The river path is bustling with activity this afternoon. Geese honk, narrowboaters tend wood fires, and in a car park that borders the water a man stands alone striking golf balls into a bucket. Buckley, dressed in torn jeans and a tightly fitted beret, stomping through puddles in her felty shoes, fits in well with the general chaos and eccentricity of the scene. At one point she falls into conversation with a bearded older man in a T-shirt who staggers by, recognises her County Kerry accent, and wonders (of the beret) why anybody from that lovely part of Ireland would want to “masquerade as a Frenchwoman”. Buckley hoots with laughter. The pair of them wind up exchanging endearments in Irish.
Listening to her chat, I realise that it’s possible to have watched through many hours of Buckley’s consistent and excellent acting work without having met this true Irish persona at all. She played a Glaswegian in her breakthrough film, Wild Rose, in 2018. Afterwards she went gravelly, English and posh in 2019’s Judy. That year she was allowed to do a generalised Irish brogue in the ensemble drama Chernobyl, but her two biggest roles from 2020 (in the TV drama Fargo, and in Charlie Kaufmann’s movie I’m Thinking Of Ending Things) required she go American. Happily, in Buckley’s next bit of work, a filmed version of Romeo & Juliet that was produced by the National Theatre and will soon broadcast on Sky, we get something close to the realer thing – a Kerry-accented Juliet, vital and quirky as Buckley herself, and perfect foil to the English actor Josh O’Connor as a hunched, repressed Romeo.
EXCLUSIVE: With his FX limited series Devs behind him, Alex Garland has his sights on his next feature film. Garland’s has set his next project, Men, with A24 and has tapped Jessie Buckley and Rory Kinnear to star. Sources add Buckley’s deal is not closed but is headed in right direction.
Besides directing, Garland penned the script to the untitled project. Scott Rudin, who produced his previous projects, returns as producer along with Eli Bush and DNA’s Andrew Macdonald and Allon Reich.
The film follows a young woman who goes on a solo vacation to the English countryside after the death of her ex-husband. A24 will finance and distribute.
A24 had no comment.
As for Buckley, sources tell Deadline that Garland met with talent for the part last year; it quickly became a sought-after role for some of the town’s rising stars. Buckley would eventually land the role, after which Garland quickly set Kinnear.
This marks Garland’s first film since directing the Paramount thriller Annihilation in 2018. The film also marks his return to A24, the studio that helped launch his career with Ex Machina.
Buckley was most recently seen in FX’s Fargo and also earned raves for her Netflix film I’m Thinking of Ending Things. She can be seen next in National Theatre’s Romeo and Juliet for PBS and Sky Arts alongside Josh O’Connor.
Kinnear was most recently seen in Showtime’s Penny Dreadful: City of Angels and can be seen next in the next James Bond pic No Time to Die.
Garland is repped by WME and Buckley is repped by CAA, Range Media Partners and United Agents. Kinnear is repped by Markham, Froggart and Irwin.
The last episode of the fourth season of ‘Fargo‘ debuted last Sunday and we bid farewell to Jessie as the iconic and murderous nurse Oraetta Mayflower. So, here is our recommendation for another great work by our favorite actress, with the originality and range that she brings to each role. Check out all the screen captures, which were added weekly to each episode, in our gallery by clicking on the thumbnails and link below:
Meet the up-and-coming actors atop every Hollywood agent, casting director and studio executive’s wish list. These 20 rising stars are fronting their own shows, ushering in the next generation of superheroes and playing icons like Princess Diana (Emma Corrin of Netflix’s The Crown) and President Barack Obama (Kingsley Ben-Adir of Showtime’s The Comey Rule).
Some, like Normal People’s Paul Mescal and Hollywood’s Jeremy Pope, have even caught the attention of Emmy voters, earning first-time nominations for their onscreen debuts. Others, like The Falcon and the Winter Soldier‘s Danny Ramirez and Matrix 4‘s Jessica Henwick, are suiting up for top-secret roles in major Hollywood franchises. They join a list that, in the past, has anointed such talent as Atlanta‘s Lakeith Stanfield, The Queen’s Gambit‘s Anya Taylor Joy and Lovecraft Country‘s Jonathan Majors, now all established stars.
This year’s crop of actors — a mix of fresh faces (hello, Never Have I Ever‘s Maitreyi Ramakrishnan) and long-working actors who’ve recently broken out in a new way (see: The Righteous Gemstones‘ Skyler Gisondo) — are destined for big- and small-screen stardom. Says The Boys star Erin Moriarty, “It’s funny how you can work for ten years but all you need is that one project that gets attention.”
Profiles written by Kirsten Chuba, Aaron Couch, Sharareh Drury, Mia Galuppo, Natalie Jarvey, Mikey O’Connell, Lexy Perez, Alex Ritman and Bryn Sandberg.
