Abbie cornish and paul schneider dating - Aurora Beach Hotel in Corfu
Bright Star Director: Jane Campion Screenwriter: Jane Campion Cast: Abbie Cornish, Ben Whishaw, Paul Schneider, Kerry Fox Release Date. Paul Schneider is one of those actors who regularly spins gold from what . it feels like when your best friend starts dating someone you don't like. Read our interview with Jane Campion and stars Abbie Cornish and Ben. He tied the knot with his long-time girlfriend on April Paul Schneider's CareerPaul Schneider's Net worthPaul Abbie Cornish.
Brown is Keats' friend, roommate, and associate in writing. Fanny's flirtatious personality contrasts with Keats' notably more aloof nature. She begins to pursue him after her siblings Samuel and Toots obtain his book of poetry " Endymion ". Her efforts to interact with the poet are fruitless until he witnesses her grief for the loss of his brother Tom.
Keats begins to open up to her advances while spending Christmas with the Brawne family. He begins giving her poetry lessons, and it becomes apparent that their attraction is mutual.
Fanny is nevertheless troubled by his reluctance to pursue her, for which her mother Kerry Fox surmises, "Mr. Keats knows he cannot like you, he has no living and no income.
Brown sent the valentine in jest, but he warns Keats that Fanny is a mere flirt playing a game. Fanny is hurt by Brown's accusations and by Keats' lack of faith in her; she ends their lessons and leaves.
The Dilkes move to Westminster in the spring, leaving the Brawne family their half of the house and six months rent. Fanny and Keats then resume their interaction and fall deeply in love. The relationship comes to an abrupt end when Brown departs with Keats for his summer rental, where Keats may earn some money.
Fanny is heartbroken, though she is comforted by Keats' love letters. When the men return in the autumn, Fanny's mother voices her concern that Fanny's attachment to the poet will hinder her from being courted. Fanny and Keats secretly become engaged. Keats contracts tuberculosis the following winter. He spends several weeks recovering until spring.
His friends collect funds so that he may spend the next winter in Italy, where the climate is warmer. He's desperately trying to be something that he's not. And part of my pitch to Jane—she called me up and we talked about Brown after I read the script—I said, I think Brown, the way that he writes should be very athletic, very laborious.
He has to punch his way through a poem, like a guy, like a dude, he wants to punch his way through problems. And what does that mean?
It means when he's writing, there's crumpled papers on the desk, there's ink all over his fingers, it means that when he writes he's growling to himself— he growls —he's trying to get this stuff out. And of course that's a massive contrast to beautiful Ben, and he's Keats, and he carelessly drags this chair out under a tree and sits underneath it— In his really gorgeous handwriting, I mean [Whishaw] really learned to use a quill, that's all his handwriting in the movie, and he won't tell you that, but he spent all this time learning to use the quill.
Poetic brain & Fanny Brawne
He just goes out under a tree and carelessly farts out the greatest poems of the 19th century. I felt like Brown should be a contrast to that. In that way, I guess that's the way that Brown's dissatisfaction is physicalized. It doesn't matter what ideas you have, you have to film these ideas, they have to appear and be physical in some way.
I think Brown's sort of great benefit and curse was being alive at the same time Keats was, and wanting to do the same thing. How did you find your way to this film? I had been a really big fan of hers—The Piano kind of changed my life a little bit, and so I talked to her. I can tell you that I was kind of blown away by talking to her, I can tell you it felt very surreal to me, I'm scared and nervous and these are my heroes I'm working with but the truth of the matter is that I'm not going to be able to tell you how I felt about any of this stuff, or working with someone I admire so much, or being included as part of the team until five years from now.
It's like a really great movie, someone says, what do you think? And I'm like, I don't know, you're going to have to talk to me in a couple of days. And in this case, it's like, you're going to have to talk to me in a couple of years. It was a big thing for my brain, because I grew up in North Carolina and I listened to Led Zepplin and Iron Maiden and Black Sabbath and I think oh, these people that make this great stuff I love are very very far away, I'm never going to be like them, they're very far away.
There's this huge distance. Hollywood sells you on the fact that there's a difference between you and actors.
Abbie Cornish Filmography | QuickLook Films
Actors are different than you, they're beautiful and they're rich and they're different than you. And you don't grow up thinking, wait, I'm beautiful and I'm rich and I need to be involved in this—well if you're me, you don't. How did you approach the accent? That's part of the reason I didn't recognize you. Did it help or hinder? I think it helped, because it's far better to have something to do than just to—it's like when you're anxious, and feel some crazy anxiety coming on, and you don't just want to sit around and wait until the train comes.
You need to go out and go jogging, you need to start sweating, you need something physical to focus on. I think what was helpful to me was two things: I'd done a couple of films and I felt like this was probably an okay challenge. It was a big challenge. Also Jane apparently thought I could do it. I'm still not sure why, but it's helpful when the people you admire say, yeah, yeah, you can do this, and then all of a sudden you think you can even before you think you can? It was helpful to get out of my head and focus on the accent.
The accent scared the hell out of me—I've done southern accents before but I can do that. This one scared me. I was also the only American over there and I didn't want to be the clunker who ruins this movie.
They'd spent all this money on me and they could've gotten great Scottish actors right up the street. Every night when I went to bed, you're just so fearful that you're going to let down this great filmmaker that you have admire.
Bright Star (film) - Wikipedia
That fear was a great motivator. That Scottish accent was like a loaded. It's pointed right at you and you can't hide and you can't focus on how Brown feels when Fanny comes over for poetry—that doesn't matter, it doesn't matter as much if you sound like you're from North Carolina in London.
I say all that to say it was really nice to have something specific to focus on. Accent work is very much like homework, like learning another language, Spanish 2 in high school. You have worksheets, you have a teacher that you trust, you basically just put the hours in. Do you think you were cast to be "an other" of sorts in the film?
Filmography: Abbie Cornish
Someone I was speaking to recently was saying I think they cast you because they needed someone without an automatic reverence to these romantic poets, you know? They needed someone with an I don't give a shit attitude to come in and say I don't know from poets, but I do know what it feels like when your best friend starts dating someone you don't like. I don't know about poets, but I do know what it feels like when you and your friend are doing something and he's succeeding and you're failing.