A trailer has been released for The Bikeriders in the movie Jodie Comer plays the role of Kathy. Stills / Screencaps from the Trailer have been added to our gallery, enjoy!
From writer-director Jeff Nichols (“Loving,” “Midnight Special,” “Mud”), 20th Century Studios and New Regency, “The Bikeriders” is a furious drama following the rise of a fictional 1960s Midwestern motorcycle club through the lives of its members, starring Jodie Comer (“Killing Eve,” “The Last Duel”), Austin Butler (“Elvis”) and Tom Hardy (“Mad Max: Fury Road,” “The Revenant”).
The script for the play “Prima Facie” didn’t languish after landing in Jodie Comer’s inbox
The script for the play “Prima Facie” didn’t languish after landing in Jodie Comer‘s inbox. Fitting for an urgent call for change, the script demanded action. It would not be denied.
“Sometimes when things present themselves, it’s impossible to say no,” says the “Killing Eve” actor. “This piece felt very, very clear to me. There was no hesitation that I felt. Sometimes that kind of guttural instinct really doesn’t lie.”
It didn’t matter that the script represented Comer’s first stage role. No matter that she’d be alone for some 90 minutes, even asked to move her own props. “I read it within the hour and I was like, ‘What have I got to do?’”
Comer leapt in and has found herself winning an Olivier Award in London for her performance and now a Tony nomination for best actress in a play. She’s also raising her fist for women in a work that challenges the status quo.
The script was from Suzie Miller, a former criminal defense and human rights lawyer who uses the one-woman show to illustrate how current laws fail terribly when it comes to sexual assault cases.
Comer plays Tessa Ensler, a young, clever barrister who has developed a knack for getting her male clients off the hook in assault cases until she spends a night drinking with another barrister and he rapes her.
Now, instead of donning a fancy wig as a crown prosecutor, she’s left shaking in the witness box. Why isn’t her evidence presented in a clean, logical package? She must relive her nightmare in court with her motives questioned. And justice may hinge not on the actions, but on whether the perpetrator believed he had consent.
“A woman’s experience of sexual assault does not fit the male-defined system of truth. So it cannot be truth, and therefore there cannot be justice,” she says in the play.
“Prima Facie” — a legal term meaning “on the face of it” — has already created shock waves in England. A filmed version is now compulsory viewing for new judges, and Miller says a judge who saw her play has redrafted the spoken directions juries are given in sexual assault matters. The play has inspired efforts to change British laws.
Both Comer and Miller get hundreds of messages a week from women telling their own stories of assault, some telling about it for the first time, part of a larger movement fueled by #MeToo.
“I’m really trying to savor every second of it because not every piece of work creates this sort of conversation or space,” says Comer. “That is the biggest reward of all —when you are a part of a piece like this and people genuinely feel represented. That it is a source of comfort.”
To win a Tony on June 11, Comer must beat Jessica Chastain in “A Doll’s House,” Jessica Hecht in “Summer, 1976” and Audra McDonald from “Ohio State Murders.”
In terms of sheer physicality, Comer earns it every night. She moves tables together, jumps up on them, sits in rain, uses various voices and performs her own character’s rape.
“It really helped me build my kind of mental resilience, even though I have moments that is absolutely challenged,” she says. “I would say what I’ve learned from this experience is that you have to take care of yourself.”
Miller was inspired to write “Prima Facie” by the years she spent as a lawyer taking statements from hundreds of women who had been sexually assaulted. “Not a single one of them who went to trial actually ended up having a conviction,” she says. “The worst things is they’re all so similar.”
Her first play, “Cross Sections,” was about the homeless and the desperate living in the red-light district in Sydney, Australia, a work which humanized what many believed were throw-away people.
“After I wrote that there was a lightning bolt moment for me, which was, ‘Oh, wow, stories really can make people empathize and think about things,’” she says.
Miller has since taken up the baton of V — the “Vagina Monologues” playwright formerly known as Eve Ensler, who brings social messages to her work. It is no coincidence that Miller named the heroine of “Prima Facie” Tessa Ensler.
The idea of battling the establishment also attracted Comer, an Emmy Award and BAFTA winner, who grew up in the working class of Liverpool and has had to shapeshift in order to succeed, like her character.
When she was auditioning for theater roles, she was rebuffed because she hadn’t attended drama school. “There was a lot of feedback of like, ‘She’s not trained. It’s too big a task,’” she recalls.
The producers of “Prima Facie” didn’t ask her to audition and didn’t mind she hadn’t attended drama school.
“They didn’t see it as this kind of hindrance. And so I guess the stars all aligned at the right time,” Comer says. “This is beyond anything I could have ever dreamed.”
EXCLUSIVE: Paramount’s Republic Pictures label has acquired North American rights to dystopian drama-thriller The End We Start From, starring BAFTA and Emmy winner Jodie Comer (Killing Eve).
