

“There was a drought of intelligent thrillers when we started writing this seven years ago,” she says, when we retire upstairs to chat, sitting at the dining room table on the set of Sofia’s apartment.

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July 06, 2018   /   Claudia   /   News Picnic at Hanging Rock (2018) Television Productions

“You’re a woman. You’re a sensual creature are you not?” demands Natalie Dormer, fierce blue eyes narrowing. You could imagine Dormer delivering the line as shrewd seductress Margaery Tyrell in Game Of Thrones, or The Tudors’ Anne Boleyn, but here, she’s saying it to an interviewer in an EastEnders-themed room of BBC Broadcasting House. (There’s a replica of the Queen Vic pub sign hanging above the door.)

Dormer has just been asked about the surprising erotic voyeurism in Picnic At Hanging Rock, a six-part adaptation of Joan Lindsay’s 1967 novel about the disappearance of a group of Australian schoolgirls at the turn of the nineteeth century. Adapted by playwright Beatrix Christian and showrun by director Larysa Kondracki, it’s a story largely about women, largely told by women. Why should that fact make the eroticism surprising? Dormer fires back “Why can’t a female story be erotic and sensual?”

“God, it’s overdue to see that sort of storytelling, isn’t it? To see sex and sexuality through a female gaze—female producers, directors, writers—as opposed to coming from a male gaze. For me, for that reason alone, it’s refreshing.”

“We all,” Dormer looks around the room at her half a dozen interviewers, all women save for one man, “all but one” she corrects with a laugh, “—you gentlemen have your own version of it—can remember what it is to be an adolescent girl grappling with puberty and the intensity of the bodily changes and the emotional changes… if you put young pubescent girls, with their hormones going everywhere, in a contained space, that is the reality of the situation.”

Dormer is keen not to put too much significance on Picnic At Hanging Rock being led by writers and directors who are women. On the press circuit for the show here in the UK, in the US and Australia, the focus on its gender provenance has obviously become something of an irritant.

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June 04, 2018   /   Claudia   /   News Picnic at Hanging Rock (2018) Television Productions

Amazon Prime’s latest limited series is a new twist on a classic—a genuine reimagining. Widely considered to be one of the best Australian novels of all time, Joan Lindsay‘s 1967 Picnic at Hanging Rock is the story of three young women and a teacher from upper-class Appleyard College who mysteriously vanish from a picnic at the titular landmark on Valentine’s Day 1900.

The novel has been adapted multiple times for the stage, and notably for the screen by director Peter Weir in 1975. Weir’s film is critically revered, and its influence has touched creations as varied as the films of Sofia Coppola to Damon Lindelof‘s acclaimed series The Leftovers to the work of fashion designers.

From showrunner Larysa Kondracki and writers Beatrix Christian and Alice Addison, Amazon’s six-hour miniseries has much of what made the Weir film so powerful—nightmarish, quietly horrifying qualities and haunting mystery—but thanks in part to its expansive length and scope, there’s much more on the table this time ’round: this Picnic has provocative, sexy romance, black humor, and an edgy, universal tale of identity and coming into one’s own. It’s suddenly quite timely too—a unique meditation on femininity and girlhood released mere months after the dawn of #MeToo.

The series stars Game of Thrones‘ Natalie Dormer as unremittingly strict headmistress Hester Appleyard. Lily Sullivan (Mental) co-stars as Miranda Reid, and Lola Bessis (Thirst Street) plays young governess Madameoiselle Dianne de Poitiers.

Parade spoke with Dormer and other members of the cast and crew about this new take on a classic, its relevance amidst the backdrop of the #MeToo movement, and equality in the entertainment industry and beyond.

Because the 1975 film is so esteemed, did you feel pressure to live up to it?

Bessis: I love the ’75 film so much, and I said that the first time I talked with Larysa on Skype, but she said, “Don’t worry, this is going to be really different.”

Kondracki: Absolutely, but these scripts are so different. It’s much more about who these girls were. Ours is a little darker, too. The scripts are very truthful to the book.

Dormer: We have six hours to delve into the novel in ways Weird couldn’t in two hours.

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June 04, 2018   /   Claudia   /   News

Natalie Dormer knows you want to ask her about Game Of Thrones. Sure, she’s working on other projects, and she’s played a part in many a franchise (The Tudors and The Hunger Games among them), but the Game Of Thronesobsessives always want more (and rightfully so). She can feel the vibration of my question forming, and, even though her character, Margaery Tyrell, has already been killed off the much-loved drama, Dormer is always ready to offer her own opinions as to where the princes, queens, and dragon-slayers on the show will end up.

