Daisy Ridley Network
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In Murder on the Orient Express (out Nov. 10), Kenneth Branagh’s brilliant detective Hercule Poirot is obsessed with finding who among the passengers on the titular train has committed a murder. But away from the U.K. set, a number of cast members became obsessed with their own whodunnit — or whoisit — as they gathered weekly to compete in a certain game. Below, Penélope Cruz, Leslie Odom Jr., Josh Gad, Michelle Pfeiffer, and Daisy Ridley recall playing Werewolf in London.

PENÉLOPE CRUZ: Who told you? [Laughs]

LESLIE ODOM JR.: We played Werewolf every single Friday night.

JOSH GAD: Penélope Cruz and her lovely husband Javier Bardem came to set one day and they said, “You have to play the game called The Werewolves.” And I said, “It sounds very kinky, what is this?” And she went on to explain that it’s essentially a murder-mystery game. I was like, “Oh, how appropriate for what we’re doing.”

CRUZ: I have a group of people that I play with in L.A. and one in Madrid.

GAD: Basically, a bunch of people sit around in a circle, and two of those people are werewolves, and one by one they’re killing off the villagers, and it is up to the village to figure out who it is that’s masquerading as one of them, and ultimately kill them before they wind up killing everybody else.

DAISY RIDLEY: It’s a version of Mafia. Essentially, it’s kind of like a whodunnit in itself. It’s weirdly, insanely, addictive and hours seem to just pass you by when you’re doing it. We used to just get together every weekend, and eat, and drink, and play Werewolves.

ODOM JR.: It was me, Josh, Daisy, Tom, Marwan [Kenzari]. Penélope came every week, Willem came every week, we got Michelle.

MICHELLE PFEIFFER: We’d get a room, one of those like private conference rooms or something like that. It was a lot of fun.

ODOM JR.: Well, it was always hosted at Josh’s hotel, so we stuck Josh Gad with many a bill, many a food and beverage bill.

GAD: I was the ringleader, for about five weekends in a row, and it just got more and more insane and epic. They came over to my hotel, which became the base, which was lovely, because everybody had an opportunity to stiff me for all the food and liquor that I provided, which was great. And we played this incredible game. It is definitely art imitating life imitating art. It wound up being very useful, and also very expensive for me, because people like Daisy kept stiffing me.

ODOM JR.: It was this thing that we were all maybe a little bit embarrassed to be doing. It was like, there has to be a better way for us to spend a Friday night. But there really was no better way. It was a chance for us to drink, and eat, and hang out together, have a laugh. Invariably, we would have pop-ins. One week, we had Chris Pratt, Bryce Dallas Howard, and JJ Abrams were our guests. Those were the people that came to play, who happened to be in town, that came to play our ridiculous game. But every week, there were pop-ins. People would bring friends along with them. And so it was just a chance to hang out, and we would always have a story or six that we would be laughing about all week.

RIDLEY: Olivia [Colman] came late to the game [but] was really good.

GAD: Man, I’d have to say that Penélope is as shrewd as they come. She is so manipulative and so good, and she’s got those doe eyes, and she just makes you fall in love with her, and she can’t possibly be a killer. But she was the most experienced.

ODOM JR.: Willem Dafoe came grumbling every Friday night. From the very first one, he told us, “I have a voiceover thing tomorrow, I’m probably not going to be able to come. If I come, I’m not going to be able to stay.” And Willem would be the first one there and the last one to leave. He was a master at the game.

GAD: I have to say that, of all of the people who had never played before, Leslie Odom was the best player. He really just did an amazing job of manipulating all of us into thinking he was our friend and over and over again kept killing us. The worst player was Daisy. Daisy was hands-down the worst player I’ve ever played with. She was just sloppy. She was terrible at it. You could tell that Daisy was a werewolf the second she opened her mouth. You could tell she wasn’t a werewolf the second she opened her mouth.

RIDLEY: By the end of the game, every time I was a werewolf, I just laughed and everyone was like, “Daisy, please would you leave.”

GAD: She’s not very good at keeping secrets other than Star Wars secrets, apparently.




Daisy is on the cover of the November issue of Vogue. Here is the interview for the magazine.

