Renée Zellweger Online

For her film, “Judy,” Renée Zellweger had to find the voice of Judy Garland, using research and even trigger words to help her get into character.

Last night Renee walked the red carpet at the Toronto Film Festival for the premiere of her film Judy and then attended the cocktail party in honor of her film.

Gallery Links:
Renee Zellweger Online > 2019 > September 10 | Toronto Film Festival – Judy Premiere
Renee Zellweger Online > 2019 > September 10 | Toronto Film Festival – Judy Cocktail Party

‘Judy’ star Renée Zellweger joins The Hollywood Reporter on the HFPA red carpet at the 2019 Toronto International Film Festival to talk about the Judy Garland based film, her love of TIFF, Bruce Springsteen’s ‘Western Stars,’ and more.

Renee attended the press conference for her film Judy in Toronto.

Gallery Links:
Renee Zellweger Online > 2019 > September 9 | Judy Press Conference In Toronto

After Bridget Jones, after the Harvey-at-Miramax years, after a break from acting, now she’s ready to play Judy Garland.

It’s a wildfire-hot August afternoon in Topanga Canyon, the air so dry and still you can practically hear the sagebrush gathering itself for the conflagration. Everyone’s gulping down great lashings of CBD water, including Renée Zellweger, who can’t hydrate fast enough. We have been hanging out now for nearly two hours on the patio of Topanga Living, a little café that’s one of Zellweger’s regular joints.

As she heads inside for more supplies — bottles of turmeric juice, tea, and more fancy water — a young dude a couple of tables away leans over. “I don’t mean to make this weird,” he says, “but is that Renée Zellweger?” The actress, meanwhile, has stopped to talk to a lesbian couple with a tiny dog sitting near the door. They are earnest in the extreme and seem not the least bit starstruck, which makes me think they have no idea who she is — just some nice lady in Capri tights and running shoes with a voluminous scarf draped around her neck.

When Zellweger gets back to our table, I express surprise that the couple didn’t get movie-star dopey, and she says, “Nope.” A big smile spreads across her face. “I have very authentic exchanges with people once again.” She stares at me for a second and then screws up one of those great Renée Zellweger faces. “Thankyouverymuch,” she says, sort of doing Elvis if he were from Texas. “Six years. It was important, that time. You’re not in people’s consciousness anymore, so they don’t immediately make the connection. It’s a quieter life, and I love it.”

For a long time, Zellweger had anything but a quiet life. You could blame 1996’s Jerry Maguire, which took her from ingénue to star. Or maybe the Bridget Jones movies of the early aughts, which further solidified her image as a relatable Everywoman but which also turned her into tabloid prey right at the moment when newsstands began to look like Warhol installations, giant checkerboards of the same woman on the cover of every magazine, from Us and InTouch to Vogue and Elle. Who could look away from a star gaining and losing weight for a role in plain sight?

Zellweger dated rock stars and movie stars and was a genuinely fascinating creature of that last great Hollywood moment before it all became one big smelly sweat sock of adolescent-boy entertainment. She was effortlessly soignée on the red carpet, the darling of fashion editors. And she was a star for Harvey Weinstein’s Miramax: Her three Oscar nominations came for films, Bridget Jones’s Diary, Chicago, and Cold Mountain, that he had produced. It was an era that, in some ways, couldn’t have been crueler to actresses, but also one that allowed them to play challenging parts in prestige films. Zellweger, perhaps, experienced the highs and the lows as acutely as anyone.

And then, in 2010, after a series of duds and ill-conceived roles, she stepped off the merry-go-round — stopped making movies, wearing daring dresses to premieres, doing big interviews. She briefly came out of hiding in 2014 to attend the Elle Women in Hollywood Awards, and the press focused almost entirely on what the internet presumed was plastic surgery that had rendered her unfamiliar looking. She handled it with grace and eventually wrote an essay for HuffPost, criticizing the media scrutiny, called “We Can Do Better.” In 2016, she eased back into movies, including Bridget Jones’s Baby, and has been quietly, steadily working ever since. This month, the film Zellweger has chosen for a proper comeback, Judy (as in Garland — a biopic), comes out. It is a brave decision on so many levels — the challenge of singing like Garland, of playing a woman who, at 46, looked much older — not least because the ways Garland struggled with loneliness, insomnia, and the tolls of show business in general resonate with some of Zellweger’s own struggles, even if hers are not remotely as volcanic as Garland’s were.

Stepping back, Zellweger says, was crucial. “I wasn’t healthy. I wasn’t taking care of myself. I was the last thing on my list of priorities.” She has seen a therapist during only one period of her life, she tells me, and it was back then, as she retreated from acting. “He recognized that I spent 99 percent of my life as the public persona and just a microscopic crumb of a fraction in my real life. I needed to not have something to do all the time, to not know what I’m going to be doing for the next two years in advance. I wanted to allow for some accidents. There had to be some quiet for the ideas to slip in.”

One day around this time, she ran into her friend Salma Hayek in an airport. “She shared this beautiful … metaphor? Analogy? ‘The rose doesn’t bloom all year … unless it’s plastic.’ ” She levels me with a look. “I got it. Because what does that mean? It means that you have to fake that you’re okay to go and do this next thing. And you probably need to stop right now, but this creative opportunity is so exciting and it’s once-in-a-lifetime and you will regret not doing it. But actually, no, you should collect yourself and, you know … rest.”

