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Rosamund Pike tells Vanity Fair contributing editor Sam Kashner that filming Gone Girl was the most grueling experience she has ever had on set. “I spent more time in front of the camera on that film than in my entire career to date, because he’s shooting five to six hours of footage a day, and over a hundred days shooting that mounts up,” Pike tells Kashner. They shot the scene in which Pike slits the throat of Neil Patrick Harris, who plays her savior/captor, Desi Collings, 36 times; the set had to be remade for each take. “Think of the 36 showers they had to take, to wash the fake blood off,” Kashner writes.

“I told them to rehearse it for three days,” Fincher tells Kashner, “as we’re pumping five gallons of blood out of Desi’s throat.” They choreographed it for a week, then filmed it with 36 sheets, 450 gallons of blood, and 36 pairs of underpants on hand.

Pike tells Kashner of living through working with Fincher and now being presented with the challenges of stardom: “I feel like I’ve dealt with the Minotaur and now I’m facing the Medusa.”

The Medusa reared its head on a recent visit to a shop in London’s Soho to buy some imported ham. “I went into this lovely Spanish shop,” she tells Kashner, “and the girl said, ‘Has anyone ever told you you look just like the girl in Gone Girl?,’ and I said, ‘Well, that’s me.’ And then she just looked at me with this deepest look of suspicion. And I said, ‘I’m pregnant, so I look a bit different, and I’m English.’ And she’s like, ‘But why are you here?’ And I said, ‘Well, I’m from here.’ And it was like, ‘You should not be buying cold cuts in a restaurant in Soho!'” Kashner writes, “Once you’re 50 feet tall and in the public’s imagination, it’s as if you’ve become an alien being. The public doesn’t want you to be real.”

Pike also talks to Kashner about studying the inscrutable and idolized Carolyn Bessette Kennedy, who had the aloof, unknowable quality Fincher was after. “I had these images of before and after of Carolyn as an 18-year-old and as a 20-year-old, the notion of someone self-made,” Fincher tells Kashner. “She crafted herself, she re-invented herself, and invented that persona. That’s where I began.”

Pike found a special issue of a magazine at the airport on her way home from her meeting with Fincher, a ” ‘doomed love of John F. Kennedy Jr. and Carolyn Bessette Kennedy’ kind of thing. I bought itI took it as a sign,” she tells Kashner. “I ordered old copies of the Vanity Fair in which she appeared on the cover. I scoured the Internet for any footage of her or, even better, any interviews or recordings which captured her voice. And I realized that David had basically given me a cipher to study. There are countless photographs of Bessette but I could find nothing of her in her own words. And I thought, Well, maybe that’s fine. Amy, as she wants to be seen, should be created from outside in.”

Pike tried to find a way to “own that body language, the self-protective seductiveness, head down, hair falling. I couldn’t really read her face, and so I tried to use that quality. You meet Amy, she smiles, but her eyes are always scanning you, assessing, seeing if you can play the game, surprised and pleased when you score a point, feeling you might after all be worthwhile. It is not a relaxing way to live.”

The February issue of Vanity Fair will be available in New York and Los Angeles, as well as on the iPhone, iPad, Kindle, and other devices, on January 8. The magazine will be on national newsstands and available in an audio edition January 13.

Magazine Scans > Scans from 2015 > Vanity Fair – February
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  • Michael J Davies
    Posted on January 24, 2015

    Lovly website everyone. Keep up the good work.

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