“They’re really heavy,” Daisy Ridley says. “Three, four, five kilos? And the weight’s very unevenly distributed.” She’s talking about lightsabers—and explaining that if you’re actually in a Star Wars movie, you can’t just pick one up and wave it around, as children have been doing in their bedrooms for the past 40 years. Not at all. In real life—or rather, for real movies—special conditioning is in order. Before she could film fight scenes for Star Wars: The Last Jedi—the second in the trilogy in which she plays Rey, the heroine—she undertook a kind of neon martial-arts training. “You do, like, eight thwacks one way, eight the other, eight up, eight down,” she says. I suggest they could market that as a form of exercise. “Yeah,” she agrees, laughing: “Lightsaber school.”

We are driving from Ridley’s hotel in Beverly Hills to a convention center in Anaheim, where 7,000 Disney fans will turn up to see her stand on a stage for a few minutes with the cast of The Last Jedi. She has been groomed for the occasion—three braids on one side of her head, revealing the tiny peace-sign tattoo behind her right ear, a Lela Rose off-the-shoulder pantsuit, and Pierre Hardy pumps embellished with eyes. Ridley, a 25-year-old Londoner, is plainspoken and fast-­moving, with a wide face and eyelids that look as though they’ve been painted onto it with a brush. (“People really open up to me; it’s hilarious,” she tells me. “Someone said it’s because I have a big face—I look honest.”) In the classic mode of contemporary London, expletives punctuate her speech. She occasionally phrases things musically, as if improvising a show tune, yet there’s something about her that suggests she’s allergic to nonsense.

When we meet, Ridley has been seen by the general public in only one film. But because that film is Star Wars: The Force Awakens, she has been thrust into a limelight comparable only, perhaps, to the attention directed at Harry Potter upon his arrival at Hogwarts. “Understand the scale,” the film’s director, J. J. Abrams, told her when he offered her the part. “This is not a role in a movie. This is a religion for people. It changes things on a level that is inconceivable.” Ridley nodded enthusiastically, but she really had no idea. “You don’t know what you’re getting into,” she tells me more than three years later, still sounding stunned.

D23 Expo, the annual midsummer convention of the official Disney fan club, is like Halloween on steroids. Out on the main floor, you might at any given moment bump into an adult Snow White or a middle-aged man wearing Mickey Mouse ears. In the greenroom, Josh Brolin is having his lunch, and Benedict Cumberbatch is chatting to Gwendoline Christie, who is here with her boyfriend, fashion designer Giles Deacon. They, at least, have ostensibly come as themselves. But the presentation they’re part of is like a circus. Numerous actors in upcoming Disney movies take brief turns onstage, doing little other than proving to the assembled fans that they are real—and smaller than you think. Ridley and her costars are dwarfed by a screen showing behind-the-scenes footage from The Last Jedi. The roar of approbation is so loud that you could easily mistake it for the ground shaking.

These are what Ridley, quoting Mark “Luke Skywalker” Hamill, calls UPFs—Ultra Passionate Fans. She herself wasn’t a Star Wars fan until she started auditioning for the role of Rey. Only then did she begin to sense the phenomenon’s cultural presence. “I was in Topshop, and I was like, ‘Oh, my God, there are Princess Leia T-shirts.’ Suddenly I couldn’t see anything without seeing it too.”

Rey, Ridley’s character, is a scavenger who lives in a desert outpost. She has a determined gait and clothes that look as though she’s improvised them from bandages left in the sand. As her nemesis, Kylo Ren, says, Rey is “strong with the force—untrained but stronger than she knows.” She is in effect the new Luke Skywalker, a female heroine of a magnitude and complexity previously reserved, in this genre, for men.

In casting the first film in the new trilogy, Abrams was intent on finding an unknown actor for the role. It was important, he felt, that she not be associated with any other character. And in Ridley he found “an emotional person, a true person, a funny-as-hell person” who was also “almost preternaturally confident. We needed someone whom you felt like you could know,” Abrams explains. “Who was beautiful but not someone who seemed like they were from another species. You needed to love her. Daisy came in, and her face was expressive and wide-eyed and lovely, and it was so clear.”

