Welcome to Marvelous Margot, your newest source on the Australian actress Margot Robbie. You probably know Margot for her launching role in Martin Scorsese's Wolf of Wall Street, and most recently seen in The Legend of Tarzan (as Jane Porter) and Suicide Squad (Harley Quinn). Her upcoming projects include I, Tonya - where she plays the ice skater Tonya Harding, and Gotham City Sirens - movie centered on the female criminals of the DC Universe.

The site aim is to update you with all the latest news, photos and media concerning Margot's career. Take a look around and enjoy your stay! Thank you for visiting the site and be sure to come back soon!
Archive for the ‘Photoshoots & Portraits’ Category
Nicole   12.19.2017   0 Comments

THE HOLLYWOOD REPORTER – After two decades of awards-season roundtables gathering Hollywood’s top creative talents for frank, funny and memorable conversations, THR this year decided to throw out the rule book for the final star-studded sit-down of 2017: Instead of splitting up male and female actors (as almost all honors do, from the industry-establishment Oscars to the indie-minded Spirit Awards), the Dec. 7 discussion at West Hollywood’s Quixote Studios was a co-ed affair. And instead of taking place in a clinically silent, closed studio environment, it was conducted before a live audience of Hollywood insiders who took in the proceedings with laughs (especially at 61-year-old Last Flag Flying star Bryan Cranston’s impish one-liners), sighs (at the cautiously hopeful comments about sexual harassment in Hollywood from In the Fade’s Diane Kruger, 41, and The Shape of Water’s Octavia Spencer, 47) and a few gasps (mostly to do with I, Tonya’s Margot Robbie, 27, and a severed foot — read on). These stars, together with Call Me by Your Name’s Armie Hammer, 31, and Good Time’s Robert Pattinson, 31, didn’t let the 200 people watching cramp their conversational style — they’re actors, after all — as they animated one of the most competitive awards seasons in memory with a lively back-and-forth about the craft that unites them and the kind of artists, leaders and mentors they want to be.

This is the first time THR has mixed male and female actors on the same roundtable. So what is an issue that you have always wanted to discuss with actors of the opposite sex?

MARGOT ROBBIE I normally avoid conflict at all costs. I haven’t worked with an actor whom I’ve despised, but I have worked with someone on the production side who — I didn’t appreciate the way they spoke about me in front of groups. It took me a couple of months, but I plucked up the courage and pulled him aside and said, “You’re discrediting what I do when you speak to me like that.” He was really great about it.

(Read the rest of the transcript at the source)

Photoshoots & Portraits > 2017 > Session 26 | The Hollywood Reporter Roundtable Portraits [+4]
Nicole   12.12.2017   0 Comments

LOS ANGELES TIMES – Nominated for a Golden Globe for her performance as figure skater Tonya Harding in “I, Tonya,” Margot Robbie talks to The Times about the movie and the female-driven films of 2017.

Where are you?
I’m here in L.A., I’m at home.

Were you up this morning to watch the nominations?
No, I was asleep. I woke up to do some prep before meetings this morning and my phone was blowing up, I had like 70 messages. And I thought, oh God, has the world ended? And then I opened them and saw everyone was saying congratulations.

What do you think that people are responding to in the movie?
I don’t know, it’s not a traditional biopic, the script and the film really break the mold when it comes to what you expect to see in a film. And I think people appreciate that, it’s more refreshing and engaging that way.

There’s been an overwhelming response. We were doing a Q&A last night at the Dome, at the ArcLight, and it was completely packed and it was wild to realize that so many people were interested in our film.

Considering your role as a producer, not just as an actor, that must feel even better.
Absolutely, when you produce a film you really devote years of your life to it. The idea of putting so much time and effort into something and no one even wanting to see it would be heartbreaking, so to have so many people not only want to see it but to respond so positively towards it is just the most incredible feeling.

Why Tonya? What do you think it is about her story right now that’s connecting with people?
There are so many elements of the story and the script and our film specifically. It’s a very entertaining film, people get swept up in the ride of it, but there is also a bigger conversation there, about class in America, and the disenfranchised and media and how we consume it without question. And the idea of what a woman is supposed to be, what we’re told we have to be to fit in.

There’s just so many bigger conversations, that even when we were making it we didn’t realize would be so topical at the time. That right now it just all seems to have come to a head, both when the film comes out and with society reaching this point this year. I think it’s incredibly relevant, terrifyingly relevant, in fact, but also entertaining, which is all we want to do as filmmakers, is entertain and challenge an audience. If you can do both in the one film, then I think that’s something really special.

