Marianne Gray

Breakfast at Tiffany’s: the official 50th Anniversary Companion

It hardly feels like 50 years ago that Audrey Hepburn’s Holly Golightly tripped her way into cinematic folklore on her journey to become a timeless icon. In her little Givenchy black dress and long cigarette holder, Holly has endured dramatically and improbably. But then, the Holly Golightly’s of this world are improbable girls to begin

‘Everyone must have a voice’

Marianne Gray talks to the down-to-earth Oscar nominee Brenda Blethyn about her latest film Brenda Blethyn doesn’t really understand why people continually ask her why she plays dowdy, often downtrodden characters, like Cynthia, the despairing mother in Secrets & Lies, or James McAvoy’s heartbroken mother in Atonement, or Mrs Bennet in Pride and Prejudice, who

Alive and kicking | 10 April 2010

Marianne Gray talks to Debbie Reynolds, one of the last of Hollywood’s Golden Era Debbie Reynolds is the first to admit she’s no longer Tammy. At 78, she’s more like the Unsinkable Molly Brown as she tours Britain this month in her one-woman show, Alive and Fabulous. ‘You people in England probably think I died

The Russian connection

Marianne Gray talks to Helen Mirren about her latest film, for which she’s had an Oscar nomination The first time I met Helen Mirren was at the Berlin Film Festival in 1985 when she was playing a Russian cosmonaut called Tanya Kirbuk in Peter Hyams’s space epic 2010. She laughed about having to learn Russian

Wry, clever and cool

A driven George Clooney tells Marianne Gray how important it is not to get typecast George Clooney arrived on British screens more or less a fully formed star. He had spent years trapped in American sitcom hell and by the time we got him he was in his mid-thirties playing the debonair Dr Doug Ross

Under the skin

Marianne Gray talks to John Malkovich about his latest film, his vanity and his first love, the stage When I met John Malkovich to talk about Disgrace, the film of J.M. Coetzee’s novel, he hadn’t seen the film yet and was positively tremulous, if a word like ‘tremulous’ can be associated with the forceful Malkovich.

In love with Hamlet, Dylan, Keats . . .

Ben Whishaw sits unrecognised, wearing a black T-shirt and drinking red wine in a dark corner of the Royal Court’s café. He has just come off stage from rehearsing Mike Bartlett’s new play Cock — in which he plays a chap who takes a break from his boyfriend and accidentally meets the girl of his