Welcome to Enchanting Emilia Clarke, a fansite decided to the actress best known as Daenerys Targaryen from Game of Thrones since 2011. She acted on stage in Breakfast at Tiffany's on Broadway, plus many movies, including Terminator Genisys, Me Before You, Solo: A Star Wars Story, and Last Christmas has some great upcoming projects. She'll be joining the MCU next year for Secret Invasions. Emilia has represented Dolce & Gabbana's and Clinque. That's not to mention being beloved by fans and celebrities internationally for her funny, quirky, humble, kind, and genuine personality. She's truly Enchanting.
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November 05 2023

 

 

 

 

Harper’s Bazaar Emilia Clarke is barefoot, running down a back street alongside London’s Savoy Hotel. Hitching her feathered Valentino dress up above her knees for extra speed, she flashes past, her hair flowing behind her. The photographer Betina du Toit snaps quickly, before they both retreat into the building, relieved not to have been caught by any security guards. “For the sake of fashion…!” Clarke exclaims.

The actress is clearly up for a challenge. And, over the past 12 years, there have been plenty of challenges, starting with growing up professionally on Game of Thrones, a series that was attracting an average of 44 million viewers when it concluded in 2019. The audience became so emotionally involved in her character Daenerys Targaryen’s trajectory from mild-mannered princess to the Mother of Dragons that, even now, some find it difficult to associate Clarke with anything else. Yet she has since taken on a variety of roles, including action heroines (she played Sarah Connor in Terminator Genisys, opposite Arnold Schwarzenegger, and the resistance fighter G’iah in the latest Marvel spin-off series, The Secret Invasion) alongside leading parts, notably in
Emma Thompson’s Last Christmas and the adaptation of Jojo Moyes’ novel Me Before You.

Clarke is unable to talk about any of these past projects, due to her support for the SAG-AFTRA strikes, and is thrilled that she’s forbidden from revisiting old Thrones ground (“because I have literally nothing new to say!”), as it frees her to discuss her forthcoming independent films and enterprises, as well as her side hustle creating comics. In 2020, she conceived and co-wrote, with the artist Leila Leiz, a satirical comic book titled MOM: Mother of Madness (which she characterises as “Deadpool meets Fleabag”) whose heroine is Maya, a single mother of an autistic son, who has special powers she can access when she has a period. “I wanted to use the menstrual cycle as an allegory for everything we don’t like about ourselves,” she says. “Periods make us feel insecure – I can still get embarrassed buying tampons in Sainsbury’s. I thought it was an interesting spin – that the thing we don’t like is actually what gives us our power.”

We meet again after the shoot on a quiet Friday afternoon in the top-floor Soho office of Clarke’s production company Magical Thinking Pictures, which she set up in 2016 in order to be able to green-light her own passion projects. It is a cosy, intimate space, scented with candles and fresh flowers, lined with books and adorned with framed posters of Maya. Comfortable in a navy cardigan and cream-coloured jeans, Clarke curls up on a sofa, inviting me to sit beside her. Physically tiny, about 5”1, she has an outsize presence. She gesticulates widely as she talks, her strong eyebrows in constant motion; at points in the conversation she breaks into different voices and occasionally argues with herself, her sentences running into each other as if she can’t keep her fizzing ideas contained within.
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September 06 2023

In Deauville, where she received the Nouvel Hollywood prize, the sunny Game of Thrones actress looks back on her cinematic crushes, her relationship with fashion, and her love for France.

 

 

Vogue France Emilia Clarke , the unforgettable Daenerys Targaryen in the HBO Game of Thrones phenomenon , was at the Deauville American Film Festival to receive the Nouvel Hollywood prize, which awards a star of American cinema. The same day, September 3, The Pod Generation premiered at the festival, a Sophie Barthes directed film, in which the actress stars, telling the story of a couple who call on artificial intelligence in the hopes of having a baby. It was the perfect occasion for the sunny actress, decked out in Chanel throughout the festival, to discuss this award, as well as look back on her love for French cinema and her vision of the New Hollywood.
 

A head-to-head in Deauville with Emilia Clarke:

You received the New Hollywood prize here in Deauville. What does this award mean to you? And for your career?
It means the world to me! It has long been my dream to be able to work alongside filmmakers that I admire and minds I want to learn from, so for such a prestigious festival as Deauville to recognize me for my work makes my imposter syndrome take a momentary back seat!

What is your personal vision of the New Hollywood? Of this new generation of actors and filmmakers?
My vision of the New Hollywood is one of action, change, representation, equality in both country and leadership roles and of true fierce unapologetic creativity. I want to be in lock step with my peers making work that challenges, and changes the status quo, that asks questions of our society and of the ways in which we can encourage people to see the humanity within us, and the environment around us as things of importance. The new generation of Hollywood continues to inspire and push me, both creatively and professionally, the future’s bright!

Of your generation, which actress do you admire?
Too many to count! But I currently have one helluva girl crush on Jessie Buckley . She portrays such a range of emotions with such a deft grace that makes her transform in a way that pushes me to want to be better myself!