Ridley remembers auditioning several times over seven months—each time, until the final reading, she was given a fake script. It wasn’t until she was offered the job that she understood the size of the role. “When I read the full script,” she says, “I was like, ‘Holy shit.’ ”

Of course, not having been associated with anything previously carries the concomitant risk of being associated with only this one role from now on. When I mention this, Ridley is unfazed. She has already filmed Kenneth Branagh’s new version of Agatha Christie’s novel Murder on the Orient Express as the governess, Mary Debenham, and played the lead in Ophelia, a retelling of Hamlet directed by Claire McCarthy, with Naomi Watts as Gertrude. She is currently shooting Chaos Walking, directed by Doug Liman and based on a science-fiction thriller. She points out that it’s amazing what you can do to your appearance with the help of a wig. “Blonde today, brunette tomorrow,” she says blithely.

While Abrams was shooting The Force Awakens, Rian Johnson was writing The Last Jedi. As he watched the daily footage shot by Abrams, he felt he understood Rey better and began to write in response to what he describes as Ridley’s “spirit.” She brought the character to the screen, Johnson says, “in a way that made you root for her, like you were seeing yourself in her. You saw the story through her eyes.” Though Ridley has done a great deal of press for The Last Jedi, the film’s contents are so shrouded in secrecy that she is allowed to say very little about it. She lets on that we’ll find out more about what has happened to her family, and says it goes from being a physical journey with a friend (Finn, played by John Boyega) to an emotional journey with a stranger (Luke Skywalker, whom she meets on top of a mountainous island at the end of The Force Awakens). “More of a conversation, as opposed to a big adventure,” she suggests.

As for the ongoing appeal of Star Wars, she’s not entirely sure where the magic lies—except, she says, that “it’s essentially a family drama that’s played out in this big, expansive world.”

It’s not lost on her collaborators that there are parallels between Ridley’s real life and her journey on the screen. One minute she’d had only small parts in a couple of British TV series; the next she had journalists turning up at her door. “At the beginning she was claiming she was almost done with acting—she’d been working at a pub,” Abrams says. Johnson agrees: “Like Rey, she has this extraordinary talent, that has seemingly come out of nowhere, and I think Daisy’s just starting to scratch the surface of her skills.”

Ridley grew up in West London with two older sisters, whom she describes as her “best people.” Even though the three of them fought a lot when they were younger, she idolized them and says they would “protect each other to the absolute death.” Their father, who also has two daughters from a previous marriage, is a photographer—“the coolest cat in all of the land,” in his daughter’s estimation—who used to take pictures for the British rock magazine NME. Her mother works for a bank, and Ridley’s maternal grandparents set up a chain of bookshops.

“I was a little tomboy,” Ridley remembers. “Loud. Often very sassy. Insane amounts of energy. I remember asking, ‘Was I shy?’ And my mum laughing hysterically. She said I used to run into a room and go, ‘Helloooo!’ ”

She was, and still is, a voracious reader—“I rarely saw her without a book,” says Branagh, who directed her in Murder on the Orient Express—and she recently asked her mother to give her a list of classics, which she’s now making her way through. (Current title: The Tenant of Wildfell Hall, by Anne Brontë.) From the ages of nine to eighteen, Ridley went to a performing-arts boarding school—not because she was particularly serious about performing, she says, but because she liked to sing and do gymnastics and was so energetic as a child that her parents sent her “literally just to keep me busy, because the days were twelve hours long.”

She didn’t really know she wanted to act until she was seventeen. A girl in Ridley’s drama class who was from Newcastle protested that she couldn’t play Lady Macbeth because she didn’t have the right accent. Their teacher was furious. “He was like, ‘Who the fuck told you you couldn’t do Lady Macbeth?’ ” Ridley remembers with a smile. In his fury, she felt her own liberation.

That first day in the car to Anaheim, Ridley rarely finished a sentence. Everything she said was expressive rather than articulated. (“You’re like, ‘Ugh.’ ” “And I’m like, ‘Aaaah.’ ”) Later, she would tell me how tired she was that day—and how unprepared for the presentation of a public self. She had just finished shooting Ophelia in Prague and hadn’t realized how much of that tragic role she still carried with her. “I felt: This is so unlike me,” she said. “I’m such a perky little thing usually.” She’s starting to understand the time she needs to shake a role off.

But something else was also very noticeable. Ridley often used the language of the set—she referred to daily scripts as “sides,” to assistant directors as “our first” and “our second,” and to her personal assistant as “my personal.” These abbreviations, along with the assertion that some of her best friends are her hairdressers, suggest that she speaks to more people inside the film world than out of it, and if you count the years she has committed to Star Wars, you understand the nature of the bubble. When she did the first audition, she was 21; when it’s over, she’ll be 27. Her agent, her publicist, and her hair and makeup people all call her “the baby.”