Thanks to the shrink, she realized she was depressed. “Nothing like international humiliation to set your perspective right!” she says with a mordant laugh. “It clarifies what’s important to you. And it shakes off any sort of clingy superficiality … that you didn’t have time for anyway. One of the fears that maybe, as artists, we all share — because we have this public experience of being criticized not just for our work but as human beings — is when it gets to be too much, when you learn that your skin is not quite as thick as you need it to be, what is that gonna feel like? Well, now I know. I got the hardest kick. And it ain’t the end.” But she also wants to be perfectly clear: The rough patch only lasted a year. “I had a good five-year period when I was joyful and in a new chapter that no one was even aware of.”

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Jul 23, 19 Ali   Events, Judy Comments Off on Mister Rogers, the Joker and Judy Garland Are All Headed to Toronto Film Festival

TIFF’s formidable lineup of directors will include Steven Soderbergh, Noah Baumbach, Taika Waititi, Rian Johnson, John Crowley, Kasi Lemmons, Armando Iannucci … and Bruce Springsteen

Joaquin Phoenix as the Joker, Tom Hanks as Mister Rogers and Renee Zellweger as Judy Garland are among the actors who will appear on screen at the 2019 Toronto International Film Festival, TIFF organizers announced on Tuesday.

For its first large batch of programming announcements, TIFF unveiled a star-studded slate of more than 50 films, many of them highly anticipated works from such celebrated directors as Noah Baumbach, Steven Soderbergh, Taika Waititi, Armando Iannucci, James Mangold, Fernando Meirelles, Pablo Larrain, Rian Johnson and the Safdie brothers.

Phoenix stars in Todd Phillips “Batman” spinoff “Joker” alongside Robert De Niro, Zazie Beetz and Frances Conroy. Hanks plays Fred Rogers in “A Beautiful Day in the Neighborhood,” a film from “Can You Ever Forgive Me” director Marielle Heller based on an Esquire profile of Rogers by writer Tom Junod, who is portrayed by Matthew Rhys. And Zellweger plays Garland in “Judy,” a biographical drama adapted from Peter Quilter’s stage play by British theater director Rupert Goold.

Other galas include Roger Michell’s “Blackbird,” with Susan Sarandon, Kate Winslet and Mia Wasikowska; James Mangold’s “Ford v Ferrari,” starring Matt Damon and Christian Bale; John Crowley’s “The Goldfinch,” with Ansel Elgort and Nicole Kidman in an adaptation of Donna Tartt’s bestselling novel; Kasi Lemmons’ Harriet Tubman biopic, “Harriet”; Destin Daniel Cretton’s “Just Mercy,” with Michael B. Jordan; and Justin Kurzel’s “True History of the Kelly Gang,” starring Russell Crowe.

“Radioactive,” a new film from “Persepolis” director Marjane Satrapi starring Rosamund Pike as scientist Marie Curie, will close the festival.

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Jul 08, 19 Ali   Judy, Video Comments Off on New Trailer for Judy

Winter 1968 and showbiz legend Judy Garland arrives in Swinging London to perform a five-week sold-out run at The Talk of the Town. It is 30 years since she shot to global stardom in The Wizard of Oz, but if her voice has weakened, its dramatic intensity has only grown. As she prepares for the show, battles with management, charms musicians and reminisces with friends and adoring fans, her wit and warmth shine through. Even her dreams of love seem undimmed as she embarks on a whirlwind romance with Mickey Deans, her soon-to-be fifth husband. Featuring some of her best-known songs, the film celebrates the voice, the capacity for love, and the sheer pizzazz of “the world’s greatest entertainer.”

Jul 03, 19 Ali   Images Comments Off on A New Photoshoot

Came across a beautiful new photoshoot of Renee!

Gallery Links:
Renee Zellweger Online > > Outtakes > 2019 > 003

Jun 20, 19 Ali   Articles & Interviews, Judy, Magazine, What/If Comments Off on What/If Made Renée Zellweger “Uncomfortable” And She Loved It

The star on her new Netflix series and how her own experience with fame prepared her to play Judy Garland.

Renée Zellweger was in first grade when she learned that acting could sting. To be an elf in a school play in Katy, Texas, she taped construction paper circles on her nose and cheeks—and discovered she was allergic to adhesive. “The bright red color stayed for a good week,” Zellweger recalls with a chuckle. (Her skin today is, of course, unblemished and radiant, befitting a movie star making the rounds to promote a TV venture.)

And while the reaction didn’t last, Zellweger’s acting ambitions stuck around despite two more decades of indignities: the high school drama teacher who said she looked too childish, the beef commercial she grinned through while vegetarian, the craft services lady who yelled “Cast and crew only!” at the young Dazed and Confused extra when she reached for a piece of gum. Even on the set of her first lead role in Texas Chainsaw Massacre: The Next Generation, the perfectionist Zellweger was teased by her friend Matthew McConaughey for wanting to film one more take of witnessing her best friend get impaled by a meat hook.

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