Welcome

Welcome to Brie Larson Archives, your most comprehensive source for the Academy Award winner Brie Larson. She is best known from movie production such as Room, Just Mercy, Scott Pilgrim vs The World, Kong: Skull Island and more. Brie can be seen as Captain Marvel/Carol Danvers in the Marvel Cinematic Universe movies. We aim to provide fans with high quality photos and videos, all the latest news, career information and more. Check out the site and please come back soon.

Latest Photos

BLA016.jpg
BLA015.jpg
BLA017.jpg
BLA011.jpg
BLA012.jpg
BLA014.jpg
BLA013.jpg
BLA005.jpg
BLA006.jpg
BLA007.jpg

Coverage: Jimmy Kimmel Live

Written by Marilia on Tuesday, March 5th, 2019 No comments

Brie talks about being cast as Captain Marvel, traveling around the world with Samuel L. Jackson for press, not being invited to join his Italy trips with Magic Johnson, training for the role including learning to fly a jet, getting a call sign, and learning to make a cool superhero face.

brielarsonarchives_019.jpg brielarsonarchives_021.jpg brielarsonarchives_025.jpg brielarsonarchives_026.jpg
brielarsonarchives_039.jpg brielarsonarchives_042.jpg brielarsonarchives_044.jpg brielarsonarchives_045.jpg

Brie for Marie Claire UK

Written by Marilia on Saturday, February 9th, 2019 No comments

Brie is gracing the cover of this March issue of Marie Claire UK and it is such another gorgeous photoshoot. Check out the cover, scans and some outtakes in our gallery!

brielarsonarchives_001.jpg brielarsonarchives_001.jpg  brielarsonarchives_006.jpg

When Brie Larson won an Oscar for the 2015 movie Room, I jumped for joy as if I knew her. I hadn’t even seen the film yet, but I’d just finished the moving novel by Emma Donoghue that it was based on (about a mother and her five-year-old son held captive in a room), and felt certain she had done the role of Ma justice.

I wouldn’t get to know her until 2017, when we started following each other on Twitter. I was feeling insecure about being vulnerable, so when I heard her talking about her own vulnerability, I decided to reach out to her. What would follow were messages about work, life, self-care and cross-stitching. These messages were sporadic in nature. After all, we are both busy people. She is an actor, producer and director; I write about pop culture, disability (I have cerebral palsy), blackness and womanhood. But the consistent, overriding impression I always got was that Brie Larson is a person who cares about the world and the people in it.

Aside from Room, the 29-year-old has starred in Trainwreck (2015), the critically-acclaimed indie film Short Term 12 (2013) and the blockbuster Kong: Skull Island (2017). Last year, she made her directorial debut in the indie comedy-drama Unicorn Store. It’s an impressive body of work in a relatively short space of time, but most people might not realise that far from being the ingénue, Larson – who was born in Sacramento, before moving to LA with her mother and sister – has been working since she was a child. Best known stateside for the sitcom Raising Dad(2001) and Disney Channel movie Right On Track (2003), she also had a stint as a pop star, signing a record deal at 13. These days, as a Time’s Up activist and advocate for sexual-assault survivors (she famously refused to clap when presenting Casey Affleck with an Oscar because of allegations against him), the actress utilises any power she has to be vocal about social and political issues. I can’t wait to see what she does with the power that comes with her latest role – Carol Danvers/Captain Marvel in Captain Marvel, the 21st (and first female-led) film in the multimillion dollar franchise.

Meeting Larson in person for the first time, it’s immediately clear why she was chosen for this role. Passionate, funny, genuine and kind, she’s eager to see the diverse and inclusive world she lives in reflected back on the big screen. She might not be a superhero in real life, but she’s ready to fight like one to make the world better…

I was thrilled you requested me to interview 
you. I thought, ‘This is game-changing’. It’s the biggest opportunity I’ve had. Nobody usually wants to take a chance on a disabled journalist. 
I’d love to know what your particular reasons were.

