Nicole Kidman Online mobile version
November 11, 2017   Ali   Family, Music Be first to comment

Nicole is featured on the background vocals of Keith’s new single “Female”.

We know that Nicole has strong feelings about women being abused both physically and sexually … so having her voice added to it adds to the already powerful message she is sending out.

November 11, 2017   Ali   Killing of a Sacred Deer Be first to comment

The Greek director has very specific rules for all actors interested in working with him.

After Greek director Yorgos Lanthimos landed an Oscar nomination for “Dogtooth,” his twisted dystopian vision of a family trapped in deranged rituals, his agent took him around town. It was the usual routine: Promising young talent offered numerous pre-conceived projects, with no guarantee that he’d have any control over the final result. “I didn’t really know the landscape,” said Lanthimos in an interview. “I just realized it’s not what I’m interested in. I’d never be able to survive such a situation.”

That early decision paid off. After “Dogtooth,” Lanthimos churned out a series of movies that have continued to cement his status as one of the most original, visionary filmmakers working today. His movies present bleak, self-contained universes of despair, and they’re never predictable. After his Greek followup “Alps,” Lanthimos shifted to English-language productions and started with working with name talent. First came “The Lobster,” in which Colin Farrell played a man in a society where bachelorhood was illegal; the project landed Lanthimos another Oscar nomination, for original screenplay.

He quickly followed that with “The Killing of a Sacred Deer,” now in release, a haunting, surreal horror tale in which Farrell plays a surgeon whose family is cursed by a young man seeking revenge against the doctor. The movie had a solid start in limited release, and managed to shock audiences at the Cannes Film Festival in May without alienating too many of them.

November 11, 2017   Ali   Events, Images Be first to comment

Nicole was in China last night for the Alibaba Singles’ Day Global Shopping Festival Gala where she participated in the festival gala ceremony.

Gallery Links:
Nicole Kidman Online > 2017 > November 10 | Alibaba Singles’ Day Global Shopping Festival Gala

November 9, 2017   Ali   Big Little Lies Be first to comment

It’s amazing how a crate full of Emmys can hasten the development process. Case in point: A second season of Big Little Lies is poised to become a reality (much) sooner than later.

Sources confirm to TVLine exclusively that HBO is eyeing a Spring 2018 production start for the female-driven phenom, which snagged eight Emmy statues in September, including for Outstanding Limited Series and Outstanding Lead Actress in a Limited Series for Nicole Kidman. As recently as two weeks ago, Big Little Lies EP/writer David E. Kelley strongly intimated to TVLine that a second season was nearing the scheduling stage.

“We’re kicking around ideas and trying to lasso the talent [and] get the band back together,” he shared. “It’s just a lot of logistical things. But I’m optimistic because everyone wants to do it. We feel we still have storytelling to do. No decision has been made yet, but we’re hopeful. Where we left it, I felt like it did open the opportunity for a lot more storytelling.”

An HBO rep declined to confirm anything about a potential second season.

Even before Big Little Lies triumphed at the Emmys, HBO asked Liane Moriarty — whose novel the miniseries was based on — to “take a crack at” coming with with a story for a potential second season. Kidman and fellow leading lady/EP Reese Witherspoon both expressed interest in keeping the franchise going, and director Jean-Marc Vallée — who initially balked at doing a sequel — now wants in. “It’d be great to reunite the team and to do it,” Vallée said backstage at the Emmys. “Are we going to be able to do it, altogether? I wish. We’ll see.” [UPDATE: Vallée will not be directing the show’s second season.]


November 8, 2017   Ali   Events, Images Be first to comment

Yesterday, Nicole was in Paris where she attended the Le Printemps Christmas Decorations Inauguration. I have added images of Nicole from the event to the gallery.

Gallery Links:
Nicole Kidman Online > 2017 > November 7 | Le Printemps Christmas Decorations Inauguration In Paris

November 5, 2017   Ali   Articles & Interviews Be first to comment

Star is busier and more celebrated than ever but finds time to push for change in Hollywood — and make a suggestion for Martin Scorsese.

Nicole Kidman is the picture of serenity.

