Welcome to Jessie Buckley Fan, your source about the actress and singer Jessie Buckley! Here you will find the latest news related to her acting career, as well as other projects that are made public. Our ever growing photo gallery currently has over 40,000 images of public appearances, movie and television productions, photo sessions and screen captures. We are in no way related to Jessie herself, her family or management. This fansite is completely run by fans, for fans. Enjoy your stay!
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:
Best Actor
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)
Best Actress
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.
Last Friday, “I’m Thinking of Ending Things” debuted on Netflix, which was a critical and public success. Jessie was one of the great highlights of the film, having her acting as Lucy, Louisa, Yvonne… let’s stay with ‘Young Woman‘, widely acclaimed. I can say that the feature film, in addition to opening many doors for Jessie and bringing a lot of recognition to her, is among the best of our favorite actress. It needs, if possible, a prior reading of Ian Reid‘s book or a very open mind so that there are no hasty interpretations and judgments. Finally, check out Jessie’s screen captures in the film in our gallery:
Film Productions > I’m Thinking of Ending Things (2020) > Screen Captures
“Chernobyl,” “Years & Years,” “The End of the F***ing World,” “Elizabeth Is Missing,” “The Crown” and “Giri/Haji” are the international heavy hitters in the drama category that are part of the Edinburgh TV Festival awards shortlist that were revealed Tuesday. While the awards have been delayed until Nov. 18, the festival unveiled the shortlist after a virtual cocktail session that reunited director Paul Feig with his “Last Christmas” star Emilia Clarke. The nominees:
Best Drama
“The End of the F***ing World,” Clerkenwell Films and Dominic Buchanan Productions for Channel 4 and Netflix “Chernobyl,” Sister, The Mighty Mint, Word Games, Sky Atlantic, HBO
“Elizabeth Is Missing,” STV Studios for BBC One
“Giri/Haji,” a Sister Production for BBC Two and Netflix
“The Crown,” Netflix
“Years and Years,” Red Production Company and HBO for BBC One
Best TV Actor
Emily Watson in “Chernobyl”
Glenda Jackson in “Elizabeth is Missing” Jared Harris in “Chernobyl” Jessie Buckley in “Chernobyl”
Kane Robinson in “Top Boy”
Olivia Colman in “The Crown”
The Irish actress Jessie Buckley awoke before dawn recently, in a one-bedroom apartment on the forty-third floor of a Chicago high-rise. “I call them hamster apartments,” she said, a few hours later, of her anodyne surroundings: gray couch, dark-wood doors, a view of glass skyscrapers. Buckley was halfway through a two-week quarantine, before shooting the anthology series “Fargo”; she plays a Minnesota nurse, whom she described as “a nice cake with a very dark center.” From the apartment, she’d been hearing the blare of sirens and helicopters, amid days of clashes between rioters and police. But what had woken her up was jet lag, after flying from London days earlier. “By about four o’clock, the blue sky in Chicago turned into an apocalyptic tornado warning, and I’m, like, the County Kerry girl going, ‘Feckin’ tornado! I’m on the forty-third floor! What does that mean?’ And then it cleared.”
Buckley is thirty, with a wide, crooked smile and red hair, which she had tucked under a Rosie the Riveter-style polka-dot bandanna. In the past two years, she has had breakout roles in the film “Wild Rose,” as a Glaswegian ex-con who dreams of becoming a Nashville country star, and in the HBO miniseries “Chernobyl,” as the wife of a firefighter. Pre-production quarantining is a strange new feature of actors’ lives. “I was freaking out at the beginning, but I’ve kind of slotted into a rhythm,” Buckley said. She had brought lots of books, including “Romeo and Juliet”—she was supposed to play Juliet this summer, at the National Theatre, in London—and her guitar, so she could take remote lessons. “And I’ve allowed myself to buy nice bottles of red wine,” she said. “Me and a light-bodied chilled red are currently dating and in a very serious relationship.”
Before the pandemic, Buckley had spent six months working on “Fargo” in Chicago. In April, production shut down with two weeks left. “They said, ‘We’re sending you home tomorrow. Pack up your life,’ ” she recalled. “So then I was flying home with Ben Whishaw, and the two of us were spraying down our seats. But the captain was saying, ‘Oh, it’s fine. I’m going to go on holiday next week.’ It was quite mad.” She has spent much of the lockdown in London with her boyfriend, but first stayed for six weeks with her parents, in Killarney. “Quarantine there is not much different, because we live at the foot of a mountain and don’t really see people,” she said. Buckley is the oldest of five. Her mother is a harpist and a singer, and her father is a bar manager who writes poetry and “is an excellent hippie.” He had called her days earlier from Ballinskelligs, where her family has a caravan by the sea. “The way he described this seaweed on the rocks, his mind was just flitting,” she said. “He’d be, like, ‘Look, Jessie! It’s like a dead man’s coat!’ ”
When Buckley was seventeen, she went to London to audition for drama school but was rejected from her first choice. Distraught, she walked into an open call for a BBC reality show called “I’d Do Anything,” a singing competition in which the winner would star as Nancy in a production of “Oliver!” She got on the series and won second place, after one of the judges, Andrew Lloyd Webber, championed her. “He’s always stayed in contact: ‘Come and have a cup of coffee,’ ” she said. Years later, she auditioned for the movie version of Webber’s “Cats,” but was relieved not to be cast. “I don’t know how fluidly feline I would have been,” she said. “I’d be a very stagnant, boxlike, kind of anxious cat.”
In the new Charlie Kaufman film, “I’m Thinking of Ending Things,” which premières next week, on Netflix, Buckley plays a young woman who drives to the country with her boyfriend, Jake (Jesse Plemons), to meet his parents. Or she may be a figment of his imagination, or the hallucination of a high-school janitor. The movie is, to use the year’s most well-worn adjective, surreal: characters suddenly age thirty years, or break into songs from “Oklahoma!” “The first-ever note I got from Charlie, even in the audition, was‘This girl is molecular,’ ” Buckley said. “I’m, like, What the hell does ‘molecular’ mean?”
During filming, she and Kaufman would e-mail odd inspirations back and forth: Anne Sexton poems, A.S.M.R. videos. Did she ever figure out what “molecular” meant? “I am a molecule of myself,” she speculated, of her character. “But I’m made up of atoms that Jake has created, which then explode and disintegrate.” Flustered, she blew a raspberry. “I was crap at science.” She had a week left in solitude in her hamster apartment, then four days of shooting “Fargo,” opposite Jason Schwartzman. “We have swabs every three days,” she explained; the protocols would allow the actors to play their scenes without social distancing. “We’re molecules!” she said, lighting up. “Finally, I get to be a molecule! This is what he meant! I get it!” ♦
All graphics and original content belong to Jessie Buckley Fan. All images are copyright to the their respective owners, the webmaster claim no ownership and receive no financial gain for this site. This is an unofficial fansite. We have no official affiliation with Jessie Buckley or her management.
