WSJ – The hottest blonde ever.” This was the infamous script description given for Margot Robbie’s character in The Wolf of Wall Street (2013), directed by Martin Scorsese. Widely credited as Robbie’s breakthrough, the role instantly helped establish her as one of the biggest movie stars.

Yet Robbie—Australian born and then still relatively new to Hollywood—says that she had little interest in further riffing on the blonde-bombshell theme: “I was going to have to show people that I could do something different. I didn’t want to get pigeonholed.” Accordingly, her next roles gave the middle finger to the hot-blonde paradigm.

On Suite Française’s set, in 2013, “I play a French peasant, and trust me, I looked revolting,” she says via Zoom. (Her screen name reads “Maggot,” her childhood nickname, rather than “Margot.”) “Then I did Z for Zachariah…and again, I looked revolting. By that time, I thought, I’ve shown people.” As the smallpox-riddled Queen Elizabeth in 2018’s Mary Queen of Scots, Robbie was adorned with oozing sores, scabs and scars.

While filming Suite Française, Robbie made friends with assistant directors Josey McNamara and Tom Ackerley. Both became her business partners, along with her childhood friend Sophia Kerr; she later married Ackerley. The four discussed their mutual producing aspirations, and about what they saw as a lack of desirable film roles for women. “I remember saying, ‘Every time I pick up a script, I want to play the guy,’ ” Robbie recalls. “ ‘Wouldn’t it be so cool if people pick up scripts that we’re making and always wanted to play the female role?’ ”

They decided to found their own production company, calling it LuckyChap Entertainment. Robbie had just turned 24. (The company name was conjured while they were drunk, says Robbie; it may refer to Charlie Chaplin, but no one can really remember.) The LuckyChap mandate, from day one, was to “make female stories.” Each of its projects had to involve a female story or female storyteller. They also, says Ackerley, “wanted to find the next generation of talent,” while being “on the right side of culture.”

Getting any movie made is difficult, but Robbie, now 32, says that the LuckyChap team wasn’t daunted. “[We were] too young and dumb to know how scary [it would] be,” she says. “Starting it all off on a kitchen bench in London, everyone was like: ‘They’re such idiots…it would be a miracle if they did anything.’ ”

But the team promptly manifested just such a miracle, in the form of a spec script by screenwriter Steven Rogers that had been making the rounds: a daring redemption film about former Olympic ice-skater Tonya Harding. Others in the industry dismissed the project, Robbie recalls. “They [were] like, ‘You can’t make that…. You’ve got 200-something scenes, several locations, it’s period,’ ” says Robbie. “We read it and were like, ‘But it’s just f—ing great; it’s the best script ever, so who cares?’ ” They snatched up the option.

When playing Queen Elizabeth, Robbie says that she felt “very restrained, both emotionally and physically.” But with I, Tonya, in which she played the title role, she came out guns blazing and made her true breakthrough. Through the unlikely avatar of Harding, she broadcast the qualities that have since defined a quintessential Robbie role: extreme physicality, an overt defiance of cliché and a willingness to subsume herself entirely in a character.

I, Tonya also served as a declaration of intent for LuckyChap. The young team had just released a film that would be nominated for three Oscars in 2018, including a best performance by an actress in a leading role nomination for Robbie and a win for her co-star Allison Janney. The company and Robbie had certain things in common: Their sensibilities were unconventional, even wild. Both courted risk. And both saw infinite value and opportunity in what others had dismissed.
Read More

Hello Margot fans! Margot graces the August issue of British Vogue. She looks beautiful, as always! You can watch an interview she did for the magazine below as well as read her interview.

BRITISH VOGUE – Imagine you’re running down a beach, she says. You’re running very fast down a beach, and if you veer to the left, you’ll be blown up. If you step on a stone, you’ll be blown up. “So you have to stick to your path.” Margot Robbie is suddenly alight with an unusual sort of joy, remembering. As she was running down this man-made beach on a backlot in Atlanta, at one point doing a tumble roll and landing on the only safe rock in sight, she was thinking, “Yes.” She was thinking, “I’m having the absolute time of my life.”

She was shooting 2016’s Suicide Squad, the first instalment in the series of films about DC Comics supervillains who form a secret government task force to save the world from certain destruction. It was Robbie’s first time playing Harley Quinn, “professional psychopath” and former lover of The Joker, known for her platinum pigtails and make-up-smeared, maniacal face. She was instantly hooked: since then, she has played Harley in the 2020 spin-off Birds of Prey and, next month, will be seen donning the neon a third time, when an all new film, The Suicide Squad, is released.

“Those scenes,” she continues, almost breathless, “where everything’s exploding around you, and you make it just in time, those massive epic war hero runs? Those movie moments? Girls never get those. Girls never get those.”