‘About a year ago, I started paying attention to what my press days looked like and the critics reviewing movies, and noticed 
it appeared to be overwhelmingly white male. So, I spoke to 
Dr Stacy Smith at the USC Annenberg Inclusion Initiative, who put together a study to confirm that. Moving forward, I decided to make sure my press days were more inclusive. After speaking with you, the film critic Valerie Complex and a few other women of colour, it sounded like across the board they weren’t getting the same opportunities as others. When I talked to the facilities that weren’t providing it, they all had different excuses.’

And people don’t realise how vast the disabled community is. It isn’t just white men in wheelchairs. Some of us don’t use mobility aids, others use them part-time; some disabilities are visible, others are physical but invisible. I find it so hard to see people 
in this industry who look like me, so if I have any sort of visibility or notoriety, I can lift somebody else up.

‘I want to go out of my way to connect the dots. It just took me using the power that I’ve been given now as Captain Marvel. [The role] comes with all these privileges and powers that make me feel uncomfortable because I don’t really need them.’

I guess you got a taste of that power with the success of Room. I heard you found promoting 
the film quite overwhelming.

‘I’ve never craved the spotlight that often comes along with success in this business. It’s a by-product of the profession and a sign of the times. But any uncomfortableness I feel is balanced by the knowledge that it gives me the ability 
to advocate for myself and others.’

You had messages of support from Emma Stone and Jennifer Lawrence, which must have helped.

‘I found a supportive sisterhood, not just in Emma and Jen, but in the many women I’ve had the opportunity to come across and learn from over the past few years. It’s 
a community of like-minded people, which has been a gift.’

Read more at Marie Claire UK

Brie Larson covers InStyle

Written by Marilia on Tuesday, February 5th, 2019 No comments

Hello, Brie fans! Our Captain is gracing the new cover of InStyle USA march issue. Read the interview by Sana Amanat here, she was photographed by Pamela Hanson and you can find this pretty photo session on our gallery.

001.jpg 002.jpg brielarsonarchives_012.jpg  brielarsonarchives_001.jpg

 

Toronto Sun: Brie Larson is ready to kick ass as ‘Captain Marvel’

Written by Marilia on Friday, January 4th, 2019 No comments

TORONTO SUN — As the woman who will be one of the new faces leading Marvel’s next wave of superheroes on the big screen, Brie Larson looks decidedly at ease decked out in her Captain Marvel outfit.

It’s mid-June and she’s nearing the end of shooting what will be the company’s 21st movie, which is coincidentally the first Marvel film to star a woman. The intergalactic heroine, co-created by Stan Lee in the 1960s, is half-human, half-Kree (the alien race that first appeared in Guardians of the Galaxy) and the MCU’s strongest player. Captain Marvel’s storyline will also directly impact the film that follows — Avengers: Endgame. So if Larson’s supposed to look anything but cool, calm and collected, she didn’t get the memo.

“If I go into it thinking there are expectations or something I’m supposed to prove, then I’ve missed the whole point of what it is that I’m doing here,” Larson says on a break during one of her last day’s shooting on the film, which opens in March.

What Larson has been doing since she broke into acting in the early 2000s is weaving a wide tapestry of roles. So far in her 29 years, she’s directed a movie (Unicorn Store), won an Oscar (for 2015’s harrowing Room) and gone full action (Free FireKong: Skull Island).

Suiting up as the Marvel hero a.k.a. Carol Danvers is just another chapter in her acting journey.

“It’s just something that happened,” Larson says matter-of-factly. Still, she’s happy to be joining Marvel and its pantheon of heroes.

“I’ve always loved (Marvel) because I love mythology and this is our contemporary mythology. I feel like Marvel is like an international theatre company. It’s like being in the most expensive theatre company in the world,” she says, grinning.

The film’s plot is a secret (and trust us we tried to learn everything we could during our day on set), but the ’90s-set storyline, which is credited in part to Guardians of the Galaxy co-writer Nicole Perlman, will be inspired by the Kree-Skrull War story arc from Roy Thomas’ run on The Avengers comic book in the early 1970s.