Which young director would you like to work with?
Again, I could write a book here, but someone whose work I’m in awe of would be Charlotte Wells .

What differences do you see between American and European cinema?
I do see a difference, and I think that speaks to the fact that in European cinema there is more encouragement to take risks, and how it puts less onus on a financial reward and more on the creative act itself that is rooted in a freedom of expression. That kind of fluidity allows for films that don’t bow to a rule book and can result in pieces of work that show a real identity. All this being said, films need to make money for the industry to survive but I would love to work more within a European sphere to fully explore the breadth of my ability. I’ve spent a long time in the heat of the studio system in America and am ready to be on projects that are smaller and more intimate (not to say that I don’t still love being a superhero…)

Which French filmmakers do you admire?
I am blown away by Celine Sciamma . Portrait of a Lady on Fire ’s visuals have not left my imagination since I saw it. I’m also incredibly excited to see Bertrand Bonelli ‘s The Beast .
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July 18 2022

VARIETY: Emilia Clarke has opened up about her experience surviving two brain aneurysms, expressing gratitude that she has been able to recover after losing “quite a bit” of the organ.

Clarke recalled her health troubles during an interview with the BBC’s Sunday Morning, in which she promoted her production of Anton Chekhov’s “The Seagull” at the Harold Pinter Theater. The play marks the actress’ West End debut.

“It was the most excruciating pain,” Clarke said. “It was incredibly helpful to have ‘Game of Thrones’ sweep me up and give me that purpose.”

Clarke suffered two life-threatening brain aneurysms while working on the HBO series: the first in 2011, the second in 2013. Both medical emergencies necessitated lengthy recovery periods. Clarke first opened up about the difficult situation in 2019, with the assurance that she is now completely better.

“The amount of my brain that is no longer usable — it’s remarkable that I am able to speak, sometimes articulately, and live my life completely normally with absolutely no repercussions,” Clarke stated. “I am in the really, really, really small minority of people that can survive that.”

Clarke then recalled the time she saw scans of her brain after the incidents.

“There’s quite a bit missing,” Clarke said before erupting into a big chuckle. “Which always makes me laugh… Strokes, basically, as soon as any part of your brain doesn’t get blood for a second, it’s gone. So the blood finds a different route to get around, but then whatever bit is missing is therefore gone.”

Clarke has since created a charity for brain injury and stroke victims called SameYou, though she has put her own medical troubles behind her and accepted her current health condition.

“I thought, ‘Well, this is who you are. This is the brain that you have.’ So there’s no point in continually wracking your brains about what might not be there,” Clarke said.

Clarke also took the time to discuss her role in “The Seagull,” which opened on July 6.

“The opportunity to play Nina in ‘The Seagull’ on the West End stage with a lauded, applauded incredible director like Jamie Lloyd — it’s been a kind of profound experience… It’s daring taking such a beloved and well-known play like this and putting it in such a modern, stripped-back, bare [format],” Clarke shared. “It’s why you do theater. It’s so exciting.”

July 13 2022

Ahead of her British stage debut in The Seagull, the Game of Thrones star talks about her self-doubt as the hit show took off, her decision to write about her brain aneurysms – and showing her love through baking

 

THE GUARDIAN: On 16 March 2020, Emilia Clarke went on stage with the cast of The Seagull. Previews had started, and the actor was about to make her much-anticipated West End debut after a decade starring in some of the biggest films and TV shows imaginable. At the half-hour mark, everything stopped: the government had decreed that theatres were to shut with immediate effect. Lost and adrift, everyone huddled into a pub, which was filled with crowds from the surrounding theatres. “My lawyer from America was calling about something,” recalls Clarke now. “And she was like, ‘Get out of the pub!’ We had no idea of the enormity of it.”

Events, of course, got in the way. Two-and-a-bit years on, we meet at The Seagull rehearsal studios in south London, a cavernous former warehouse with a skeletal stage set up in the middle of it. Not much is known about Jamie Lloyd’s production of the classic Chekhov play, but hopefully it isn’t too much of a spoiler to say – based on a diorama sitting on a side table – that it will feature some chairs. “There are no distractions,” says Clarke. “We don’t have a samovar. There’s no linen. There aren’t any trees. No one’s in crinoline. What we’re doing could be seen as quite radical. I think it might be Marmite.”

The actor is no stranger to the divisive power of art – on which more later – but the spare and lean production marks a pronounced change from the jobs she has done since being catapulted into superstardom by Game of Thrones in 2011. Following the phenomenally successful HBO series, in which she portrayed Daenerys Targaryen, Clarke has starred alongside Arnold Schwarzenegger in Terminator Genisys, played Han Solo’s love interest in Solo: A Star Wars Story and dressed as an elf in Paul Feig’s Emma Thompson-scripted romcom Last Christmas. She has won a Bafta Britannia award and been nominated for numerous Emmy, Screen Actors Guild and Critics’ Choice awards; in 2019, she was one of Time’s 100 most influential people.
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June 23 2021