{"id":650691,"date":"2026-05-18T17:13:11","date_gmt":"2026-05-18T17:13:11","guid":{"rendered":"https:\/\/www.newsbeep.com\/us\/650691\/"},"modified":"2026-05-18T17:13:11","modified_gmt":"2026-05-18T17:13:11","slug":"lea-seydoux-on-cannes-the-unknown-and-denis-villeneuve-taking-over-bond","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/us\/650691\/","title":{"rendered":"Lea Seydoux on Cannes, The Unknown and Denis Villeneuve Taking Over Bond"},"content":{"rendered":"

\n\t\u201cI\u2019m\u00a0pregnant. Will that be\u00a0OK?\u201d\u00a0
\u00a0
L\u00e9a Seydoux<\/a>\u00a0wasn\u2019t\u00a0sure if the timing was right at all.\u00a0She\u2019d\u00a0been approached years prior by writer-director Arthur Harari to star in \u201cThe Unknown,\u201d a science\u00a0fiction film he was working on; Seydoux had read an intriguing but confusing first draft, then \u201cjust forgot about it,\u201d she recalls. Now, Harari was ready to shoot, but\u00a0she\u2019d\u00a0be stepping in front of the camera just barely postpartum.\u00a0
\u00a0
\u201cYes,\u201d Harari replied. \u201cIt\u2019s even better.\u201d\u00a0\u00a0
\u00a0
While making \u201cThe Unknown,\u201d\u00a0which\u00a0premieres\u00a0in competition at Cannes on May 18, Seydoux\u00a0hardly\u00a0recognized herself. \u201cWe shot two and a half months after I had my baby,\u201d she says. (The child, her\u00a0second with\u00a0partner Andr\u00e9 Meyer, was born in December 2024.) \u201cI was still breastfeeding, and I put on a lot of weight. I was quite heavy. I used it \u2014 it was\u00a0interesting, because\u00a0I was not in my body. This is what David is experiencing.\u201d<\/p>\n

\t\t\t\t\t\t\"\"<\/p>\n

\t\t\t\t\t\t\t\t\tJason Hetherington for Variety<\/p>\n

\n\tIt served the\u00a0story, because\u00a0David \u2014 Seydoux\u2019s character \u2014\u00a0doesn\u2019t\u00a0recognize himself either. Harari (an Oscar winner for co-writing \u201cAnatomy of a Fall\u201d) wrote Seydoux one wild part \u2014 she\u00a0is,\u00a0at\u00a0first, an unknown woman who has a one-night stand with a photographer named David (Niels Schneider). When David wakes up,\u00a0he\u2019s\u00a0still himself\u00a0on the inside, but\u00a0he\u2019s\u00a0trapped in his partner\u2019s body. Seydoux tromps through the film with a masculine heaviness \u2014 a sense of dysphoria that translates to her character\u2019s\u00a0ungainly\u00a0bearing.\u00a0\u00a0
\u00a0
The story, based on a graphic novel co-written by Harari, might sound like an allegory\u00a0of\u00a0trans identity. \u201cIt made me think of that, of course,\u201d Seydoux says, before\u00a0she dug\u00a0deeper. \u201cBut\u00a0it\u2019s\u00a0more the question of \u2014 do I exist? It transcends the gender of a person.\u201d David\u2019s problem, in other words,\u00a0isn\u2019t\u00a0that he is in a body of the wrong sex \u2014\u00a0it\u2019s\u00a0that\u00a0he\u2019s\u00a0not sure he\u2019s David at all.\u00a0\u00a0
\u00a0
Which rang true for Seydoux, a performer whose best-known roles summon an indomitable\u00a0fierceness\u00a0but who\u00a0is, in conversation, thoughtful and surprisingly vulnerable. \u201cWhen I was 18, I had strong panic attacks,\u201d she tells me. \u201cEven now, I still have strong panic attacks \u2014 and when I have a panic attack,\u00a0it\u2019s\u00a0the vertigo of being yourself. I remember having a panic attack: I watched myself in the mirror, and I was like,\u00a0This\u00a0is me. I am myself. What I see in the mirror is\u00a0actually me.\u201d\u00a0\u00a0
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Realizing one is locked into one\u2019s own perspective is a terrifying experience \u2014 in part because one can never see oneself the way others do. Even as\u00a0she\u2019s\u00a0been in\u00a0dozens of\u00a0films, from franchise fare to\u00a0auteurist\u00a0cinema, Seydoux still feels a sense of dissociation about her own\u00a0image. \u201cWhen I watch a movie with me, sometimes\u00a0I\u2019m\u00a0like,\u00a0Is it really me? Do I really look like this person?\u201d\u00a0
\u00a0
To\u00a0read through\u00a0Seydoux\u2019s list of credits is to\u00a0grasp\u00a0her talent for transformation \u2014\u00a0she\u2019s\u00a0an actress\u00a0who pushes to the edge while becoming someone else.\u00a0That\u2019s\u00a0a process\u00a0she needs.\u00a0A\u00a0Cannes mainstay,\u00a0Seydoux\u00a0has become a staple of world cinema thanks in part to her refusal to be pinned down. Since her Palme\u00a0d\u2019Or-winning breakthrough\u00a0in 2013\u00a0with the frankly sexual, emotionally walloping \u201cBlue Is the Warmest\u00a0Colour,\u201d Seydoux has dabbled in the Hollywood studio system, lending style and edge to the James Bond franchise (where she played Daniel Craig\u2019s one true pairing, the\u00a0Proustianly\u00a0named Madeleine Swann) and to \u201cDune: Part Two\u201d (where her sly Bene\u00a0Gesserit\u00a0noblewoman has big plans for Austin Butler\u2019s fearsome warrior). And directors from Yorgos Lanthimos to Wes Anderson to David Cronenberg have turned to Seydoux when they need a performer willing to try anything. (Harari cast Seydoux after seeing her playing an\u00a0amoral,\u00a0status-obsessed TV journalist in the loopy 2021 drama \u201cFrance.\u201d)\u00a0
\u00a0
Seydoux\u2019s characters across her career have little in common, although fans might see certain hallmarks:\u00a0There\u2019s\u00a0a soft-spokenness\u00a0that makes the listener lean in, whether\u00a0she\u2019s\u00a0conveying seduction or threat. Seydoux also approaches\u00a0her beauty with a quintessentially French casualness. Often, she\u00a0leverages\u00a0her preternatural calm, and plays against her angelic looks, to assay authority figures with a certain menace, as in the \u201cDune\u201d sequel or \u201cThe Lobster,\u201d where her rigid rebel leader turns Colin Farrell\u2019s search for romance into a living hell.\u00a0<\/p>\n

