Hayley Atwell (Wallpaper 4)
Monday, October 31, 2011
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Hayley Atwell (Wallpaper 4)
Four. Hayley Atwell widescreen wallpaper photo gallery, Captain America, The First Avenger, actress, model, movie, girl, woman, hot, sexy, beautiful, photo, image, picture, wallpaper.
Hayley Atwell is serious about acting. She not only took on major Shakespeare roles and excelled in challenging theatrical plays, but she got her BA in acting at The Guildhall School of Music and Drama, where she studied from 2002 to 2005. Fresh out of the drama-school dressing room, Hayley Atwell's only credits included a tiny handful of productions for the BBC television channel in the UK. In 2006, for instance, she played the role of Catherine Fedden in The Line of Beauty. Her character was a dangerously sexy, self-harming, manic-depressive sister who took increasingly heavier dosages of lithium, and made astonishingly rude remarks toward her family and friends. Hayley Atwell then went on to finish filming the made-for-TV movie Fear of Fanny for BBC 4, and continued landing small TV roles with a part in the miniseries The Ruby in the Smoke. On June 21, 2006, Woody Allen picked the young British actress to play the female lead in his summer project. Within a few months, Hayley Atwell went from playing minor roles on TV to shooting alongside Hollywood heavyweights Ewan McGregor and Colin Farrell, and became the muse of one of America’s most highly respected writer-directors of all time. The film is a crime thriller about two brothers who have such bad financial problems that they turn to a life of crime to compensate for their debts. Things take a turn for the worst and the two criminal siblings become bitter enemies. Aside from her lead role in the BBC series The Line of Beauty, Hayley Atwell appeared in The Ruby in the Smoke that same year and followed that up with the radio series Doctor Who: Blood of the Daleks, which lasted for one year. 2007 was a busy time for the always-together Hayley Atwell. In addition to serving on the jury for the 2007 British Independent Film Awards, she worked in a variety of projects, such as a theater production of The Man of Mode, a radio series called Felix Holt, the Radical as well as several movies including the TV flick Mansfield Park and big screeners like Cassandra's Dream and How About You. Hayley Atwell's 2008 project was playing the title character in Major Barbara at the National Theatre. A trip, aged 11, to see Ralph Fiennes – with whom she would later work on The Duchess – playing Hamlet was a particularly formative moment. A shy child, Atwell found that the only time she wasn’t terrified of speaking was when she was saying somebody else’s words, reading aloud in class or performing in a play. 'From a very young age, stories fuelled my imagination in the most wonderful way,’ she says. She remembers spending many hours alone in her room recreating her favourite fairy stories. 'Sometimes I would steal characters’ names from other stories and put them into mine. I felt very safe and very happy in those little worlds of my own.’ She recognises that the woman she has grown into is a product of the child who could navigate any social situations she found herself in by putting on a mask. 'When I was with my mother’s friends, I could talk fluently about Descartes. When I was with my father, I could do the New Age thing and immerse myself in ceremonies for dead spirits I had never met. When I was with my posh friends, I could be posh. When I was with my rougher friends, I could be totally street.’ 'Hayley is a real chameleon,’ says Saul Dibb, who cast her in her first television role as Catherine Fedden, the bipolar daughter of a corrupt MP in the BBC adaptation of Alan Hollinghurst’s novel The Line of Beauty. 'She can adapt to any situation with the most extraordinary ease. She is also a strong character who has the added bonus of being one of those magnetic characters that people just want to be near.’ Atwell imbues her characters with a blend of strength and vulnerability, a complexity that draws the audience in. 'No one else could have made Bess Foster, ostensibly a manipulative home-wrecker, into someone so hard to hate,’ Dibb says of her performance in The Duchess. 'I guess I do always find the shadow, the something else going on,’ Atwell says. 'I’m very bad at doing one thing because I don’t believe that any human being is just one thing.’ For Jamie Lloyd, who will direct Atwell in a Royal Court production of Alexi Kaye Campbell’s new play, The Faith Machine, this autumn, there was no other actress so well-equipped to play Sophie, an investigative journalist who sacrifices her personal objectives in pursuit of her ideals. 'Hayley has a fierce determination and a genuine wit but she’s also not afraid to go to the murkier depths,’ he says. At a read-through of the play last year, Lloyd remembers how Atwell 'turned up early, was unbelievably efficient and had also done a lot of work on the script’. 'I’m in this job for the long-term,’ explains Atwell, who lists Judy Davis, Kate Winslet and Cate Blanchett as role models. 'I take it very seriously and am very serious about getting it right.’ Every choice she makes is carefully considered. Thus, Captain America is a conscious step towards stardom – 'I know that being in a film like that can open up all sorts of doors that I would like opened’ – and going straight from its premiere in Los Angeles to the Royal Court rehearsal rooms in London shows a conscious commitment to keeping herself grounded while she’s about it. Atwell is not averse to the idea of heading to Hollywood, if Hollywood asks her to go. 'I am, and I feel, half-American,’ she says. 'If the work was there, of course I’d go.’ Currently single (her three-year relationship with Gabriel Bisset-Smith, a scriptwriter she met at drama school, recently came to an amicable end; she lives alone in a flat in Primrose Hill), Atwell is acutely aware that she is standing at a crossroads. 'Who knows what will happen?’ she says. 'It’s like Kierkegaard says: “Life can only be understood backwards; but it must be lived forwards.”’