The Hawaii-born Aussie actress seems completely at ease, as she arrives in a bright dress for an interview during TIFF 2017, despite the madness of the festival all around her and a year of multiple movies, TV shows and awards ceremonies, including the Oscars (she was nominated for Lion) and the Emmys (she won for Big Little Lies).

The Toronto International Film Festival is a relative breeze for her — she has just one movie to promote. Compare this to the nuthouse that was Cannes back in May, where Kidman, who turned 50 a month later, was the festival’s most visible star, strolling the red carpet outside the Palais des Festivals no fewer than four times.

Her Cannes work included two dramatic Palme d’Or competitors (Yorgos Lanthimos’ The Killing of a Sacred Deer and Sofia Coppola’s The Beguiled), an out-of-competition rom-com (John Cameron Mitchell’s How to Talk to Girls at Parties) and a TV detective series (Jane Campion’s Top of the Lake: China Girl).

“I know!” she says with a smile, when I remind her of Cannes.

“I was there for five days, which is very unusual. I went in with trepidation, because I was like, ‘I’m either going to the chopping block right now, or it’s going to be fun.’ And it turned out to be fun.

“I’ve worked now for so many years, and if I can’t have fun and laugh a bit and enjoy it, then why do it? I know where my heart is in terms of filmmaking and what I love doing. I’m just going to enjoy it.”

Funny she should mention hearts. The film that brings the Oscar-winner actress to TIFF, the horror drama The Killing of a Sacred Deer, which opened in regular theatres Friday, has one of these essential organs on display in its opening moments, as a surgeon performs coronary surgery.

The doctor is played by Colin Farrell, who also co-starred with Kidman in the Civil War drama The Beguiled. In Lanthimos’ tale the two play a married couple whose family is visited with a curse straight out of Greek tragedy.

It’s a disturbing movie, but also a very good one, exactly the kind of off-kilter story that the Greek writer/director likes to do, and the kind of thing that really appeals to Kidman these days, as she remains fully engaged in an acting career that’s nearing the 35-year mark.

“I would love for The Killing of a Sacred Deer to reach the audiences it needs to find,” she says. “I’m a supporter of filmmakers that have a particular vision and a voice, international filmmakers. Because otherwise we end up diluted and homogenized and I don’t like that.”

She’s also a staunch advocate of getting more women to direct movies, something she made plain from the Cannes stage, as she expressed impatience with male-dominated Hollywood’s slow pace of change.

“We as women have to support female directors,” Kidman said in Cannes.

“That’s just a given now. Hopefully, that will change over time. Everyone keeps saying, ‘Oh, it’s so different now.’ It isn’t. Listen to that.”

Kidman had a lot of fun just before travelling to TIFF from Australia, where she’s been co-starring in the superhero blockbuster Aquaman for director James Wan, who is best known for horror films like The Conjuring.

“I had the coolest costumes. I love horror films. I love to feel. I like to be disturbed, I like to scream, I love to cry, I love to laugh, I love to feel love, I love to be. I’m a feeler. I feel my way through life.”

She has more to say about her work and the movie business, and more awards to collect: not long after this TIFF interview, Kidman was picking up a Primetime Emmy for Outstanding Lead Actress in a Limited Series or Movie for Big Little Lies, the hit TV murder-mystery series by Canada’s Jean-Marc Vallée that is yet another of her recent projects.

You’ve now worked with dozens of well-known directors in just about every kind of movie imaginable, big and small. Is there any director you haven’t made a film with yet whom you would like to?

I will always say that Martin Scorsese needs to make a movie about a woman. I wouldn’t mind being Scorsese’s woman. He did one, Alice Doesn’t Live Here Anymore, so you never know. There are so many directors whom I still aspire to work with, and I also love supporting new directors, the ones who are just coming out of nowhere. Giving them a chance to start is exciting as well. I’m also dedicated to working with women, which I have set up to do for next year, so that’s taken care of.

Do you find there’s a difference between how male and female directors make movies?

No, there isn’t, really. They’re either talented or they’re not. I would love to say that it’s gender based, but I just feel like women should be given the opportunity. They can still completely lead. They have incredibly strong visions. They’re capable of handling everything that gets thrown at them, and I still don’t understand why they don’t have the opportunities. I have a 9-year-old daughter who wants to be a director.