During a day-long visit to the Los Angeles set of Captain Marvel(which opens March 8, 2019), the Sun joined a small group of international journalists to watch a pivotal scene and learn more about Larson’s “noble warrior hero.”

What kind of ride can fans expect from this movie?

I try my best not to talk about expectations or hopes when it comes to my work, because I feel like it starts to pave a road that isn’t necessarily why I’m an artist in the first place. I’m here because I want to catch people off guard and I want to bring more mystery and surprise and initiation into life. So going into this with an idea of what people are suppose to feel or think or understand about it feels counter-intuitive to me.

Was it an easy decision to take on Captain Marvel?

No, it wasn’t an easy decision at all. It took me a really long time and I’m grateful that Marvel was very patient while I took my time to make that choice. Deciding to do a film like this doesn’t just change my life, it also changes the lives of my family, my partner and my friends. So there’s a lot of careful consideration that had to happen. Especially for me because I’m an introvert, so the idea of putting myself in a position where I can be observed more feels totally bizarre. It feels like it goes against my nature. So I had to take the time to weigh the options to see what I could bring to this creatively and what it meant in a larger context.

What made you agree then to take on the part?

It was a really long process of thinking and talking about it and that was hard to do because this stuff is so secretive and I had to do that myself. I couldn’t talk to friends or family about it. For me, it was what the film was going to be and what the story was and who the character was. I did a small indie film called Short Term 12 that ended up going international. I took that film to film festivals and I saw the impact that it made and I saw how it affected people. Once I had an understanding of what this type of work can mean to people, the idea of making it on a larger scale had a real appeal. Movies like (Captain Marvel), they go everywhere, I don’t have to work as hard for the work to get out there, so if it can continue to be in my value system of what I am here on this earth to create, I just felt like everything was lining up for me to do it. It almost felt like (by saying no) I was denying myself a fulfilment of my destiny in a way.

What do you like about Captain Marvel?

She’s the most dynamic character that I’ve ever played so far. There’s never been a spectrum so wide than the one I’ve gotten to play as her. A lot of that comes from who she is, being that there is this divide between Kree and human, the Kree being this very logical side. They don’t have emotion and they are very logical thinkers and they are these supreme beings that don’t make mistakes. Then there’s the human part of her that’s actually the worst parts and the best parts of her. Her humanity is the thing that gets her in trouble and puts her in situations she probably shouldn’t put herself in. But that makes her relatable, I think. We all have two hemispheres in our brains. We all have this conflict of trying to decide which parts of ourselves we’re supposed to bring to the world and bring to our relationships and bring to society. It means there’s always going to be something there for me to dig up and discover with her.

Everyone says Captain Marvel is the strongest hero. Are you?

I am! She’s crazy strong. She can shoot photon blasts from her hands. She can also absorb energy. Is there anything else I’m missing? I feel like there’s a lot that goes with that. Oh yeah, she can fly.

The movie is set in the 1990s. What’s the best part about being able to play in that time period?

I was born in ’89. I love the ’90s. I love the music of the ’90s and — whether this movie took place in the ’90s or not, I was going to be listening to a lot of the riot grrrl movement through this. That period of time and that female rage is so important. That would have been infused in this movie no matter what and it just feels apropos that I can be listening to it in my headphones while also being in a ’90s location with ’90s clothed extras. It just feels good.

How did it feel to interact with the other Avengers in the fourth Avengers movie?

I don’t know if I did that. I’m not sure if I was there or not (laughs).

What was it like when you first saw yourself in costume?

It’s weird because it was a strange process. It was like a year of fittings and it takes a lot of people to make this costume. It’s at least 20 people. Initially, it was a lot of pieces. You’d have a glove fitting and I had so many boot fittings. Then one day I was in the full costume. I didn’t even realize it was happening. It was like, ‘Oh my gosh, I look like a character at Disneyland.’ (laughs) And then, I got in my car and drove home.