As Robbie tells the story, she is grinning so widely that here, in reality, on her sofa in LA, her pit bull, Belle, is moved to lick her teeth. She is cross-legged, wearing a very large Miami Heat sweatshirt, eating a bowl of Cinnamon Crunch and slowly emerging from one of her migraines. She’s had them since she was eight years old, back when she was still living in Australia’s Gold Coast hinterland with her mother and three siblings, a dark pain that starts behind her eye. “I could be in a pitch black room,” she explains, rubbing her temples, “and if someone lit a match I’d be, like, blinded. So being on set is the worst place – I take my medication, sit in the trailer and ask them to do my make-up in the dark.” She chuckles apologetically – “I’m so slow today” – but it quickly becomes clear that this is possibly the ideal time to interview Margot Robbie, slightly groggy and croakily meditative, because otherwise the very pace of her, the glittering energy, might make it hard to keep up.

Having just turned 31, she’s already had the career of a star twice her age, partly because she always asks for what she wants. At 17, she wrote to the producers of Neighbours, resulting in a role as a regular cast member, shooting an episode a day. “But I’d been there for months before I realised that nobody else had other jobs on the side.” She was making sandwiches in Subway at the time. “And I was like, ‘You’re doing acting full-time? That’s possible? OK, wicked, I’m going to do that.’ It was an epiphany.”

Read more at the source

VOGUE – MARGOT ROBBIE ALWAYS thought that once she was a good enough actor, she would write Quentin Tarantino a letter. Just to get on his radar. Or at least to let him know how much his movies meant to her. She was sure people must tell him that all the time. But still. “I’ve always been a huge—huge—Tarantino fan,” she tells me one afternoon in Los Angeles. “I love his movies. Love them.” After Robbie watched the first cut of I, Tonya, the 2017 biopic about figure skater Tonya Harding, which Robbie produced and starred in, she decided she was finally good enough. (The performance would earn her an Oscar nomination.) “So I wrote him and said, ‘I adore your films, and I would love to work with you in some capacity. Or any capacity.’ ”

When Tarantino received Robbie’s letter, he’d recently finished the script for Once Upon a Time in Hollywood, a romp through the movie industry of the late 1960s, which opens this month. Friends who’d read the script had already asked if he’d be casting Robbie in the role of Sharon Tate, the actress, wife of Roman Polanski, and most famous victim of the Manson murders. Then Robbie’s letter arrived. The timing was spooky enough that Tarantino thought they should meet. Soon Robbie was sitting at the director’s kitchen table, reading the script. Robbie is a careful reader; it took her four hours. Tarantino would occasionally pop in to offer her food or a Victoria Bitter, an Australian beer. When I later ask Tarantino what made Robbie right for the role, he tells me, “Margot looks like Sharon Tate. . . . And she can convey Sharon’s innocence and purity—those qualities are integral to the story.”

Tarantino’s film is about the end of Hollywood’s Golden Age, but Robbie, who is 28, has come to represent so much of what’s new. As an Australian soap actress, she entered Hollywood being typecast. She played the bronzed, gold-digging beauty in Martin Scorsese’s The Wolf of Wall Street, the hot blonde explaining mortgage bonds from a bubble bath in 2015’s The Big Short, and Jane following Alexander Skarsgård’s Tarzan into the Congo. But it turned out Robbie wanted more than these roles. It turned out she wanted to put on a fat suit for I, Tonya and to cover her face in boils for Mary Queen of Scots and to produce female-driven projects via her production company, LuckyChap Entertainment. Part of the charm in Robbie’s Tarantino story is that it—like the film itself—sounds very old Hollywood: An aspiring actress writes a fan letter to an auteur director in hopes of getting cast in one of his nostalgia-loving films. But Hollywood is changing, and while Robbie may have arrived at the end of an era, she is now among the women ushering in a new one.

Today we’re on the set of Birds of Prey, a spin-off of 2016’s Suicide Squad that Robbie developed and pitched to Warner Bros. as an R-rated, female-led superhero action film—a commercialized product of new Hollywood if ever there was one. “I think there’s a perception that a PG female-led action film is kind of considered a chick flick,” says Robbie.

Read more at the source

Back on April 28, Margot attended the Tribeca Film Festival for promoting and presenting her new movie Dreamland. While there she was guest at Deadline Studio and she’s also taken some amazing portraits – solo and with the rest of the cast.

The gallery has been updating with several outtakes from Deadline and People portraits and her appearance at the Deadline Studio. Be sure to check them out and enjoy!

For the occasion Margot looked splendid wearing a white Alexa Chung square neck short dress with Jimmy Choo Ava 100 black liquid pointy pumps (thanks to Dress Like Margot for the infos!)