People have talked about there being so many strong, female driven films this year, with “I, Tonya,” “Lady Bird,” “Wonder Woman,” “Molly’s Game” and others. What does that mean to you? What do you think when you see so many of these female-driven films doing well this year?
I’m thrilled, obviously. It’s funny, I’m not surprised, because I know so many brilliant women. Not just in this industry, I mean my friends back home are doing incredible things and just proving time and time again that women are so often underestimated and overlooked.

Everyone is really letting their voices be heard this year, and I think it’s fantastic. When you see Sofia Coppola win at Cannes, and you see ‘Wonder Woman” smash the box office, it’s so encouraging for everyone who is really trying to let their voice be heard.

“I, Tonya” is directed by a man, Craig Gillespie, and many people today are talking about the fact that there weren’t any women nominated for directing. So even when it seems things are advancing, you still bump up against some kind of ceiling.
There is still a long way to go and, of course, there’s always things I think we need to work on and do better as a society, as an industry, as individuals.

But we also really need to take the time to celebrate the wonderful achievements, and I think today is a day for celebrating.

It must be exciting for you to see Allison Janney nominated as well.
It’s incredible. From the second I read this character, I thought she is going to smash it, and she did. She really did something spectacular with this character and working with her has honestly been one of the highlights of my career. (source)

Photoshoots & Portraits > 2017 > Session 24 | The Los Angeles Times Portraits [+2]
Nicole   12.10.2017   0 Comments

THE LOS ANGELES TIMES – It is an event that lives on in tabloid infamy: the tale of figure skaters Tonya Harding and Nancy Kerrigan and their battle to make it to the 1994 Winter Olympics. The new film “I, Tonya” reframes that story to fully spotlight Harding, transforming her from a media-made villain into someone far more human, fragile and tragic.

A title card at the beginning of the film declares that it is based on “irony free, wildly contradictory, totally true interviews” with Harding and her ex-husband, Jeff Gillooly. The portrait of Harding drawn by the film is one of sharp edges and hard landings, a woman with raw athletic abilities who couldn’t fit in with the refined image of the figure skating establishment.

Harding made some of her costumes herself and sometimes performed to music by ZZ Top. She also was the first American woman to land the extremely difficult and still-rare triple axel jump in competition. But the scandal that ensued after Kerrigan was attacked at the 1994 national figure skating championships left a long shadow over Harding’s reputation and legacy. Gillooly was implicated in planning the crime, and questions remain about Harding’s level of involvement.

Directed by Craig Gillespie from a screenplay by Steven Rogers, “I, Tonya” is a showcase for energetic, emotional performances by Margot Robbie as Harding, Sebastian Stan as Gillooly and Allison Janney as Harding’s mother, LaVona Golden.

Australian-born Robbie, best-known for her breakthrough role in “The Wolf of Wall Street” and more recently as Harley Quinn in “Suicide Squad,” had never heard the Harding saga when the script first came through her production company, LuckyChap Entertainment. (Robbie is also a producer on the film.) She was immediately struck by the rowdy energy of the storytelling and the complicated depiction of Harding.

“It was a character that scared me but also intrigued me,” said Robbie, who would go on to some five months of figure skating training for the part.

(Read the rest of the interview at the source)

Photoshoots & Portraits > 2017 > Session 23 | ‘I, Tonya’ Portrait for Los Angeles Times [+1]
Nicole   12.10.2017   0 Comments

Updated the gallery adding a portrait session Margot did in the past few days while promoting I, Tonya. Several HQ photos are waiting for you in the gallery!

She always look so elegant ♥ Enjoy 🙂 and remember to follow the site’s twitter @MargotRobbieCom!