You’ve acted with Sam Jackson now on a few occasions. Did he give you any career advice?

I thought that he would when we were shooting Kong. There was a moment when we were in Vietnam, it was his last day and it was the last time I was going to see him before the Oscars and I was like, ‘This is it. He’s going to give me some wisdom before this crazy thing,’ and we got dinner and the whole time I was thinking, ‘Is he going to say the thing that I’m going to remember forever’ and then nothing happened. The cheque came and I asked him, ‘What’s the deal? Where’s my golden nugget of wisdom?’ And he said, ‘Huh? I don’t need to tell you anything.’ He wouldn’t give me advice, but now, in hindsight, I’m so grateful for all the times no one gave me advice. I’m way more grateful for the people who are just supportive and there when I need them and aren’t trying to insert their belief system onto me.

Press/Videos: “Captain Marvel” Interviews in Brasil

Written by Marilia on Friday, December 28th, 2018 No comments

During her visit in Brazil, Brie Larson was interviews for some TV programs and brazilian YouTube channels. Here below, we’ll keep updated over all the interviews that come out from this small press tour.

 

Since joining the USC faculty in 2003, Annenberg Inclusion Initiative founder Stacy Smith has published annual reports on the state of race and gender representation in Hollywood. Year after year, the shouts into the void had gone unheard. “For 15 years I was floundering,” Smith tells THR. “Then I found my people.”

Enter Brie Larson, 29, and Tessa Thompson, 35. The trio first met at an early Time’s Up meeting in 2017 at Larson’s house, where Smith broke out her trusty PowerPoint presentation. “When everything you’ve studied is finally delivered to the audience that it’s intended for, they’re able to take flight with the information in a whole new way,” says Smith. She and a group of actresses presented her statistics and strategy suggestions to leaders at UTA, which represents Frances McDormand, leading to the Oscar winner’s onstage declaration heard around the world: “inclusion rider.” It’s a concept first introduced in a 2014 THR op-ed by Smith, who developed the language with producer Fanshen Cox DiGiovanni and attorney Kalpana Kotagal.

Smith, Larson and Thompson also have been on the front lines of pushing for greater inclusion in media. It was an idea sparked at a Sundance gathering hosted by Thompson in January that led to, in June, Smith’s first study analyzing the gender, race and ethnicity of film critics; Larson used her Crystal + Lucy Awards acceptance speech to draw awareness to the issue. A database for studios and publicists, Critical, was launched with Time’s Up: “We have 400 critics on there already,” says the future Captain Marvel.

THR gathered the trio for a conversation about action beyond awareness and how to enforce the proposals put forward.

brielarsonarchives_THR_001.jpg brielarsonarchives_THR_002.jpg  brielarsonarchives_THR_001.jpg brielarsonarchives_THR_003.jpg

What was the significance of coming together for the first time?

BRIE LARSON Until we were having these meetings, most of us had never met one another, because there aren’t a ton of films that star that many women at once. Most of us had been dealing with these issues alone, not understanding that if we stood together, we had the leverage to actually get things done.

TESSA THOMPSON The feeling when we all got together was that there is a real opportunity to address bigger, systemic issues inside our industry. But how do we qualify and quantify it? Is there a metric for it?

Is making people aware of the stats behind underrepresentation compelling enough for them to change their practices?

STACY SMITH “Changing hearts and minds” — I’m not interested in that conversation anymore. A lot of awareness happened at Brie’s house that night because the numbers confirmed their experiences. Then they took action, and that’s what we don’t see with studios, production companies, agencies and publications, whose actions don’t translate into hiring practices. I showed a slide at Brie’s house and said, “If we want to create equality for the first time in the history of film, all you have to do is add five underrepresented speaking characters to each of the top 100 films. You’ll be there in five years.” I’ve been saying this to Hollywood forever. Those folks in the room actually listened, and weeks later I’m in a meeting at UTA and Elizabeth Banks is like, “Check out Stacy’s research.” These folks aren’t afraid of holding anyone accountable.