I’m really passionate about opening the doors for women now, because they need to be. When you look at statistics showing that just four per cent of the Top 100 grossing movies of the last year were directed by women, that’s ridiculous. But there’s really no difference between male and female directors, other than a woman is probably interested in different aspects of who I am, and a man is interested in different aspects of who I am.

Do you think there’s a “male gaze” and a “female gaze” in how people make and view movies?

Yes, probably. With someone like Jane Campion, absolutely. Jane Campion is incredibly female in the sense of the way in which she enters into female conversations, or even the way men converse, because she’s writing the screenplay. So it’s from her point of view, specifically. But a lot of times the screenplay’s written by a man, and then it’s interpreted by a woman. Those collisions are important and interesting and that’s why we’re fighting for them — and when it’s a female writer and a female director at the same time, that’s a whole different viewpoint.

The actual leading and the conducting of themselves on the set, nothing’s different. But the way in which they view the world is obviously different.

You’ve become an evangelist of sorts for film.

I wish I had more time. I have two little girls (Sunny and Faith), and I have a husband (country star Keith Urban) whom I’m deeply in love with, a cool guy and a good man, and we have a very strong family unit that requires an enormous amount. So I don’t have the time to go and support all of the artistic endeavours I would love to do. I want my family and I want the balance. I’m glad that when I got pregnant with Sunny I didn’t give everything up. Because I was like, “That’s it, I’m done now!” I was in that sort of pregnancy euphoria going, “Yes, this is it! I’m retiring.” And my mom actually said, “Don’t do that. Just keep a little toe in the water.”


November 5, 2017   Ali   Articles & Interviews Be first to comment

Nicole Kidman claims she’s not A-list.

We’re in a hotel room during this past September’s Toronto International Film Festival, talking about her new film, The Killing of a Sacred Deer. (It opened in select cities Friday.) She’s wearing an exquisite confection, as always – she’s the best-dressed actress out there – a long-sleeved, floaty white dress with rivulets of silver sequined embroidery. But she’s kicked off her tall silver stilettos.

Bendy as a pretzel, she folds her long legs under her in her easy chair, and tucks her straight blond hair behind her ears. Suddenly, she looks like the world’s most elegant teenager.

Kidman’s actual quote is, “Unless you’re in the top, top tier, like, Jennifer Lawrence, you don’t control your destiny as an actor.” (In her natural Aussie accent, she sounds feistier than she does doing an American accent, and “tier” sounds like “tee-yah.”) She sticks by that even when I scoff, “You’re not top-tier?”

“No!” she insists, laughing. “I know the industry. I’m idiosyncratic. My taste has always been non-conformist. I’ve not got a huge group of people coming up with a whole plan for me, and those I have, I overrule their opinions. I’m willful. A little bit stubborn. I grew up in a liberal family who had a lot of political discussion and lateral thinking. And I’m left-handed. So!”

She grins, loving this. “Also, I had a feminist mother, who’s still an ardent feminist,” she goes on. “The older she gets, the more provocative she gets. To the point where I’m like, ‘Mom, you can’t say that!’ But it’s sort of fabulous, right? So I’m an odd mix of things. And my career is a mixed bag.”

The older Kidman gets, the more provocative she is, too. At 50, she’s come into her own in an enviable way. At TIFF, the party conversation everyone longed to be in was among Kidman, Emma Thompson, Helen Mirren and Kristen Scott Thomas – wised-up broads who’ve been around the block. Her last film outing, The Beguiled, was a proto-feminist revenge tale; her last Oscar nomination was for the decidedly dressed-down mother in Lion.

Also in September, Kidman won the Emmy for lead actress in a limited series or movie for Big Little Lies, the seven-hour HBO series she and Reese Witherspoon optioned, developed and produced, focused on the hot-button issue of sexual abuse. (Written by David E. Kelley and directed by Jean-Marc Vallée, it also won the Emmy for outstanding miniseries.)