Photoshoots & Portraits > 2017 > Session 22 | ‘I, Tonya’ Portrait Session [+19]
Nicole   12.06.2017   0 Comments

TIME OUT NEW YORK – Stamina, flair, toughness: Anyone who tells you acting isn’t a lot like playing sports hasn’t spent much time doing either. Ever since holding her own against a manic Leonardo DiCaprio in The Wolf of Wall Street, Margot Robbie could never be confused for anything less than a fearless competitor. But her latest performance seriously ups the ante: As the disgraced Olympic figure skater Tonya Harding—forever tarnished by her association with the 1994 off-ice attack on Nancy Kerrigan—the 27-year-old actor pulls off one of the most daring feats of empathy of the year. Directed by Craig Gillespie and coproduced by Robbie herself, I, Tonya is a supercharged Scorsesian rise-and-fall sports movie: trashy, funny, devastating and anchored by a star turn that will be talked about long beyond awards season. Born in Australia before living in Brooklyn, London and most recently Los Angeles, Robbie calls herself a gypsy; “home” is a free-floating concept for her. During a relatively quiet moment before the Oscar whirlwind, we connected with Robbie to talk about lacing up for 17-hour shooting days, the Harvey Weinstein scandal and the enigma at the heart of her latest triumph.

Do you miss living in New York?
Oh, my God, are you kidding me? I miss New York all the time. I was in South Williamsburg just before it really blew up, and then I lived in Bed-Stuy for a little bit as well. It was amazing. I think Williamsburg is a little too busy for me now. But six, seven years ago, it was incredible. I miss everything: the restaurants, Brooklyn Bowl, Nitehawk Cinema—I used to go there all the time.

But you’re still a huge New York Rangers fan?
Definitely. I think I’ll always be a Rangers fan.

You played ice hockey growing up, right?
Not growing up, but I played it when I first moved to America [in 2011]. I’m from a coastal town in Australia, so ice sports weren’t really a thing. But The Mighty Ducks was, so I wanted to join a league. I loved it.

What position did you play?
Right wing, but don’t be fooled—I am not any good at it.

Still, the skating must have helped you nail all those triple axels in I, Tonya.
[Sarcastically] Yeah, I can totally do a triple axel. We all underestimated how incredibly difficult that was. When we started planning that scene, we thought, Oh, we’ll just get a stunt double to come in. And our skate choreographer was like, “No one can do a triple axel—you know that, right?” There were only two women in America who could do them, and they’re both Asian, so neither could double for me. We ended up having to CGI it.

I’m crushed. Meanwhile, I love how the movie stresses Harding’s real talents, along with her scrappiness.
She wasn’t one to play by the rules—she was a little rough around the edges—and without that sort of rule-breaking mentality, she wouldn’t have been able to pull off such an amazing sporting achievement: the first U.S. woman to land a triple axel in a competition. The more we got to understand the ice-skating world, the more we appreciated that.

There’s also a subtle class warfare going on here with the other girls and against snobby judges who were shocked by skating routines set to ZZ Top’s “Sleeping Bag.”
She had incredible discipline and drive to make it to where she was, despite her class and her circumstances. Figure skating’s a really expensive sport. Still, she excelled. Tonya’s not necessarily the image they wanted to have. But I think that’s what I like about the film most.

All we mainly remember about Harding is the “incident.” How does one play that mentality? The film is oblique on her culpability.
I think what I was focusing on, overall, was the idea that she was craving love and constantly searching for validation, whether that was from Jeff [Gillooly, Harding’s then husband] or her mom or the public.

You don’t seem to want to judge her.
This story really kicked off the 24-hour news cycle. It was right before O.J. It snowballed out of control. People were feeding off it so much. As she says in the movie, “You’re all my attackers, too.” We can sit there and judge her mom or Jeff for abusing her, but we so quickly judge Tonya as well. The general public played a part in that. At some point in the film, we want to hold a mirror up to society and give us a chance to look at ourselves and question how quickly we judge people without knowing their circumstances.

(Read the rest of the interview at the source)

Check the video of the interview below!

Also, a beautiful photoshoot comes together with the article!

Photoshoots & Portraits > 2017 > Session 21 | Time Out New York [+3]
Nicole   12.05.2017   0 Comments

Updated the gallery adding digital scans from Margot’s issue of Vogue Australia, together with some amazing outtakes. This is one of my favorite photoshoot of hers!

Be sure to keep the site and twitter @MargotRobbieCom checked for the Jimmy Kimmel Live! update and later today, the first look at the I,Tonya Los Angeles premiere!


Magazine Scans > From 2017 > December: Vogue Australia [+18]
Photoshoots & Portraits > 2017 > Session 18 | Vogue Australia [+15]
Nicole   12.01.2017   0 Comments

DEADLINE – It has been a dizzying ascent for Margot Robbie, from the Australian soap opera Neighbours to Hollywood, with roles in the TV series Pan Am and in Martin Scorsese’s The Wolf of Wall Street. But she truly announces herself as an actress with chops, and a chance to medal this awards season, with I, Tonya. In the Craig Gillespie-directed film, Robbie soars as the scandal-scarred US Olympic figure skater Tonya Harding. She turns an historically vilified white trash tabloid figure into a defiant underdog antihero, who threw up a finger to skating judges when they ignored her superior physical skills and resisted Harding as the image of their sport.

