Tag: Helen McCrory

Categories Flying Blind Hugo Interviews Print Media

‘Hugo’ Actress Helen McCrory on Working With Scorses

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Playing Mama Jeanne in Hugo

By Javier Espinoza | Dec. 6, 2011 | Wall Street Journal

Fresh on the heels of her role as Mama Jeanne in the latest Martin Scorsese movie, “Hugo,” English Actress Helen McCrory — whose previous roles include Narcissa Malfoy in “Harry Potter” films — tells Speakeasy how she enjoys working on big Hollywood productions as much as independent films.

McCrory is also set to appear in the latest Bond film directed by Sam Mendes.

Tell us about the last movie you were in.

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Categories Hugo Cabret Interviews Skyfall

Helen McCrory: ping pong diplomacy and Scorsese’s henchman

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With roles in Martin Scorsese’e latest and Sam Mendes’ next Bond film, Helen McCrory has joined the establishment – on her own terms

by Tom Lamont | November 26, 2011 | The Guardian
It is nine-all on the outdoor table-tennis table in Regent’s Park, London, a score arrived at somewhat chaotically due to the fallen autumn debris on the playing surface. The match began with Helen McCrory protesting a lack of interest in the score, but things have become more intense as the winning 11-point mark approaches, and the 43-year-old actor (soon to appear as a Parisian grande dame in Martin Scorsese’s children’s film, Hugo) has put on glasses. She’s stubbed out her cigarillo. As a shot missiles by she says, “Lucky bounce! The ball hit a twig!”

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Categories Print Media Reviews The Late Middle Classes

The Late Middle Classes at the Donmar Warehouse – Review

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Helen McCrory is both devilish and divine

by Michael Coveney | October 23, 2011 | The Independent

The late Harold Pinter, who first directed the late Simon Gray’s The Late Middle Classes, found it to be a rich and beautifully wrought piece of work that was “deeply satisfying” to direct. I see what he means but I do not share his certainty.

That production, which I saw at the Watford Palace, never made the West End. That led to some grumpy protestations, not least from Pinter. So it’s good to see the Donmar reviving the piece, even if David Leveaux’s production doesn’t prove any more persuasive.

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