The mid seven-figure pact marks the biggest announced deal for a project on sale at this year’s Cannes market so far. Anton and UTA are handling world sales here on the Riviera.
Comer stars as a woman who, along with her newborn child, must try to find her way home amid an environmental crisis that submerges London in flood waters and sees their young family torn apart in the chaos.
The ‘Killing Eve’ actress made her West End and Broadway debut in the role, in which she is solo on stage for the entirety of the drama.
I have added Stills & Screencaps of Jodie in the 2017 Movie “England Is Mine” enjoy viewing the caps!
Hi all, I have finally added Screencaps of Jodie Comer in “The Last Duel” many thanks to Jen for kindly donating these! You can now view them in the gallery.
Principal photography has begun on Mahalia Belo’s UK dystopian drama The End We Start From, starring Jodie Comer.
The Emmy award-winning star of Killing Eve is also an executive producer on the feature, from Benedict Cumberbatch’s SunnyMarch, Hera Pictures, Anton and BBC Film.
A first image has been released from the film, shown above, in which Comer plays a new mother trying to get back home as environmental disaster submerges London in floods. The cast also includes Joel Fry, Mark Strong, Gina McKee, Katherine Waterston, Nina Sosanya and Cumberbatch
Based on the novel by Megan Hunter, the screenplay has been adapted by Lady Macbeth and Succession writer Alice Birch.
Director Belo’s credits include TV mini-series The Long Song and Channel 4 film Ellen, both of which earned the filmmaker a Bafta nomination.
Producers are Leah Clarke and Adam Ackland for SunnyMarch, Liza Marshall for Hera Pictures, Amy Jackson and Sophie Hunter.
Anton, C2 Motion Picture Group, BBC Film and the BFI (through their awarding of National Lottery funding) are co-financing the film.
Executive producers are Strong and Cumberbatch; Sébastien Raybaud, Fanny Soulier, Pieter Engels, Kate Maxwell for Anton; Dave Caplan and Jason Cloth for C2 Motion Picture Group; Eva Yates and Claudia Yusef for BBC Film; and Lizzie Francke for the BFI.
Comer was named a Screen Star of Tomorrow in 2016 and made her West End debut in Suzie Miller’s Prima Facie, which broke box office records for event cinema last weekend through National Theatre Live.
I’ve updated the gallery with Screencaptures of Jodie Comer in Free Guy in which she plays the two roles of Millie and Molotov Girl! Enjoy viewing the screencaps in our gallery!
When Jodie Comer was growing up in Liverpool in the north west of England, she and her dad would mess about copying accents on the TV. She didn’t know it then, but it would be excellent training for her career as an actor (she can seamlessly go from ‘frightfully posh British’ to ‘Russian assassin’).
Fast forward to 2021 and Comer is everywhere right now. Having honed her craft on British telly, her big break came after her portrayal of Russian assassin Villanelle in Phoebe Waller-Bridge’s smash hit Killing Eve. Now, she’s made the move to the big screen with starring roles in Free Guy alongside Ryan Reynolds and a new Ridley Scott blockbuster, The Last Duel.
Set in 14th century Normandy and based on a true story of the last sanctioned duel in France, Comer steals the show – which is no mean feat given her co-stars are Adam Driver, Ben Affleck and Matt Damon. Comer plays Lady Marguerite de Carrouges, a noblewoman who is raped by Jacques LeGris (Driver), a former friend of her husband (Damon). We chatted about her progression from small to big screen, how she feels about becoming a national treasure and the time she got her mum’s roast delivered to a film set.
The Last Duel explores a powerful story based on real events. Did that play on your mind when you took on the role?
‘Definitely. The biggest goal was to encapsulate the strength and the resilience that [Marguerite] evidently had in speaking out in a time when women were so disregarded by society and not thought of as human.’
The film exposes the power dynamics between men and women in the 14th century. Does it feel different exploring that in a period setting rather than in a contemporary drama?
‘We are naive sometimes in thinking: “Oh, this was so long ago and we don’t have this problem anymore”. There are still these issues around the world today and especially with women fighting for autonomy over their own bodies – that hasn’t gone away.’
What was it like working with Ridley Scott on this massive film?
‘It was such a dream to get to see how he works, having watched his films and been a fan of him. He has four or five cameras rolling the entire time, which is unheard of.’
There’s lots of sword fighting and elaborate costumes in The Last Duel. Did you take anything home from the set?
‘I didn’t, although I had a hefty pair of wooden clogs on, which were a size too big. I don’t think you ever see them. Ridley [Scott] really liked them, they made a great sound on the cobbles. A lot of those costumes are handcrafted and so many hours have gone into creating them so I wouldn’t dare ask for anything off that set.’
You didn’t fancy the wooden clogs?
‘Strangely not! No, they can go back in the cupboard until next time.’
