Ludivine was in Psychologie magazine in November of 2008 and I have the scans here!

GALLERY LINKS
- Psychologie N°279 (November 2008)

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Ludivine Sagnier first made waves Stateside with her revealing performance in Fran?ois Ozon’s subtle 2003 thriller Swimming Pool. Although she’d already demonstrated her versatility in a number of films, including Ozon’s own 8 Women (2002), Pool made her a superstar ? and suddenly the actress was seen as an international screen sex siren. So it may come as a surprise to some viewers to see Sagnier’s performance in Claude Miller’s powerful Holocaust drama A Secret, in which the actress plays a scorned Jewish wife suffering in silence while her husband makes doe eyes at a statuesque athlete (Cecile de France). The film, based on Phillipe Grimbert’s autobiographical novel, is a family drama structured like a mystery ? and it all turns on Sagnier’s understated performance. Vulture caught up with the 29-year-old actress via phone from Paris.You’ve played two very different roles in films released here in the last month: Claude Chabrol’s A Girl Cut in Two, in which you played a weathergirl who seduces two men, and now Claude Miller’s A Secret. Do you consciously seek out diverse parts, or is this just a coincidence?No, it’s actually very planned. That’s how I like to play with cinema ? the pleasure of my work is in the diversity of parts I can play, the diversity of universes I can inhabit. But I don’t usually choose a part. I usually choose a director first, and then I choose the part. And if I have to do a part that I feel I’ve done already, it’s a lot harder for me to get inspired.Did you find yourself getting typecast a lot after the success of Swimming Pool?Kind of. Especially in America. After Swimming Pool became a hit, I thought maybe I’d have the chance to work in the U.S. But all the parts I was offered were bimbos and girlfriend parts. I was always lying on the beach or next to a swimming pool! Luckily, in France, I don’t have to suffer from that.And in A Secret, your character, Anna, is definitely the woman who’s not in the swimming pool, as your romantic rival is the one who’s the champion diver.Usually I’m the one in the spotlight, but this time I’m in the shadows. And I really liked that. The previous film I made with Claude Miller (La Petite Lili) was an adaptation of Chekhov’s The Seagull, and I was playing an ambitious actress. And when I received the script for A Secret, I assumed he wanted me to play the part of the more glamorous, sexy character. But I remember thinking I wanted to play Anna, the other, more quiet character. I thought maybe [Miller] didn’t have the imagination to think of me for her. [Laughs]. But I was wrong.But in her own way she is a remarkable character. She’s quiet and melancholy, but she’s also very mysterious ? almost like there’s something unspoken about her. And she also has to hold the whole story together, in a way. How do you approach a part like this?I had different ways of thinking about the part. For starters, it’s a period movie, and it’s the Second World War, so there were historical details I had to absorb. It was a part that really required some more thought and some work. But there was also the idea of the Medea complex. It’s a psychological complex named after the Greek queen who killed her children because she was no longer loved by Jason, her husband. And this is one way of looking at women who are starved for affection and do drastic, self-destructive things.The film also offers a French angle on the Holocaust. Is it still tough for French people to see films about this period?France is still absolutely traumatized by this part of their history. The guilt is so strong, and that’s what part of this film is about. But you have hundreds and hundreds of different perspectives on it. In some ways, everything has already been done about it. But what I like about A Secret is that it’s a very ordinary story in a sense ? a love triangle ? but because it’s happening during this particular moment, it becomes extraordinary.source: nymag.com

Hands up who saw Quentin Tarantino’s last film, Death Proof? It made £407,525 in its first week of release, entering the UK box office at number six, lower than the Adam Sandler vehicle I Now Pronounce You Chuck & Larry. The man behind pop-culture staples Reservoir Dogs and Pulp Fiction taking less cash than a first-base comedy about two straight firemen pretending to be gay? As the latter’s Jules Winnfield (Samuel L Jackson) might say, “Motherf…”