When we sit down together at Bustle HQ, Dormer admits she’s worried about Sansa (“I love her journey as a character”), she wants Cersei to have a “massive revelation of self,” and she tacks on the exceptionally juicy tidbit that she knows how it all ends. “They’ve been shooting a lot of battle sequences… it’s the fight to the finish,” she says, letting the statement lie, with an unmistakeable emphasis on the word “finish.” Though Dormer loved her time on Game Of Thrones and is happy to have been a part of the series, she’s beyond ready to move on.

No longer satisfied with the stories men have projected onto women in the industry, Dormer is among those actresses and storytellers who is taking matters into her own hands. In one of her post-Game Of Thrones projects, In Darkness (in theaters now), Dormer plays Sofia, a blind musician who, after she hears the murder of a neighbor, is thrown into the gritty underbelly of London, complete with war criminals, fight sequences, and plenty of intrigue. While playing a character like Sofia would be a boon for many actresses, Dormer took it a step further — she wrote In Darkness, too, along with director Anthony Byrne.

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May 29, 2018   /   Claudia   /   News Picnic at Hanging Rock (2018) Television Productions

Peter Weir’s 1975 film “Picnic at Hanging Rock,” much like the geologic formation named in its title, casts a very long shadow. Based on the 1967 novel of the same name by Joan Lindsay, the movie adaptation tells the story of three young women and a teacher from Appleyard College, who go missing during a Valentine’s Day outing in 1900.

Considered a masterpiece of Australian filmmaking and an achievement in Weir’s early career, the movie created a haunting Victorian aesthetic that is still referenced in films, fashion, and other art forms to this day. Because of this impact, the movie looked as if it would be one of the few classics that would remain untouched by the latest wave of remakes and reboots. Then a group of women came along to change that.

Showrunner and director Larysa Kondracki and star Natalie Dormer spoke to IndieWire about why they dared to tackle “Picnic at Hanging Rock” as a limited series for a new generation.

1. The Series Avoids Weir Altogether

Kondracki herself is an ardent fan of the original film, which is why it took some convincing for her to sign up for the series.

“[The script] was sent to me. I said, ‘Absolutely not. I don’t wanna touch Peter Weir,’” she said. “I was like, ‘Are you crazy? No way.’ Everyone said the same thing: That’s such a canonical film, and you’d hate to be disrespectful of it.”

She soon learned, however, that this was not a remake of Weir’s film, but instead went straight to the source material. Writers Beatrix Christian and Alice Addison adapted Lindsay’s novel into a six-part series for television.

“They said, ‘Read it. It’s a reimagining of the book; it’s not the movie,’” said Kondracki. “The second you read the first page and Bea’s writing, you just went, ‘Okay, this is totally different.’”

Dormer added, “The text is there. It seems bizarre that when the original story is so great that it would only have one incarnation. So we take nothing away from the Weir. It has its reverent place. We’re doing something completely different.”

2. The Adaptation Expands on the Girls’ Stories

Of course, adapting Lindsay’s novel is daunting in itself because it’s also considered to be one of the best Australian novels of all time.

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May 15, 2018   /   Claudia   /   News Video Archive

In the thriller In Darkness, Game of Thrones actress Natalie Dormer plays a blind pianist named Sofia who overhears a struggle in the apartment above hers that leads to the death of her neighbor, Veronique (Emily Ratajkowski). It is the start of a journey that leads Sofia into a dangerous world of corruption, hitmen, and the Russian mafia — a world with links to Sofia’s own hidden past.

In Darkness is directed by Anthony Byrne and cowritten by Byrne and Dormer. The film’s cast also includes Joely Richardson (Nip/Tuck, The Tudors), Neil Maskell (Kill List, Humans) and James Cosmo (Games of Thrones, Wonder Woman).

Source: EW

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May 09, 2018   /   Claudia   /   In Darkness (2017) Movie Productions News Photo Gallery

Looks like Game of Thrones actress Natalie Dormer is stepping up her game with Anthony Byrne’s new thriller In Darkness. Not only is Dormer playing a blind pianist on the run, but she also helped pen the screenplay.

The film co-stars Ed Skrein, who is best known as the villain Ajax in Deadpooland Emily Ratajkowski, who is best known as Ben Affleck’s teenage girlfriend in David Fincher’s thriller Gone Girl. And if you’ve missed word on the film until today, no worries, as we have the flick’s poster and trailer for you to check up on.