Between Chernobyl, Fargo and I’m Thinking of Ending Things, the Irish performer is leaning hard into prestige projects. A grad of the lionized Royal Academy of Dramatic Art, Buckley got her start on BBC reality show I’d Do Anything before finding crossover success with 2018’s Wild Rose. Up next: Maggie Gyllenhaal’s The Lost Daughter and Cold War spy thriller The Courier.
I’d love to star in a remake of … “Les Amants du Pont-Neuf by Leos Carax — but I hope no one ever does because it’s perfect as it is.”
My guilty pleasure show is … “The Repair Shop on BBC.”
If I weren’t an actor, I’d be … “A clown, or someone in a circus in the ’50s. Or a fat old lady who lives in Greece and sits on the benches by the sea every evening, not saying a word to anyone else on the bench. Just looking satisfied and thinking about maybe having a cheeky skinny dip in the morning.”
Onscreen character I most identified with as a kid … “Dorothy in The Wizard of Oz.”
The person I’ve been most starstruck by … Bonnie Raitt
My most embarrassing audition story … “Doing a very bad ‘cat’ dance audition for the film Cats. It was cat-astrophic!”
Why aren’t more people in Hollywood talking about … “Why no one walks in L.A.?! It’s so hot. If that was Ireland people would be outside rubbing butter on themselves getting a tan.”
When will people in Hollywood stop talking about … “Franchises.”
New York, NY (November 12, 2020) – The Independent Filmmaker Project (IFP), the nation’s premier member organization of independent storytellers, announced today the nominees for the 30th Annual IFP Gotham Awards. Eleven competitive awards will be presented to independent features and series.
The IFP Gotham Awards is one of the leading awards for independent film and signals the kick-off to the film awards season. As the first major awards ceremony of the season, the IFP Gotham Awards provide critical early recognition and media attention to worthy independent films. The awards are also unique for their ability to assist in catapulting award recipients prominently into national awards season attention.
“We congratulate the 2020 IFP Gotham Award nominees. In this unprecedented year we look forward to bringing the industry together and shining a light on some incredible films and television shows. We are proud to be celebrating our 30th anniversary in our resilient city, and continuing the core mission of IFP, independent storytelling.” said Jeffrey Sharp, Executive Director of IFP.
Forty-one films and series received nominations this year. Nominees are selected by committees of film critics, journalists, festival programmers, and film curators. Separate juries of writers, directors, actors, producers, editors and others directly involved in making films will determine the final IFP Gotham Award recipients.
The IFP Gotham Awards ceremony will be held on Monday, January 11th. The awards show will be presented live from Cipriani Wall Street New York in a hybrid format featuring virtual interactive tables in order to follow health and safety protocols brought on by the COVID-19 pandemic.
The annual Gotham Actor Tributes, Director Tribute, and Industry Tribute will be announced at a later date.
The 2020 IFP Gotham Award nominations are:
Riz Ahmed in Sound of Metal (Amazon Studios)
Chadwick Boseman in Ma Rainey’s Black Bottom (Netflix)
Jude Law in The Nest (IFC Films)
John Magaro in First Cow (A24)
- Jesse Plemons in I’m Thinking of Ending Things (Netflix)
Nicole Beharie in Miss Juneteenth (Vertical Entertainment)
- Jessie Buckley in I’m Thinking of Ending Things (Netflix)
Yuh-Jung Youn in Minari (A24)
Carrie Coon in The Nest (IFC Films)
Frances McDormand in Nomadland (Searchlight Pictures)
Harper’s BAZAAR — There’s a moment at the end of the first episode of Fargo’s fourth season, in which the camera focuses on Jessie Buckley as Nurse Oraetta Mayflower. In her starched white nurse’s apron and cap, her red hair in a prim perm, she stares blankly out the window, hands fidgeting as she mumbles unintelligibly to herself, drowned out by a swell of classical music. It’s an eerily quiet scene given the preceding hour of gory gang fighting. As Mayflower, Buckley’s physicality is exacting; her movements are stilted, considered, but they never take you out of the moment. She has an uncanny ability to wholly embody her character, making such distinct physical choices —a hunched back, a shuffled walk—that make the viewer, in real time, recognize the genius of her craft. Without saying a word, she sends a chill up your spine.