One silent look from the French actress Ludivine Sagnier can tilt a cinematic world on its axis.In Claude Chabrol’s “A Girl Cut in Two,” in theaters today, Sagnier plays Gabrielle, a TV weather girl in love with a married novelist (Fran?ois Berl?and). As a birthday treat, this jaded Lothario, twice her age, ushers her upstairs at his gentleman’s club, where she’s to pleasure his friends. Vaguely aware of his plan, and self-destructively complicit, Gabrielle downs her drink as realization dawns on her face. Chabrol makes the point that she’s an angel in a cave of devils.That look is the queasy center of a film that uses the manipulation of a young woman to launch a sardonic attack on the decadence of the literary intelligentsia, the superficiality of the television world and the self-entitlement of the bourgeoisie. The latter is represented by an unstable scion (Beno?t Magimel) of New Money. His relentless pursuit of Gabrielle ends in a tragedy inspired by the 1906 Stanford White murder case.Sagnier, 29, has a 3-year-old daughter with actor-model Nicolas Duvauchelle, and they’re expecting another child in December. She says motherhood won’t interrupt her work, which has embraced diverse roles in such films as “8 Women,” “La Petite Lili” and “Peter Pan.” American moviegoers probably know her best from 2003’s mystery thriller “Swimming Pool,” which also starred Charlotte Rampling. Sagnier’s image — bronzed, bikini-clad, promiscuous — earned her a reputation as a screen temptress, despite the fact that her reckless character crumbles in the wake of a killing.Asked if that film changed her life, Sagnier laughs. “First, I lost weight for it . . . no, I’m kidding,” she says. “It had an impact on my career more than my life. It got recognition internationally, so it allowed me to reach a lot of people, which was positive. But it was a test for me to play this sexy, confident girl, because it’s not who I usually am. I don’t have a sex symbol image in France, because people there don’t dwell on nudity — they just like or dislike the character.”Sagnier is fully clothed in the club scene for “Girl Cut in Two,” but naked emotionally — another test, “because I’m full of imagination,” she says. “I guessed that the most horrible thing was going to happen. It was as difficult as being naked on screen. You don’t see what happens, but you feel the perverse atmosphere.”This is a trick of Chabrol’s. He wants the audience to project whatever it wants on the scene, because he says that nothing is dirtier than the eye of the observer. He pushes this naive and ambitious girl to cross boundaries that aren’t easy to cross. That’s where we see how innocent and devoted she is — I think that’s moving.”Sagnier gives another unforgettable “look” in Claude Miller’s “A Secret,” a true-life drama set in Nazi-occupied France, that opens Sept. 12. She plays Hannah, a young Jewish mother, whose husband lusts after her sister-in-law. Hannah is sitting poolside when she sees him gazing at the woman, a beautiful swimming champion. She immediately comprehends the situation, but Sagnier’s expression only faintly registers shock. She saves her revenge for later.”My concern was not feeling empathy for Hannah,” Sagnier says. “Because if I couldn’t, it wouldn’t have been realistic. I had to keep my heart tough. But one thing I like about the movie is that it’s too complex to say who is guilty and who’s a victim.” source: latimes.com