I’m immediately interested in seeing the film for not only the cast but to check out how Dormer does with a pen. Plus, the film’s synopsis (which you can read below) sounds like some good old fashioned giallo times to me.

In Darkness is directed by Anthony Byrne from a script he co-wrote with Dormer. The film stars Dormer along with Ratajkowski, Skrein, Joely Richardson, and James Cosmo; it hits theaters and On Demand May 25th.

Synopsis:

Blind pianist Sofia overhears a struggle in the apartment above hers that leads to the death of her neighbor Veronique. It is the start of a journey that pulls Sofia out of her depth and brings her into contact with Veronique’s father, Milos Radic, a Serbian businessman accused of being a war criminal. Sofia is drawn into a dangerous world of corruption, investigating police, hitmen and the Russian mafia – a world with links to Sofia’s own hidden past and a path of revenge she has kept hidden until now.

Source: dreadcentral.com

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May 03, 2018   /   Claudia   /   News Picnic at Hanging Rock (2018) Television Productions

Natalie Dormer knew “Picnic at Hanging Rock” was the perfect next project for her when she received a personal letter from director Larysa Kondracki.

“It said, ‘I need this woman not to be an archetype. I need her to be three-dimensional, psychological, littered with flaws and fears. And I need the humanity of her so that she’s not just a bitch,’” Dormer tells Variety of the note.

Kondracki also wrote, “nobody would be able to do that like Natalie Dormer.”

It was a “seductive” pitch for Dormer, who then hopped on a video chat to further talk through the vision for the six-episode limited series based on Joan Lindsay’s 1967 novel. (The story was previously adapted for the big screen in 1975.)

The plot centers on the mysterious disappearance of four young women from an Australian boarding college and the damage it does to the school, its staff and students, and ultimately the society around them. It is set in 1900, but Dormer, who was given the first three of Beatrix Christian’s scripts when they were still in early draft form, knew the project was going to be far from a simple period drama.

“Beatrix was a playwright before she was a screenwriter, and in the way she writes her text there is so much subtext that I was just immediately like, ‘Who the f— are these women? This is amazing’,” Dormer says. “There was something in those first few scripts, but the way Larysa spoke of her vision, tonally, it just felt so fresh, so brave [and] courageous in the mashing of genres and strong visual tone that was going to be atmospheric and sophisticated in its nonlinear storytelling. It was going to have a real psychological element.”

The collaboration continued when the cameras rolled as well.

“Larysa had this great policy that whoever comes up with the best idea and it gets used on-screen gets a bottle of wine,” Dormer says. “It encourages you to speak up.”

Dormer plays Mrs. Appleyard, a buttoned-up, strict, and unflinching headmistress of a women’s college. “Appleyard thinks the way she is raising the girls she is doing them a favor. She genuinely thinks she’s passing on the torch of knowledge. What she’s actually doing is passing on archaic structures that stifle those girls’ spirits and that they’re rebelling against,” Dormer says. “She’s trying to help and tragically damaging and I just found that interesting — to try and break down that psychology.”

But that is all just a persona she is putting on, says Dormer.

“She’s running from a past — she’s literally running. She’s victimized and haunted by her past and her secrets, and her way of trying to deal with that is holding it tightly and putting a lid on it and being this tyrant,” she says.

As the episodes unfold, the audience learns how who she was as a girl informs the woman she has become. After the four young women go missing, she begins to unravel. That was the part of the draw of the role for Dormer.

“As an actor that’s just delicious to play — as the layers fall off, to keep scrambling to try to maintain control,” she says.

Though the series is set at the turn of the 20th century, its themes are still relevant today, says Dormer.

“It’s scary how 1900 and 2018, those themes of female independence — emotionally, spiritually, financially — finding a sense of identity, not needing a man, not being defined by being what your peer group suggests you should be, peer culture, authority rebellion, spirit and voice within those constructs [are similar],” she says. “I think in a highly anxious time for young men and women those anxieties of ‘Who the f— am I?’ are as relevant to our characters in 1900 as they are in 2018.”

Source / © Fremantlemedia Australia

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April 13, 2018   /   Claudia   /   News

“Is it true that the loss of one sense sharpens the others?”

Natalie Dormer stars as a blind pianist in the upcoming thriller, In Darkness, and in this exclusive first trailer, she may be the only person who heard anything after her neighbor (played by Emily Ratajkowski) turns up dead. Dormer’s Sofia may be caught up in something far bigger, however, and as she navigates a hit man (Ed Skein) and war criminals, her own secrets will come to light.