BRITISH VOGUE – Margot Robbie and Chanel have solidified their partnership with the announcement of another exciting collaboration. Having starred as the face of the winter sports “Coco Neige” campaign in 2018, Robbie is now the newest ambassador for Chanel Fragrances.

“It’s a dream to represent such a timeless and iconic brand. The history of the Chanel woman is so exciting and the brand has remained such a powerful feminine standard of style,” Robbie said of her latest role in a statement released by the brand.

Robbie has chosen Chanel for many notable occasions, such as the couture gown she wore to the Academy Awards in 2018, which was custom designed by Karl Lagerfeld and coincided with the announcement that she was becoming an ambassador of the fashion house.

The brand has remained tight-lipped on which fragrances Robbie will be fronting – or if they will be new fragrances altogether. Robbie will be in good company alongside fellow actors and ambassadors Keira Knightley, Lily Rose Depp and Kristen Stewart.

It’s shaping up to be big year for Robbie, with her turn as Sharon Tate in Quentin Tarantino’s hotly-anticipated Once Upon A Time In Hollywood out in July, and production for Suicide Squad 2 beginning later this year. Meanwhile, her LuckyChap Entertainment production company is working on numerous projects, including Emerald Fennell’s directorial debut, Promising Young Women. (source)

BUZZFEED – When it was announced that Saoirse Ronan and Margot Robbie would be playing royal rivals in Mary Queen of Scots, there was no doubt it would be worth a watch. Both were Oscar-nominated last year for their respective roles in Lady Bird and I, Tonya, and their resumés were already impressive: Saoirse started acting aged 9, going on to appear in movies like Atonement, Hanna, and The Lovely Bones; Margot is immediately recognisable for playing Harley Quinn, who’ll be getting her own Suicide Squad spinoff next year.

When we at BuzzFeed were given the chance to speak with Saoirse and Margot to promote Mary Queen of Scots in London recently, we couldn’t pass up the opportunity. They told us all about what it was like to finally work together and what kind of roles they’d love to take on next…

Check these beautiful portraits of Margot taken while doing the interview in our gallery! Enjoy 🙂

W MAGAZINE – Margot Robbie and Michael B. Jordan seem to effortlessly check all the movie star boxes: Megawatt charm? Check (those smiles!). Actor clout? No problem (having Martin Scorsese and Ryan Coogler launch their respective careers can’t hurt). Lucrative blockbuster movie franchises? Yep, that too (Robbie in Suicide Squad and Jordan in Creed, with a memorable detour into Wakanda). So, as it turns out, they have a lot to talk about—and not just about fame and their good fortune. Here, as part of our annual Best Performances portfolio, Robbie, who starred in the recent palace-intrigue period drama Mary Queen of Scots, and Jordan, who returned in Creed 2 and dominated the screen in Black Panther this year, sit down with W’s Editor at Large Lynn Hirschberg to share not only how it is they make morally questionable villains like Harley Quinn and Killmonger into magnetic antiheroes, but also their totally embarrassing early email addresses, their most memorable red carpet fashion faux pas, and their frankly amazing first kiss stories.

So Michael, what’s the first album you ever bought?

Michael B. Jordan: First album? Ah, man, that’s a good one.
Margot Robbie: Oh, that is a good one.
Jordan: I want to say, on cassette tape… um, Usher’s My Way.
Robbie: That’s a good answer.
Jordan: You’re taking me back. I want to say I rode my bike to the music store that was, like, down the street.

What was the first album you ever bought, Margot?

Robbie: I think the first album I bought was, um, AFI’s Sing the Sorrow. I was in a bit of a heavy metal phase. But I think the first single I bought was Blink 182, “All the Small Things.”
Jordan: Okay. So the heavy metal. Are you still in that phase or did you pass that?
Robbie: Occasionally.
Jordan: Occasionally?
Robbie: Occasionally.

Have you ever gone through a heavy metal phase, Michael?

Jordan: I have not.
Robbie: [Laughs.]
Jordan: But electric guitar solos are my thing. Like, I love, the Ernie Isleys of the world, the “Who’s That Lady” solo is pretty incredible. [Michael Jackson’s] “Dirty Diana” is pretty good.

Do you play air guitar?

Jordan: Air guitar? All day. [Laughs.]
Robbie: I can air guitar. That’s about the extent of my musical prowess, really.

Michael, did you box before Creed?

Jordan: I never officially boxed but karate, martial arts, and stuff like that. And then I kinda segued into boxing.

And you, Margot, have you ever boxed?

Robbie: I’ve done a bit of boxing, yeah—mainly to prepare for fight training, like stunt work. And I really, really like it. I have stupidly long arms, like, they’re too long for my body. So actually it’s kind of good when you’re boxing.
Jordan: The reach is incredible.
Robbie: An extra long reach. And it looks good on camera. Having long limbs on camera makes your punches—
Jordan: Your punch is a little wider, yeah, yeah, yeah. She knows what she’s talking about.