Don’t expect to catch Ludivine Sagnier in line buying the latest CD by Carla Bruni, former model and current first lady to French President Nicolas Sarkozy, anytime soon.”Imagine if Paris Hilton were married to [Barack] Obama,” the petite Parisian says ruefully. “[In France] we don’t need to watch real TV anymore, because we have their life. It’s like a soap opera. A cheap soap opera.”Leaning back on a hotel sofa, both hands absent-mindedly rubbing her pregnant belly, Sagnier is tired after a day of promoting “A Girl Cut in Two,” a serio-comic thriller about a woman caught between two inappropriate suitors. But the 29-year-old actress can’t help but perk up when discussing politics, which she follows avidly, or working on “Girl,” her first cinematic collaboration with the prolific French New Wave writer and director Claude Chabrol (”La C?r?monie”).”Working with Chabrol is like hunting for treasure: You get a map, but you have to figure out the clues by yourself,” she says. “He writes his scripts in these big notebooks with his little tiny writing and he knows everything about the film, from the music to the editing, but he really doesn’t tell anyone about it.”Just don’t mess with his dialogue.”He says, ‘If I wrote it in this way, it’s because it has a certain meaning,’ ” says Sagnier. “He loves to play the grumpy granddad on set.”In “Girl,” Sagnier plays Gabrielle Deneige, a TV weathergirl from Lyon who finds herself ensnared in a complicated love triangle between an older, married author (Francois Berleand) and the flighty, spoiled heir to a pharmaceutical fortune (Benoit Magimel). Shot in De cember 2006, the dark comedy is loosely based on the real-life story of American architect Stanford White, who was gunned down in 1906 by the husband of his then-mistress, Evelyn Nesbit.”Gabrielle thinks she’s clever because she’s fond of literature and has seen the whole world, but she’s naive, much more than she thinks,” says Sagnier. “When she falls in love with the writer, she’s flattered because she thinks she’s being taken seriously for the first time in her life, when she’s really just a target for his lust and perversion.”In notes about the film, Chabrol has said that he set his film in the backstage world of television because it’s “a world of trickery and illusion that absolutely reflects the world of appearances and pretences in which these characters move. . . . ["Girl"] is an entirely chaste film whose characters are nonetheless haunted by the most perverse ideas.”Having unsuccessfully auditioned for Chabrol in the past, Sagnier was so pleased to be offered a role by the director that she immediately said yes without reading the script - an unusual move for the normally selective actress.”I didn’t think I was a good fit for his universe,” she says of Chabrol’s films, which tend to chronicle the bad behavior of the bourgeois. “So what I said to him was, for you I would have done anything - including walking on my knees with a feather in my backside.”Sagnier was also surprised to learn that it was her role as Tinkerbell in Australian director P.J. Hogan’s “Peter Pan” (2003) that prompted Chabrol’s call. “Claude saw Gabrielle as a kind of luminous fairy,” she says. “And both characters are capable of jealousy, and are fighting for love, so that was the link.”Ultimately, I was really moved by this character because she’s fighting all the time - she never cries, or complains about her life,” says Sagnier. “She just goes on, and even if she gets her heart broken, she still fights back. It’s a bit how I’m like, so I wanted to talk about it.”Sagnier has been moving audiences since she made her screen debut in “Les Maris, Les Femmes, Les Amants” at age 8. “I went with my sister to the audition because my mother didn’t want to leave me home alone and I got hired,” she says. “So I really didn’t have anything to do with it.”Despite whatever initial misgivings she may have felt, Sagnier quickly grew into one of France’s most sought-after actresses, officially breaking out at age 19 with the film “Water Drops on Burning Rocks.” The drama was the first of Sagnier’s three films with filmmaker Francois Ozon, who also directed her in 2002’s “8 Women,” alongside French icons Catherine Deneuve and Isabelle Huppert, and 2003’s erotic thriller “Swimming Pool.” The former role earned Sagnier the Prix Romy Schneider, an award that is given annually to a promising young French actress, as well as a nomination for a Cesar Award, France’s equivalent of an Oscar, in 2003.Sagnier’s next films are “A Secret,” in which she plays a WWII-era Jewish mother whose husband is in love with another woman, and the duo “Death Instinct” and “Public Enemy No. 1,” a two-part action film about the gangster Jacques Mesrine (played by Vincent Cassel).”The experience was fun, but difficult at times because cinema is so realistic nowadays,” says Sagnier. “For one scene, I had some explosives and blood packets hidden in my clothes, and a little dog on my knees, and after the guns were triggered, the packets exploded, and there was blood everywhere. Every time I had to shout; I forgot I was doing my job.”When Sagnier’s not acting, she’s working on - alert, Ms. Bruni - a pop album. “In France, the movie industry is much smaller than in America, so the amount of projects is not very satisfying given how demanding I am,” she says. “I need to stay creative and as an interpreter, I can easily sing a little, so I’m slowly working on an album. Slowly, because. . .” She gestures to her full belly.”Family is very important,” says Sagnier, who has a 3-year-old daughter, Bonnie, with actor Nicolas Duvauchelle. (She declines to name the father of her current baby.)”Being an actor is something that really drives you, and pushes your boundaries,” she says. “You need to be grounded in your real life so you can take risks with your on-screen life.”source: boston.com

Senator Entertainment has snagged the U.S. distribution rights to Public Enemy No. 1, a two-part biopic about French criminal Jacques Mesrine, according to The Hollywood Reporter. The two films star Vincent Cassel, Gerard Depardieu, Mathieu Amalric, Ludivine Sagnier and they were directed by Jean-Francois Richet. Enemy has drawn comparisons to such American crime classics as GoodFellas and Scarface and its first part may hit U.S. theatres by the end of the year. source: boxoffice.com

I just added some photos of Ludivine from the Cannes Film Festival premiere of Indiana Jones to the gallery:

I know I haven’t updated in awhile but I had a bunch of updates and then my computer died so I lost everything. I’ll have some stuff to update with in a few days so keep checking back!

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