Dormer co-wrote the film, her first feature screenplay, with director Anthony Byrne. (Who is also her partner.) “That was the cherry on the top of the cake,” she told ET’s Nischelle Turner. “I’m so in awe of Anthony as a director. I think he’s fantastic and so talented and, you know, I got this acting sh*t slightly under control. The interesting part was writing together.”

“It was like a baby had, like, taken seven and a half years to get to that first day on set,” Dormer explained during her sit-down with ET. “It’s so personal and you’re so appreciative of the crew and the fellow actors, because it really feels like it’s yours.”

The actress wrote the script years before she would eventually break out on Game of Thrones, at a time when she was frustrated with the types of roles she was being offered. “Hold on to your hats for a moment. Imagine life before Game of Thrones,” she said with a laugh. “It was before I did The Hunger Games. So, I was fully anticipating that I was writing a female part and a story that I would want to watch, but I wouldn’t have the honor of playing.”

It was only after finishing her work on the HBO series — Dormer’s Margaery Tyrell was killed off at the end of season six — that she thought she might have “enough clout” to lead her own film. “That was like Christmas. Thanksgiving,” she said. “That was everything at once.” (As for the upcoming final season of Game of Thrones, Dormer teases, “I know stuff I wish I didn’t know…It’s really exciting. And I’m going to be sitting on that sofa like the rest of you going, ‘How do they do this?!'”)

In Darkness is in theaters on May 25.

Source

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March 14, 2018   /   Claudia   /   News Picnic at Hanging Rock (2018) Television Productions Television Productions

“Picnic at Hanging Rock,” the new TV adaption of the Australian cult classic, kicked off the Berlin Film Festival’s TV sidebar Monday, and while the show has been generating quite a bit of buzz, getting it made was initially tough because of the long shadow cast by Peter Weir’s critically acclaimed 1975 film adaptation of Joan Lindsay’s 1967 novel.

“No one wanted to do it,” said the new show’s director, Larysa Kondracki, discussing the series shortly after the first two episodes premiered at the Berlinale Series.

“You’d tell any crew member that you’re making ‘Picnic at Hanging Rock,’ and they’d ask, ‘Why?’ Because it’s a great book, it’s a great thing. ‘No, absolutely not, I’m not going to touch that.’

“But something about it lingered and when you read the first page [of the TV adaptation], you realize this isn’t the original film. This is something else.”

Set in 1900, the story centers on a group of young women at a boarding school who inexplicably vanish at Australia’s Hanging Rock while on a Valentine’s Day picnic.

Natalie Dormer (“Game of Thrones,” “Hunger Games”), who plays strict headmistress Hester Appleyard, described Beatrix Christian and Alice Addison’s script as “visionary,” adding that it was “sophisticated storytelling for a sophisticated audience.”

Dormer initially balked at the historical drama. After performing in such high-profile costume dramas as “The Tudors” and “Game of Thrones,” the British actress said she “didn’t want to be pigeon-holed as a corset wearer.”

Meeting Kondracki and reading the script changed her mind.

“I’m so glad I did,” Dormer said, stressing that “Picnic at Hanging Rock” is not your typical costume drama. “Don’t be under any illusions because of the costumes and horses. This is a very modern thriller-mystery, a dramatic piece.”

Variety International Editor Henry Chu, who conducted the Drama Series Days onstage conversation with Dormer and Kondracki, noted that the series seemed to have elements of “A Room With a View,” “The Shining” and “Mean Girls.”

On Dormer’s casting as the headmistress, Kondracki said it was important for her to cast someone in the role who was closer in age to the girls in the school “so you could really feel just a few years’ difference and that Hester could have been one of these girls and that they’re also a real threat” to her, an aspect that would have been lost with an older headmaster.

Dormer added that the casting was actually accurate for the time, pointing to such literary characters as Jane Eyre and Blanche DuBois. “A woman was a spinster if she wasn’t married by the time she was in her late 20s.”

Discussing the series’ themes of repressed sexuality, Kondracki said there was “a beautiful scene” in the third episode: “It’s a kiss between two girls and it’s not about sexuality,” said Kondracki, a Canadian who has directed episodes of “The Americans” and “The Walking Dead.” “It’s about discovery and friendship….There’s a sexiness to this show, but it’s restrained.”

Dormer called it a “sexiness not through the male gaze. It’s sexiness through female sexuality. It’s sensual.

“There’s magic to this,” she added. “It feels like the spirit of Joan Lindsay is with us. There is something transcendental. That’s what Larysa created – a touch of fairy dust.”

Source / © Fremantlemedia Australia

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