Four. Hayley Atwell widescreen wallpaper photo gallery, Captain America, The First Avenger, actress, model, movie, girl, woman, hot, sexy, beautiful, photo, image, picture, wallpaper.
Hayley Atwell is serious about acting. She not only took on major Shakespeare roles and excelled in challenging theatrical plays, but she got her BA in acting at The Guildhall School of Music and Drama, where she studied from 2002 to 2005. Fresh out of the drama-school dressing room, Hayley Atwell's only credits included a tiny handful of productions for the BBC television channel in the UK. In 2006, for instance, she played the role of Catherine Fedden in The Line of Beauty. Her character was a dangerously sexy, self-harming, manic-depressive sister who took increasingly heavier dosages of lithium, and made astonishingly rude remarks toward her family and friends. Hayley Atwell then went on to finish filming the made-for-TV movie Fear of Fanny for BBC 4, and continued landing small TV roles with a part in the miniseries The Ruby in the Smoke. On June 21, 2006, Woody Allen picked the young British actress to play the female lead in his summer project. Within a few months, Hayley Atwell went from playing minor roles on TV to shooting alongside Hollywood heavyweights Ewan McGregor and Colin Farrell, and became the muse of one of America’s most highly respected writer-directors of all time. The film is a crime thriller about two brothers who have such bad financial problems that they turn to a life of crime to compensate for their debts. Things take a turn for the worst and the two criminal siblings become bitter enemies. Aside from her lead role in the BBC series The Line of Beauty, Hayley Atwell appeared in The Ruby in the Smoke that same year and followed that up with the radio series Doctor Who: Blood of the Daleks, which lasted for one year. 2007 was a busy time for the always-together Hayley Atwell. In addition to serving on the jury for the 2007 British Independent Film Awards, she worked in a variety of projects, such as a theater production of The Man of Mode, a radio series called Felix Holt, the Radical as well as several movies including the TV flick Mansfield Park and big screeners like Cassandra's Dream and How About You. Hayley Atwell's 2008 project was playing the title character in Major Barbara at the National Theatre. A trip, aged 11, to see Ralph Fiennes – with whom she would later work on The Duchess – playing Hamlet was a particularly formative moment. A shy child, Atwell found that the only time she wasn’t terrified of speaking was when she was saying somebody else’s words, reading aloud in class or performing in a play. 'From a very young age, stories fuelled my imagination in the most wonderful way,’ she says. She remembers spending many hours alone in her room recreating her favourite fairy stories. 'Sometimes I would steal characters’ names from other stories and put them into mine. I felt very safe and very happy in those little worlds of my own.’ She recognises that the woman she has grown into is a product of the child who could navigate any social situations she found herself in by putting on a mask. 'When I was with my mother’s friends, I could talk fluently about Descartes. When I was with my father, I could do the New Age thing and immerse myself in ceremonies for dead spirits I had never met. When I was with my posh friends, I could be posh. When I was with my rougher friends, I could be totally street.’ 'Hayley is a real chameleon,’ says Saul Dibb, who cast her in her first television role as Catherine Fedden, the bipolar daughter of a corrupt MP in the BBC adaptation of Alan Hollinghurst’s novel The Line of Beauty. 'She can adapt to any situation with the most extraordinary ease. She is also a strong character who has the added bonus of being one of those magnetic characters that people just want to be near.’ Atwell imbues her characters with a blend of strength and vulnerability, a complexity that draws the audience in. 'No one else could have made Bess Foster, ostensibly a manipulative home-wrecker, into someone so hard to hate,’ Dibb says of her performance in The Duchess. 'I guess I do always find the shadow, the something else going on,’ Atwell says. 'I’m very bad at doing one thing because I don’t believe that any human being is just one thing.’ For Jamie Lloyd, who will direct Atwell in a Royal Court production of Alexi Kaye Campbell’s new play, The Faith Machine, this autumn, there was no other actress so well-equipped to play Sophie, an investigative journalist who sacrifices her personal objectives in pursuit of her ideals. 'Hayley has a fierce determination and a genuine wit but she’s also not afraid to go to the murkier depths,’ he says. At a read-through of the play last year, Lloyd remembers how Atwell 'turned up early, was unbelievably efficient and had also done a lot of work on the script’. 'I’m in this job for the long-term,’ explains Atwell, who lists Judy Davis, Kate Winslet and Cate Blanchett as role models. 'I take it very seriously and am very serious about getting it right.’ Every choice she makes is carefully considered. Thus, Captain America is a conscious step towards stardom – 'I know that being in a film like that can open up all sorts of doors that I would like opened’ – and going straight from its premiere in Los Angeles to the Royal Court rehearsal rooms in London shows a conscious commitment to keeping herself grounded while she’s about it. Atwell is not averse to the idea of heading to Hollywood, if Hollywood asks her to go. 'I am, and I feel, half-American,’ she says. 'If the work was there, of course I’d go.’ Currently single (her three-year relationship with Gabriel Bisset-Smith, a scriptwriter she met at drama school, recently came to an amicable end; she lives alone in a flat in Primrose Hill), Atwell is acutely aware that she is standing at a crossroads. 'Who knows what will happen?’ she says. 'It’s like Kierkegaard says: “Life can only be understood backwards; but it must be lived forwards.”’
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