Buckley more than holds her own opposite Chris Rock and Jason Schwartzman in this latest installment of the Emmy Award–winning FX anthology, this season set in 1950 in Kansas City, Missouri. (The season finale airs this month.) She offs her patients in myriad creative and sadistic ways, including baking pies laced with lethal doses of poison. Mayflower makes Ken Kesey’s Mildred Ratched look positively demure. “My first initial instinct was, Is this a female Grim Reaper?” she says of her character. “I found it really playful to walk on that knife edge, because it’s not an overt darkness. But the thing is, we all have a darkness, you know?” The 30-year-old Buckley grew up the eldest of five in Killarney, County Kerry, Ireland, the daughter of a harpist mother and a father who ran a guesthouse. Her family deeply valued creativity. “They were invested in you being wild and filling your soul up with that,” she says. Through her father’s love of poetry and her mother’s singing in church, Buckley realized early on the infinite ways in which one could tell a story. Her family took in local productions together, fostering a love of theater. “I went to see Jesus Christ Superstar and was so completely in pieces that I thought, ‘Jesus, this man has actually been crucified in the Killarney town hall, and now he’s dead,’ ” she says with a laugh. “But that’s the magic of it.”The impact was so profound, at 18, Buckley decided to pursue acting in London. A drama school rejection, however, set her up for a very modern entrée into Hollywood: reality television. The day after she was rejected from school, she went to an open call for Andrew Lloyd Webber’s I’d Do Anything, a BBC One competition show looking to cast unknown leads in a West End revival of Oliver!. Figuring it would be a great opportunity to practice singing, she stood in line, auditioned, and just kept … making it through each round. “I was so ignorant of the rigmarole of the whole thing, which was probably the best place to be,” she says. “I was more delighted that I was getting to sing and be part of a community that I thought would take a lifetime to even get a toe inside.”
She came in second, signed with an agent, and took a four-week Shakespeare course at the U.K.’s famed Royal Academy of Dramatic Art (RADA). Turns out she didn’t need the reality show after all: Following her brief stint at RADA, she made her West End debut in a revival of Stephen Sondheim’s A Little Night Music. She sang at jazz clubs and consistently booked small acting gigs. “It was a magical time,” recalls Buckley. “I had no expectations and just went with whatever was in front of me that I felt drawn to.” Eventually it was drama school that she was drawn back to, and she was accepted to RADA full-time. “It was good to learn and try out things and fail,” Buckley says of the experience. “You take what you need to take. You can’t be precious. You have to soak it all in and leave whatever is useless to you. Then it becomes your own story.”
In the past few years, Buckley has racked up a series of memorable roles, starting in 2017 as Moll in Michael Pearce’s Beast, followed by parts in Judy, Wild Rose, and HBO’s Chernobyl. She starred in Charlie Kaufman’s I’m Thinking of Ending Things, which premiered in September on Netflix, and is currently in Greece shooting Maggie Gyllenhaal’s directorial debut, an adaptation of Elena Ferrante’s The Lost Daughter.
There’s a common thread while watching Buckley in these diverse roles: her unwavering passion for the work, and an intense commitment to the characters she plays. She lights up as she reflects on her journey, and for a moment it’s quite easy to imagine her as a young, wide-eyed theatergoer. “If your heart’s in the right place and you find something that you really love, then that’s half of it,” she says. “That’s sometimes enough.”
Josh O’Connor, who plays Prince Charles in season 4 of Netflix’s “The Crown,” and BAFTA winner Jessie Buckley (“Wild Rose,” “Chernobyl”) are set to star as Shakespeare’s star-crossed lovers in “Romeo & Juliet,” a made-for-television production by the U.K.’s National Theatre.
“Romeo & Juliet” was originally scheduled to play this summer to theater audiences, but was called off due to the coronavirus pandemic. Now re-conceived for the screen, this new 90-minute version will be shot over three weeks in the National Theatre’s Lyttelton theater, which will be temporarily transformed into a studio.
Rehearsals will begin in November and filming in December. The production will bow on PBS in the U.S. and on Sky Arts in the U.K. in 2021.
While the National Theatre has broadcast stage productions to cinemas for over a decade through its popular National Theatre Live program, this will be the first time an original production for screen has been created in its London headquarters.
The production will be directed by National Theatre associate Simon Godwin (“Antony and Cleopatra”) and adapted for screen by Emily Burns. The cast also includes Fisayo Akinade (“The Antipodes”), Deborah Findlay (“Coriolanus”), Tamsin Greig (“Twelfth Night”), Lucian Msamati (“His Dark Materials”) and Shubham Saraf (“A Suitable Boy”).
Rufus Norris, director and joint chief executive of the National Theatre, said: “I wanted to find a way to use that space to create something exciting and special for audiences, that utilized the exceptional skill and craft of the National Theatre’s teams, freelancers and creative associates, and that could reach as many people as we can. That’s all going to be possible with this brilliant film of ‘Romeo & Juliet.’”
Godwin said: “I think it’s a genius idea and I’m honored to be able to create the first film. I think I speak for myself, the creative team and the cast when I say how delighted we are to be focusing all our creativity into this version of ‘Romeo & Juliet’ once more. Some ideas are staying, lots of new ones are coming in — I’m very excited about this new genre, combining film and theater, and bringing together the remarkable talents of those industries.”
“Romeo & Juliet” is produced by David Sabel, who created the National Theater Live program, at Sabel Productions. Executive producers are Dixie Linder, Cuba Pictures (“McMafia”), David Horn, Great Performances, Christine Schwarzman and Darren Johnston, No Guarantees, and Philip Edgar Jones for Sky Arts.