Kidman and Alexander Skarsgard, playing spouses hiding a dark secret, pulled off scenes of raw intimacy and startling violence. But their most riveting scenes were their stillest, sitting side by side on a sofa in a couples-therapist’s office. “It was so great the way Jean-Marc shot those,” Kidman says. “Because we just walked in. We didn’t rehearse them. We just sat down and did it. What a great way to perform. It was just Jean-Marc and the cameraman, because he doesn’t use any lighting. And he just shot and shot and shot. He was penetrating through our skin in those scenes.”

Currently, Kidman is back on TV in another limited series, Top of the Lake: China Girl, written and directed by Jane Campion, with whom she made Portrait of a Lady. As Julia, an ardent-feminist mother to Mary (Alice Englert, who is Campion’s daughter), a teenager who’s caught up in the disappearance of a sex worker, Kidman sports minimum makeup, maximum freckles, and wild grey curls. (It airs on CBC.)

“Julia is an archetypal female Australian,” Kidman says. “A lot of my Australian friends say, ‘Oh, I know that woman.’ And I’ve known Jane since I was 14, and Alice since she was born.”

With The Killing of a Sacred Deer, Kidman continues her habit of working in independent film for challenging directors, this time the Greek provocateur Yorgos Lanthimos. Like Lanthimos’s previous film, The Lobster, actors in Sacred Deer speak in a flat affect and live in a world that looks like ours, but with different rules, which the audience must figure out as the story unspools. Colin Farrell plays a doctor confronted with an awful choice: If he doesn’t kill his wife (Kidman), son or daughter, both children will sicken and die. I think it’s about the brutality of self-preservation; when I ask Kidman what she thinks it’s about, she replies, chortling, “It’s a hot mess.”

As a mother, her character goes to the darkest place imaginable and roots around in what she finds. “When I first read it, I was like, ‘Ohhhh, this is dangerous territory,'” Kidman says. “But I’ve never steered away from that.”

While shooting, Lanthimos “discouraged conversation. He doesn’t want naturalism,” Kidman says. “Which is exactly the same with Stanley Kubrick, so I’d circled that before. Yorgos is unto himself. He knows exactly what he’s doing. He’s classically trained, he’s intellectual. He writes in Greek and then translates it, which is why it has that slightly strange rhythm. Then he slowly moulds the scenes.

“That’s where I’m at as an actor now – I love supporting European filmmakers with unique points of view,” she continues. “It’s a battle for them to get their films made, and if I can contribute to getting them seen, I want to do that.”

Even when she was “in the position of being offered everything,” she didn’t choose the things that were mainstream. “If I did, they’d crash and burn, because my sensibility is not that,” she says. (We’re looking at you, Batman Forever and The Peacemaker.) “Moulin Rouge was not mainstream when we made it, but it became mainstream. That’s what I like, shifting the needle.”

It’s true, Kidman’s taste has always tended toward unconventional women in unquiet places – Eyes Wide Shut, Dogville, Margot at the Wedding; Diane Arbus in Fur; Virginia Woolf in The Hours (she won the Oscar for that one). She likes working with emerging and female directors, and with Big Little Lies, she’s become a producer to be reckoned with.

“It was born out of frustration,” Kidman says. “Reese and I were like, ‘Where are the roles? We’re not getting offered, and our friends aren’t getting offered, the things we want to explore.’ So we optioned Liane Moriarty’s novel and tried to galvanize whatever power we have.”

She was “stunned” by how it took off, and loves nothing more than hearing viewers tell her how starved they were for it. “We were starved for it, too,” she says. “We didn’t understand why people weren’t invested in writing scripts about women’s real lives, finding topical stories with an underbelly of tough subject matter.” She and Witherspoon are exploring a second season, but “we won’t do it if the story doesn’t warrant it,” Kidman adds.

Now that she’s back “in a position to get things made,” Kidman’s upcoming films are a diverse slate: a comic drama, The Upside, opposite Bryan Cranston; She Came to Me, for writer/director Rebecca Miller; a thriller, Destroyer, for director Karyn Kusama; the gay-conversion drama Boy Erased; and a superhero flick, Aquaman.