Pushed as a child by a hard-edged mother as stingy with praise as she was generous with open-hand slaps (played hilariously by Allison Janney), Harding’s story previously belonged to the gossip hounds in the tabloids. Despite winning the 1991 US Championships when she became the first woman to successfully execute the gravity-defying triple axel, Harding’s place in sports history is one of ignominy because of her suspected complicity in the clumsy attempt by her abusive husband Jeff Gillooly (played by Sebastian Stan) to hobble her elegant rival Nancy Kerrigan before the 1994 Winter Olympics. Harding received a lifetime ban by the US Figure Skating Association, after pleading guilty to a charge of hindering the prosecution in the attack on Kerrigan.

Despite the string of roles that have followed Wolf—such as her turn as Harley Quinn, the bright spot of Suicide Squad, which she will reprise in sequels—I, Tonya is the first film to rest solely on Robbie’s shoulders. She plunges into the portrayal of an unglamorous, dirt-poor and defiant woman, who sewed her own costumes and applied her own makeup (harshly) for the sport she believed in. And Robbie captures the frightful intensity—and the ultimate tragedy—of the character she plays. It’s this kind of expert understanding of character that may have prompted Quentin Tarantino to pursue Robbie for the role of Sharon Tate in his next film, and it puts her squarely into the Oscar conversation this year.

Gold may have eluded Tonya Harding on the ice, but she may have one more shot on Oscar night.

(Read the rest of the interview at the source!)

In the gallery you can find an outtake from the Deadline Contenders portraits session, and digital scans from Deadline Oscar Preview: Actresses Issue! Enjoy 🙂

Photoshoots & Portraits > 2017 > Session 16 | The Contenders Portraits [+1]
Magazine Scans > From 2017 > November 29: Deadline Magazine Oscar Preview: Actresses Issue [+6]
Emily   12.01.2017   0 Comments

On Wednesday (November 29), Margot attended a panel discussion for I, Tonya presented by The New York Times. Margot was looking great in denim by Calvin Klein. Check out photos from the event as well as portraits in the gallery!

Public Appearances > 2017 > Nov 29 | The New York Times presents ScreenTimes ‘I, Tonya’ Discussion [+17]
Photoshoots & Portraits > 2017 > Session 20 | The New York Times [+15]
Emily   11.18.2017   0 Comments

Margot graces the December issue of Vogue Australia. Check out the beautiful cover and some outtakes in the gallery. Scans will be added soon!

Magazine Scans > From 2017 > December: Vogue Australia [+1]
Photoshoots & Portraits > 2017 > Session 18 | Vogue Australia [+3]

VOGUE AUSTRALIA – Margot Robbie opens the door to an enormous hacienda-style mansion in Albuquerque, New Mexico, a door lined with Halloween pumpkins of varying sizes and hilarity. “Hi, I’m Margot!” she offers with a huge grin. Suddenly a scruffy little black rescue dog the size of a feather duster leaps out, spinning in circles, and Robbie’s smile turns to a frown of panic: “Oh, be careful, he might pee on you!” The pooch, named Boo Radley, jumps up and begins standing on two legs with such panache that you forget he is actually a four-legged animal.

It is a comical moment akin to a scene out of a Woody Allen comedy that morphs into Entourage: the bombshell movie star – dressed off-duty in dark denim overalls, a striped red-and-blue T-shirt and white hotel slippers – and her excitable canine named after one of literature’s most famous characters, holding court in the middle of the desert. The rest of the home’s residents, who come and go over the next two hours, make up the supporting cast: there is Josey McNamara, the friend and business partner who appears from another room halfway through the interview, Sophia Kerr, the childhood bestie who doubles as an assistant and pops in from behind a stairwell, and Tom Ackerley, the handsome, laconic husband who wanders into the kitchen from the gym. Only this is Robbie’s real life, these are her real friends, and this is more than just a movie.