Last year, when she deleted her Instagram account, she explained that she had “a lot of growing up to do” and would prefer to do at least some of it in private. “She has learned fast, and she has learned in the spotlight, and she has kept her nerve,” Branagh tells me. “She’s ballsy enough to assume there may be some inelegance or mistakes, but it’s worth doing.”

A few days after the Anaheim event, Ridley and I meet for tea in New York. She’s wearing a black three-­quarter-length dress she just picked up in & Other Stories, with white Converse high-tops, her hair pulled into a topknot. “I realize I sort of do dress like a four-year-old,” she says as she puts the cookie that comes with her tea onto my plate (she is a vegan). She is much sparkier, tougher, and entertainingly opinionated this time. She talks about working with the late Carrie Fisher—“I’d never met anyone openly bipolar before, who discussed loving glitter because of her LSD days”—and she tilts her head back to stem the tears as she speaks.

It was Fisher who warned her that it was hard to date once you became a Star Wars star, “because you don’t want to give people the ability to say ‘I had sex with Princess Leia.’ ” Ridley skirts around this issue. In the past couple of years, she has been linked with the actor Charlie Hamblett, but when I ask her if she’s with anyone now, she quickly replies, “I’m not saying.”

Last year, she explains, was difficult, and it’s only in the past few months that she’s been figuring it out. The Force Awakens was released just before they began shooting The Last Jedi, and the positive response to her performance made her worry she wouldn’t be able to repeat it. “Everything was so confusing,” she recalls. “People were recognizing me—I still don’t know how to handle it. My skin got really bad because I was stressed. It was crippling. I just felt so seen and so self-conscious.”

Alarm bells had started ringing much earlier. At one point, two fans appeared outside the door of an apartment she had just moved to. “I heard a knock on the door. These two guys went, ‘Hey, Daisy, can I get an autograph?’ and I literally went, ‘No fuckin’ way.’ ” She went to see a play with her mother that night. “My mum said to me, ‘Everyone’s trying to take ownership of you.’ ” Still, now, Ridley says, she calls her mother once a month “in hysterical tears, going, ‘I’m not equipped to deal with this!’ ”

She started therapy (“I went and saw a lovely lady,” as she puts it), and she realized that she was disappearing. “I felt like I was sort of reducing myself because I was so worried that people would recognize me,” she explains. Then she thought, “You know what? I want to dance through life. I don’t want to scuttle.”

Ridley is not complaining. “I’m very aware that there are thousands of other people who could do what I do much better, and it’s a matter of timing and luck. I’m counting my blessings that I get to be one of the people working.” As for her sense of perspective, “I worry that things start to seem normal that aren’t normal,” she reflects. “You get rushed through airports, and you never have to queue, and you get tickets to things that you wouldn’t otherwise. I think it’s important to remind yourself that it’s not normal. It’s difficult, though, because it is my normal.”

If Ridley’s emotional frankness makes her sound somewhat fragile in conversation, that, in performance, is much closer to a strength. It’s no accident that her Rey is a disarmingly human vessel for a force beyond nature. She makes it feel, says Johnson, “as though there is very little artifice on the screen. She has that magical thing that great actors have where they can take honest emotion and, without diluting it, shape it to what the scene requires.”

The last time I speak to Ridley, she’s calling from a car on her way back to the Canadian wilderness. She and her friend Flora Moody had taken a break from filming Chaos Walking and gone to hear Star Wars composer John Williams perform at the Hollywood Bowl. “They did my theme,” Ridley says, meaning “Rey’s Theme” from The Force Awakens, “and I couldn’t believe it. It was very overwhelming. There was an older woman behind us and she was like, ‘Why are people mobbing you?’ ”

Ridley and Moody became friends when Moody did Ridley’s hair and makeup for The Last Jedi, and they have since worked together on Ophelia and Chaos Walking. For a couple of months, they’re sharing a “very comfy but very creepy” cabin in the woods, making questionable almond-milk pancakes and listening out for shotguns.

“I feel really homesick,” Ridley says. “I suddenly realized that since February the longest I’ve spent in my own flat is four days.”