THOMPSON I remember having a conversation with Frances McDormand about the inclusion rider at a party during awards season, and then she’s onstage saying it to the world, and it becomes a call to action. The most powerful moments of activism are when we have a lot of different people in the room and we’re trying to decide how to best use everyone.

How is the inclusion rider supposed to work? Who will hold productions accountable?

SMITH The inclusion rider talks about auditioning and interviewing. A few years ago, we asked 60 buyers and sellers to name female directors on their consideration lists, and the common response was zero. Yet there have been more than 100 women [directors] at Sundance the past decade. So we haven’t found a lack of talent. We’ve found a lack of imagination.

THOMPSON Ava DuVernay made a mandate and tasked her crew with filling half of the positions with people of color. That was hard on some departments, because you might have a DP who likes to work with the people they’ve worked with, and none of them might be people of color. A director like Ava says you just have to figure it out: “You can have half the people you want, and then you have to take some other people, because I want my crew to reflect the movie I’m making and the world in which we live,” which is what she did on A Wrinkle in Time, and thankfully Disney could get on board with it. Inclusion doesn’t happen by mistake. It’s also about creating pipelines where they don’t exist. Brie and I both work on Marvel films, and those are shot in Atlanta …

LARSON There are not a ton of people of color on some of them, given how many people of color there are in Atlanta. In certain departments that might be understandable, but when you look at PAs, that doesn’t make any sense.

THOMPSON They’re usually local.

SMITH A lot of people get nervous about quotas. At a recent Time’s Up meeting, we had ACLU members explain that setting inclusion goals is completely acceptable. It’s a very simple formula to create change. You set goals, open up the interviewing process. You measure your successes and challenges in hiring — it might be different geographic locations or a lack of accessible talent in a certain area. Then you let folks know the strengths and weaknesses in the approach, so you can adapt and move forward. To be held accountable, you let the public and shareholders know how you’re doing. We’re at a place with social media that there are repercussions when actions are taken that don’t look like the world we live in.

Brie, your upcoming film with Michael B. Jordan, Just Mercy, is the first Warner Bros. movie to fall under the studio’s inclusion policy. What have you learned about implementation?

LARSON When it came time to implement it, Warner Bros. wasn’t quite [comfortable with] an actor implementing it. So Michael worked with them [as an executive producer]. Just Mercy filmed in Atlanta, so they were able to pull from a certain talent pool there, but I also think they had to fly in certain people in order to meet the quota they were committed to. The movie was made with more than 70 percent people of color, and it was the best experience I’ve ever had. It was the first time in my career that I had hair, makeup and wardrobe crew that were all people of color. I’ve been in SAG since I was 7 years old. Twenty years I’ve been surrounded by white people. It saddens me to recognize that we’ve been segregated in this way within our industry.

What else can actors do to advance the cause?

SMITH For the first time, there are no boundaries in terms of who’s accessible. If I have a question, I can text Tessa or Brie, and it can set off a text or email chain to get me to whoever I need to have a conversation with. The network that [these actors] have is extraordinary, because it’s producers, directors, actors, executives and agents. The goal is to activate that network with everybody on the same page to move the issue forward.

LARSON On the Captain Marvel press tour, I’ll be pushing for representation across the board: my interviews, magazine covers, the clothes that I’m wearing. It means spending more time thinking about things than you sometimes want to, but it’s worth it.

THOMPSON I feel really heartened by people taking action. It’s what Reese [Witherspoon] did at HBO in terms of pay parity. I simply got a call that said we’re renegotiating. I didn’t do that work. Someone did it on behalf of me. Because she was like, “I have a stake in this company and what we do.”

Why should anyone expect change to happen?

SMITH I finally have figured out how we change the industry. It’s not just old academics writing a report. You have to get the folks that are deeply ingrained in and know the nuances of the industry. And then you build a strategy of action around that and do it on behalf of everyone who is oppressed or marginalized in some way. And we’re just getting started.