Her personal life seems to be chugging along nicely – she and her husband of 11 years, musician Keith Urban, are always photographed holding hands, and they keep their two daughters, aged 9 and 6, out of the public eye. But she’s reportedly estranged from the two children she adopted with her ex-husband Tom Cruise, and that private heartbreak may be part of why she’s drawn to stories that unsettle and discomfit.

Kidman “can’t believe some of the scenes” in Sacred Deer. “And that’s hard to say these days. Yorgos is poking into places that Greek tragedy poked into, and Shakespeare. But people don’t go to that territory right now. Those sorts of things are really fascinating to me.”

Other actors can have the top tier. Kidman prefers the sharp edges, the shadowed corners.


Nothing could have prepared Nicole Kidman for The Killing of a Sacred Deer.

The actress, who won an Emmy Award last month for HBO’s Big Little Lies, blindly signed on to work with Greek filmmaker Yorgos Lanthimos after watching his peculiar dystopian romance The Lobster. When she eventually read the script, she discovered an even stranger story than that black comedy, in which people are turned into animals if they can’t find soulmates.

In Sacred Deer (now showing in 34 cities, including New York, Los Angeles, Chicago, Atlanta and Dallas; additional cities Friday; in theaters nationwide Nov. 10), Kidman plays Anna, the austere wife of a brilliant surgeon, Steven (Colin Farrell), who is accused of killing a menacing teen’s father on his operating table. Struck by a curse, Steven and Anna must choose which of their family members to sacrifice to right that wrong.

Lanthimos finds unexpected, unsettling humor in the clan’s stilted interactions, as the couple’s children gradually become paralyzed and beg to be spared.

“I was like, ‘Yorgos, I have no idea how to play this as a comedy,’ ” says Kidman, laughing. She turned to Farrell, who worked with Lanthimos on The Lobster and constantly assured her, ” ‘This will be like nothing you’ve ever experienced.’ ”

The film — a grisly riff on the Greek myth of Iphigenia, who is threatened with sacrifice after her father kills a sacred deer — is meant to make audiences “uncomfortable, but also kind of entertained,” Lanthimos says. The former certainly applies to Steven and Anna’s kink for “general anesthetic” sex, a position in which she goes limp like a medicated patient.

That scene is “really strange and says so much about the relationship,” Kidman says. “I was at first going, ‘Oh, no, I don’t want to have to do that,’ but I also relished the idea because it was so unique and compelling.”

Sacred Deer is one of four wildly different projects that Kidman, 50, premiered at France’s Cannes Film Festival in May, along with this summer’s The Beguiled,fall miniseries Top of the Lake: China Girl and upcoming sci-fi romance How to Talk to Girls at Parties. Beginning with her Oscar nomination for last year’s Lion, the actress is in the midst of an Internet-bestowed “Kidmanaissance,” which she chalks up to coincidence.

Work “ebbs and flows,” Kidman says. “Is it lovely for it to collide with turning 50? Yes, and to be able to have Big Little Lies embraced like it was — particularly at this time for women — speaks loudly to the community.”

In the miniseries, Kidman played a well-to-do housewife and victim of domestic abuse, which she called a “complicated, insidious disease” in her Emmys acceptance speech. But she’s wary of discussing the flood of sexual assault allegations against Harvey Weinstein, who produced Kidman films such as Lion, The Others and Cold Mountain.

“I’ve made my statement, and I’m reluctant to get into this now because that would be a whole other (topic),” she says.

Next up, Kidman will appear in superhero movie Aquaman and gay-conversion drama Boy Erased. Although it hasn’t been officially announced, she teases that a second season of Big Little Lies is “moving forward at a rapid rate,” and hopes it will start production early next year.

“Because of the responses of audiences and critics, it was like, ‘Gosh, we really should explore these women further,’ ” Kidman says. “It seemed sad to abandon them when they’ve only just gotten started.”


November 2, 2017   Ali   Images, Magazines Be first to comment

I have added four images from Nicole’s feature in Glamour’s Women of the Year issue to our gallery.

Gallery Links:
Nicole Kidman Online > Outtakes > 2017 > 029

October 31, 2017   Ali   Family, Images Be first to comment

Nicole & Keith send out Halloween greetings to the fans! Hope each of you have a fun and safe night!