What does she miss exactly? I ask.

“I love going to sleep on the sofa with the sound of my parents talking in the background,” she replies. “That’s literally what I miss.”

Last September—three-quarters of the way through her discombobulating year—Ridley added a fourth and, she believes, last tattoo to her collection. Tattoos are the only form of rebellion she’s ever attempted—she remembers her grandmother seeing one she had done as a teenager and saying, “Daisy, that is pen, isn’t it?” But in her case it’s hardly rebellion at all. This latest is on the side of her torso, and it’s the most intricate. Inked by the L.A. tattoo artist Dr. Woo, it represents, at Ridley’s request, “the solidity of my family within all of the other craziness that goes on.” The result Dr. Woo came up with was a symbol: a star within a cyclone.

“I don’t need a tattoo to represent my life,” Ridley points out, “but I really love it. I like looking at it,” she says, “and thinking about all of the things that are constant.”




Since the first Last Jedi trailer premiered at this year’s Star Wars Celebration Orlando back in April, no real new footage or trailers from the film have been released.
Star Wars: The Last Jedi is set for release on December 14th in the United Kingdom and December 15th in the States and sees returning cast members Mark Hamill (Luke Skywalker), Carrie Fisher (Leia Organa), Adam Driver (Kylo Ren), Daisy Ridley (Rey), John Boyega (Finn), Oscar Isaac (Poe Dameron), Lupita Nyong’o (Maz Kanata), Domhnall Gleeson (General Hux), Anthony Daniels (C-3PO), Gwendoline Christie (Captain Phasma), Billie Lourd (Lieutenant Connix), Andy Serkis (Supreme Leader Snoke), Peter Mayhew and Joonas Suotamo (Chewbacca), Tim Rose (Admiral Ackbar), Mike Quinn (Nien Nunb), Simon Pegg (Unkar Plutt), and Warwick Davis joined by new additions Jimmy Vee (Pan) as R2-D2, Kelly Marie Tran (Ladies Like Us) as Rose, and Benicio Del Toro (Guardians of the Galaxy) and Laura Dern (Jurassic Park). If this date holds true, it syncs with a since-deleted tweet from Mark Hamill, who last week responded to a fan’s question about the trailer by recommending he watch Monday Night Football on October 9. Die hard fans have been analyzing every move Disney and Lucasfilm have made over the past several months, trying to predict when the next trailer will drop to no avail.

Seeing as how ESPN is owned by Disney, it makes sense for the newest trailer to debut there.

With just three months until The Force Awakens follow-up, fans have been wondering when they will be getting the next one.

Arriving Dec. 15, director Rian Johnson’s Star Wars: The Last Jedi stars Mark Hamill, Carrie Fisher, Adam Driver, Daisy Ridley, John Boyega, Oscar Isaac, Lupita Nyong’o, Domhnall Gleeson, Anthony Daniels, Gwendoline Christie, Andy Serkis, Benicio del Toro, Laura Dern and Kelly Marie Tran. Anticipation surrounding the latest installment in the Star Wars saga has been reaching new levels in recent weeks, with the release of new images from the film and hype-inducing teases from The Last Jedi cast members. But for what it’s worth, Mark Hamill did recently say the second Last Jedi trailer would be released on that same day during Monday Night Football.

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The shooting for Star Wars: The Last Jedi is officially complete, director Rian Johnson has confirmed.

The 43-year-old filmmaker took to Instagram where he announced the news, praising his crew as the most hard-working team ever.

Aaaand that’s a wrap on the hardest working post production team in the galaxy. Going to miss sitting in dark rooms with these goobers.

Публикация, споделена от Rian Johnson (@riancjohnson) на

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Hello everyone, I added new photos to our gallery. Make sure to check them out!

Movie Productions > Star Wars: The Last Jedi (2017) > Promotional Pictures

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Movie Productions > Ophelia (2018) > On Set

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Public Appearances > 2017 > jul 15 – Disney’s D23 EXPO 2017 in Anaheim

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New images from Star Wars: The Last Jedi were released. I added the movie stills featuring Daisy’s character Rey and a poster. Make sure to check them out in the gallery!

Movie Productions > Star Wars: The Last Jedi (2017) > Movie Stills

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Movie Productions > Star Wars: The Last Jedi (2017) > Posters

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