THE NEW YORK TIMES – When Josie Rourke made her pitch to direct “Mary Queen of Scots,” about the royal rivalry between the Scottish ruler Mary Stuart and the English Queen Elizabeth I, she suggested thinking of the movie as a renaissance version of “Heat.” Like that thriller, which cast Al Pacino and Robert De Niro on opposite sides of the law, “what the film needed was a really great scene for two women to play opposite each other,” Rourke said.

Much of “Mary Queen of Scots” (due Friday) builds to that moment when Mary and Elizabeth finally meet — a cinematic flourish, as historians believe the two communicated only by letter. The film’s scene is the sort of centerpiece that only works if you know the women playing it are formidably matched equals offscreen, too. In casting Margot Robbie as Elizabeth opposite Saoirse Ronan’s Mary, Rourke found a pair so well-matched that they even competed against each other for last season’s best actress Oscar.

Ronan was nominated then for “Lady Bird,” a coming-of-age tale that signaled the 24-year-old actress’s interest in playing complicated young women, while Robbie was in the mix for her performance in “I, Tonya” as the disgraced figure skater Tonya Harding, proving the 28-year-old actress could play roles quite unlike her breakout bombshell in “The Wolf of Wall Street.” The two women sit atop Hollywood’s young A-list, but Ronan and Robbie both bristle at traditional notions of how an actress — or, for that matter, a queen — is expected to wield that power.

USA TODAY – Margot Robbie is being royally honest.

The star of “Mary Queen of Scots” (in theaters Friday in New York and Los Angeles, expands to additional cities Dec. 21) wasn’t simply in the market for a juicy part when she signed on to play Queen Elizabeth I opposite Saoirse Ronan, who takes on the romantic (and doomed) Scottish monarch.

She was trying to add to her girl gang.

“I love all the dudes I’ve worked with, they’re amazing. (But) in real life I hang out with my girlfriends all the time,” says Robbie, 28. “I have a girl gang in New York, a girl gang in London, a girl gang in Australia. That’s who I hang out with. I have a lot of guy friends, too, but there’s nothing quite like the girl gang. And I was like, I never get to act with girls onscreen.”

The dueling queen drama was thus coronated. “Mary Queen of Scots” examines the fraught relationship between the dueling Scottish royal and her English cousin during their 16th-century reigns. The younger Mary, who herself had reasonable claim to the English throne, married and produced a male heir, posing a two-pronged threat to Elizabeth’s reign. She was also a Catholic slandered by claims of sexual promiscuity and forced to flee Scotland.

LOS ANGELES TIMES – From the moment she became queen of Scotland at 6 days old, the world never stopped scrutinizing Mary Stuart’s every move — or pitting her against Elizabeth I of England, the cousin whose throne she held a claim to by birth.

Executed at the age of 44, implicated in a plot to assassinate Elizabeth that historians debate to this day, it was her enemies who would write Mary’s legacy. So in the turbulent years of her controversial life, contemporaries wonder, who was the real woman known as Mary, Queen of Scots, and what led to her tragic undoing?

Put another way in director Josie Rourke’s forceful new biopic, “Mary Queen of Scots”: What if Mary and Elizabeth could’ve just sat down together and worked things out?

It’s a notion that occurred to Rourke, star Saoirse Ronan (“Lady Bird”), who plays the titular Scottish queen, and Margot Robbie (“I, Tonya”), who plays Mary’s cousin and political frenemy Queen Elizabeth I.

“You don’t know how many times I thought, ‘If they just called out for coffee at the beginning of this movie … it would have been so different!’” said Robbie with a laugh, reuniting in Los Angeles with Rourke and Ronan for the first time since filming the period drama.

Cheekily, Ronan agreed. “Let’s just go to Starbucks,” she added, channeling Mary, Queen of Scots, by way of a flawless Valley girl accent. “Have a blueberry muffin, sort this … out …”

Filmed on location 430 years after Mary’s grisly execution, “Mary Queen of Scots” brings the monarch’s story to life with a distinctly feminist aim, focusing on the defining years of the charismatic young Catholic queen with a fierce Ronan in the lead role.

Backed by the producers of the Oscar-winning “Elizabeth” and “Elizabeth: The Golden Age,” which starred Cate Blanchett, and scripted by “House of Cards” creator Beau Willimon, the Working Title and Focus Features film is part political thriller, part chamber drama. It marks the film directing debut of theater veteran Rourke, who also serves as the artistic director of London’s Donmar Warehouse theater.

In its humanistic portrait of the two women, the film suggests that the headstrong Mary and the fearful Elizabeth might have bolstered each other and even found solace in their shared challenges had politics, religion and male advisors on both sides not kept them at odds.