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COLLIDER — From writer/director Matthew Ross, the psychosexual noir thriller Frank & Lolaexplores themes of love and sex, obsession and betrayal, and revenge and redemption. When up-and-coming chef Frank (Michael Shannon) meets aspiring fashion designer Lola (Imogen Poots), they fall hard and fast for one another, until Lola’s past becomes part of their present and jealousy pushes them to the edge of self-destruction.

During this 1-on-1 interview with Collider, actress Imogen Poots talked about what intrigued her about these characters, shooting in Las Vegas, how our past affects who we are, and the experience of working with Michael Shannon. She also talked about her time on the Showtime series Roadies and why she feels a sense of closure with the story they were telling, taking on Who’s Afraid of Virginia Woolf?as her first play, and why it was so important for her to be a part of I Kill Giants.

Collider: How did this film come your way?

IMOGEN POOTS: I was sent the script, and then I met with the director (Matt Ross), who by the way had been trying to get the film made for like 10 years, and I thought that was very admirable. So, we spoke about the film, and we spoke about the nature of love and obsession and whether sanity plays a role in that or not. I was really, really intrigued by these characters because, time and time again, you can take it back to the Greek tragedies. There’s a nobility and tragedy to people that try their best, but it doesn’t work out. I think that’s a very valuable thing to see explored through any art form.

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Labels: Frank & Lola, Interviews

NYLON — What happens when the person you love isn’t who you think they are? That’s the question at the heart of Frank & Lola, the debut feature film from Matthew Ross. Ross’ twisty script follows Frank (Michael Shannon), a Vegas-based chef, who begins to suspect that his flighty younger girlfriend Lola (Imogen Poots) is more than what she purports to be. An incisive portrait of male obsession, the film rides on two barnstorming performances from Shannon and Poots, whose undeniable chemistry heightens the tragedy of their doomed relationship. As Lola, Poots nails the unpredictability of a character viewers only experience from the perspective of her jealous lover; as he uncovers revelations about her past that may or may not be true, they must constantly reappraise her, unsure of the objective reality.

Ahead of the film’s release last Friday, we caught up with Poots to discuss how she inhabited such a complex and atypical character.

How did you first get involved with the film?
Well, I met the director and, first of all, he’d been trying to make this film for like 10 years, and he totally committed to it. I thought that was such an incredible thing in itself and I really love the story. What attracted me to it was really the humanity of the story, just the human condition. It was really, really tragic and that’s something a lot of us are drawn to. There’s something noble about watching people try their best, and it doesn’t work out. I just like the idea of love as an illness, love causing you to go insane and really become someone else. The idea behind it was exciting to me, that the characters could be quite rich with contradictions. That’s always enticing.

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Labels: Frank & Lola, Interviews

METRO — Like many of us, Imogen Poots isn’t sure how to feel right now. It’s mere weeks until our new president arrives, and we can’t be 100 percent sure how bad — or how not-quite-bad — things are going to get. “It’s a funny thing,” Poots tells us. “It’s this strange period where you know something is a reality, but you can’t see the evidence yet. Then you suddenly realize the evidence is everywhere.”

The English actress — 27, and recently of “Green Room,” “Knight of Cups” and the Cameron Crowe show “Roadies” — agrees we need temporary distractions. Cat videos work. Or there’s her latest film, “Frank & Lola,” a dark neo-noir about love and obsession. The indie stars her and Michael Shannon as strangers who fall in love. But when he learns about her shady past, he becomes unhealthily driven to learn more. At least it’s not as grim as the news.

I’m reluctant to call “Frank & Lola” a neo-noir, because it doesn’t really play like a typical noir. It’s more a romance and a drama.
Yeah, it’s interesting. The director [Matthew Ross], when I met him, he reeled off a bunch of movies that inspired him. But he stressed that the subject was obsession. I think of it as a romantic tragedy. There’s something really tragic about a couple setting out to do their best, and it just doesn’t work out. They kind of f— it up for themselves and for each other.

You’re a big noir fan, too, right?
A friend of mine introduced me to film noir. He showed me the film of “The Naked City.” That was the first one that got me. I remember someone who made those films saying, “You know, we didn’t call film noir ‘film noir’; we just called them thrillers.” It’s a way of understanding them afterwards.

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Labels: Frank & Lola, Interviews

Labels: Frank & Lola

One of the last Sundance Film Festival buzz titles has come off the board. Universal has made a deal for most of the world for a minimum guarantee north of $2 million for Frank And Lola, the Matthew M. Ross-directed drama that stars Imogen Poots, Michael Shannon, Justin Long, Michael Nyqvist, Emmanuelle Devos and Rosanna Arquette.

The film is a psycho-sexual noir love story set in Las Vegas and Paris about love, obsession, sex, betrayal, revenge and ultimately the search for redemption. Ross’ debut feature (he wrote the script) stars Shannon and Poots as a couple that builds an intense relationship that saves each other from their mutual despair, but begins to crack as a man from Lola’s past dampens her future with Frank. There were multiple bidders in the mix after the film premiered to strong reaction last weekend. The film will not be released through big Universal but a 2016 theatrical release is part of the deal and they are figuring out those details.

Parts & Labor’s Jay Van Hoy and Lars Knudsen (Beginners and the Sundance pic The Witch) produced with Lola Pictures’ Chris Ramirez, John Baker and Killer Films’ Christine Vachon and David Hinojosa. The deal was brokered by CAA and Preferred Content, and Arclight handled foreign rights.

(source)

Labels: Frank & Lola
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