You star alongside Matt Damon, Ben Affleck and Adam Driver. Did you teach them any Liverpudlian slang?
‘No I didn’t. Maybe I missed an opportunity there. It’s funny because we were in Venice recently and Ben was like: “I think this is the first time I’ve actually heard you speak properly in your own voice…”’
We’d be naive to think that we don’t have this problem anymore. Women are still fighting for autonomy over their bodies
Were the costumes fun to wear or was it a nightmare involving lots of corsets?
‘When you’re filming in a field and you have to go to the bathroom and you have 17 layers on, that’s when it gets a bit tiresome but all in all, it was amazing. The thing about those costumes is that you’re immediately transported to the world in which you’re in. You hold yourself differently.’’
You’ve just had another watercooler moment with British TV drama Help, alongside Stephen Graham. It’s set in a care home during the pandemic, a topic that’s raw for so many people. What has the reaction been like?
‘It’s been wonderful. We couldn’t have hoped for a better reaction. We’re aware that this is still very present in a lot of people’s lives. Having spoken to carers in my research, I wanted them to watch it and felt like we had spoken for them and represented them truthfully.’
I saw people on Twitter describing you as a ‘national treasure’ after it aired. Do you feel ready to be a national treasure?
‘Ooh, that’s a heavy weight to carry! But it’s very kind. I realised when filming Help: Why would you not utilise your gift, your job, and give back in this way and tell stories like this?’
What’s the best thing about working with Stephen Graham?
‘I want to say everything. He’s mischievous. He doesn’t take himself too seriously, which I love. When you think of how crazy talented that man is and he’s so modest, unassuming and a lot of fun.’
I saw on your Instagram that you got your mum’s roast delivered to the set of ‘Help’. Were your castmates jealous?
‘They were! Well, I took it up to my room but then I put it on Instagram, because I was like: this is possibly the best day of my life – a Sunday of filming and I’ve managed to get my mum’s roast dinner to set. Everyone was like: where did you get that roast dinner from? Steven was definitely jealous. But she also used to make scouse, a meat and potatoes stew, on a Thursday for Steven and I, so we’d have lunch together.’
Killing Eve has been such a big turning point in your career. When you got that role, did you think it would be life-changing?
‘Not at all. By that point, I only had the script for episode one. I knew it was Phoebe [Waller-Bridge] and I knew the script was special. However, none of us really knew what that was going to turn into. I was overwhelmed that I had been given the opportunity, because you always think it’s going to go to someone who’s more well known than you and can put more bums on seats.’
Did you ever think that your ‘big break’ might not happen?
‘I feel like each job contributes to something. One thought I did have was that, doing predominantly television, I’d always had this insecurity, like: “I’m never going to be in films because there are film actors and TV actors and there’s such a huge difference, I’m never gonna be able to step into that”. That was my own insecurity, because there’s such little difference.’
What do your friends and family make of your rise to fame? Are they impressed when you tell them you’ve got the part in a massive Hollywood film?
‘It’s funny you should say that, because I remember when I got my first role in [UK medical soap opera] The Royal Today and it was like: “Wooo!”, celebration, champagne popped. And now it is a little bit more like: “Oh, amazing. Well done, babe.” They’re always so happy for me but I always remember that.’
Is it true that you learned how to do accents from watching TV adverts when you were younger?
‘Yeah, anything on the television that had some sort of regional accent, whether it was Cilla Black or a KFC advert. Me and my dad would always mimic them, purely just to make each other laugh. But I think that made me a bit fearless, so then when I was going to auditions and there was an accent on it that wasn’t my own, I wasn’t intimidated.’
“I’ve always been a bit fearless going into auditions”
What’s the most awkward audition experience you’ve ever had?
‘Oh god. They’re all a little bit awkward, I’m not going to lie! I remember one a very long time ago when I was with my first agency and I came all the way to London. There was dancing involved, I think it was for a theatre production. I got the train from Liverpool, was half an hour late, came into a dance room where everyone was already halfway through the routine and I had to tag along and then dance with two other people at the front. That was pretty humiliating. I wanted to leave as soon as I got there.’
What’s been the most surreal moment of your career so far?
‘Doing Help, there were so many Liverpool actors there, people who I’ve admired for so long – Ian Hart, Cathy Tyson, Sue Johnston. I had a moment where I was doing a scene with Sue Johnston. I was like: “Sue, I just want to tell you this – I wish my nan was alive to see the fact that I’m in this room with you”.’
You’re filming the fourth and final series of Killing Eve at the moment. Do you ever freak people out by putting on the voice of your character Villanelle?
‘No, never. Sometimes I get asked to do it if I’m out in a bar and someone’s had a couple of drinks. My insides just go: “Urghhh” and my toes curl up. So no, I never get that one out – only when I’m on set and they say action.’