Robbie, 27, encompasses everything you want from a leading lady: she is funny and feisty, a femme fatale with looks to die for and a business-savvy, brilliant attitude to boot. She talks feminism and being a female role model as easily as discussing her favourite fashions while simultaneously crunching movie budget numbers like a seasoned accountant. Her favourite term “100 per cent” slips into conversation as easily as her other typical twentysomething saying, “like”; and her face lights up at the sight of her husband as much as it does when she discusses her absolute love for making movies. Family and friends are obviously her primary passions, with films coming in a very close second.

It has been 10 years since Robbie burst onto our TV screens in Neighbours before making the leap to Hollywood with a life-changing, scene-stealing turn in The Wolf of Wall Street in 2013. Since then her movie repertoire has run the gamut from indie films (Suite Française, Z For Zachariah) to comedies (Focus, Whiskey Tango Foxtrot) to blockbusters (The Legend of Tarzan, Suicide Squad). In the coming months, she will appear in the period dramas Mary, Queen of Scots (in which she plays Queen Elizabeth I with a receding hairline and scarred skin) and Goodbye, Christopher Robin, in which she portrays Winnie-the-Pooh author AA Milne’s socialite wife Daphne with perfectly British aplomb. And while her star continues to rise, Robbie, not one to just sit back and enjoy the trimmings of Hollywood success, is now venturing further and stepping up into her newest role: that of producer and self-described president of her own production company. She is taking control of her own destiny from behind the scenes, where she wants to be a female role model by example, in charge of producing female-driven content.

I already work with a ton of female writers who are brilliant, and I want to work with female directors,” she says. “I really want to work with actresses my own age. I’m trying so hard to get projects up and running with an ensemble of young female characters, because that’s my life, my group of girls, we’re a gang and we roll together and I’m like: ‘Why is that not reflected in film?’” She adds that a matured sense of confidence from several years honing the machinations of Hollywood has propelled her to take on producing. “I feel like I’ve been in the business long enough now watching other people make those decisions. I’ve had enough experiences to have more of an opinion like: ‘Actually, I wouldn’t have done it like that, or I think they should have done something different right now.’ So now I get to be one of those people who say: “Hey, maybe we should do it a little differently.” It’s nice to have that opportunity. It’s enormously satisfying to build something and to be part of something and to take control of my career.”

Read the rest of the story/interview at the source

Nicole   10.19.2017   0 Comments

ELLE – Before being honored at the ELLE Women in Hollywood celebration, Margot Robbie watched a Hollywood classic, The Breakfast Club, and found herself inspired by the on-screen high schoolers’ assignment to write a 1000-word essay on “who you think you are.” So in lieu of a traditional speech, she wrote that essay—to Hollywood.

Read her letter below:

Dear Hollywood,

We accept that we had to sacrifice a whole week standing our ground and defending our rights as women. But we think you’re crazy to make us write an essay telling you who we think we are when you still see as you want to see us: in the simplest terms and the most convenient definitions.

Being a woman in Hollywood means you will probably have to fight through degrading situations and will be offered chauvinistic roles by men who think that that’s all anybody wants to see us play. But even those of us lucky enough to have established a career in the hallowed grounds of show business are still in the shadows of the big trees, constantly reminded that we only grow in the sunshine they allow us. These difficulties we face are to share the same spirit of those faced by countless women all over the world who struggle for the right to earn a living, the right to be heard, and even the right to be safe from harm.

In recent years, superhero films have been all the rage, and I should know as I have benefitted from the trend. I only wish we could transfer a little bit of that heroism into reality. That those heroes we admire in movies would defend us against the villains in government, in the workplace, in the entertainment industry, and even in the most basic human interactions. There are women in and out of Hollywood that have proven this week that they are those real heroes. Their bravery and courage to speak truth to power has made a powerful impact that can be the start of real change. It is our decision, and those of us that have a platform can choose to use it for those in the world who do not. Which means that, we can not only highlight the painful inequities, but we can continue to speak out as long as they exist. And we can keep drawing attention to injustice wherever we find it and to use our talents and intellects and privilege to help a new chapter of women, a chapter for all of us.

So thinking about being a woman in Hollywood reminded me that when you take away Hollywood, we are all just women, all facing the inequalities that being a women brings with it. And, what I’ve come to understand is that, though we are unique and powerful as individuals, we are invincible when we come together. So, some may have seen us as objects and other individuals, but never as equals. But, in the words of The Breakfast Club, each one of us is a brain and an athlete and a basket case and a princess and a criminal. Does that answer your question?

Sincerely yours, The Girls Club.

(source)