\t\t\t\t\t\t\"\"<\/p>\n

\t\t\t\t\t\t\t\t\tJason Hetherington for Variety<\/p>\n

\n\tAt this year\u2019s Cannes Film Festival<\/a> alone, she takes two competition entries in wildly different directions, appearing in\u00a0Harari\u2019s\u00a0body-swap fantasia as well as the grounded, social-realist drama \u201cGentle Monster.\u201d In that film, she plays a musician whose husband is accused of\u00a0possessing\u00a0child pornography.\u00a0Either film could position\u00a0her\u00a0as\u00a0a prime contender for an acting prize; both also announce her, at 40, as\u00a0operating\u00a0at the peak of her powers.\u00a0
\u00a0
But\u00a0she\u2019s\u00a0curious how\u00a0they\u2019ll\u00a0be received against one another. \u201cWhich one did you like the most?\u201d Seydoux asks me in a moment of frankness.\u00a0\u00a0
\u00a0
\u201cGentle Monster,\u201d I say, is\u00a0a very special\u00a0film. But \u201cThe Unknown\u201d blew me away.\u00a0
\u00a0
Seydoux smiles, then nods. \u201c\u2018The Unknown\u2019 \u2014 I think\u00a0it\u2019s\u00a0the best part\u00a0I\u2019ve\u00a0ever played.\u201d\u00a0She\u2019s\u00a0leaning forward into her\u00a0computer\u2019s\u00a0camera\u00a0\u2014 she\u2019s Zooming in from Paris \u2014\u00a0as her tone grows passionate. \u201cIt\u2019s\u00a0really this existential subject. What\u00a0is\u00a0it\u00a0to exist? Do I exist?\u201d\u00a0<\/p>\n

\n\t
\u00a0Based on our conversation, I can confirm that Seydoux does indeed exist \u2014 and that she has a probing curiosity about what she can\u00a0accomplish\u00a0while\u00a0she\u2019s\u00a0here.\u00a0\u00a0
\u00a0
Her two Cannes films lend themselves to a simple comparison: \u201cThe Unknown\u201d uses the tools of genre to prize apart the nature of experience, while \u201cGentle Monster,\u201d\u00a0from\u00a0Austrian director Marie Kreutzer, plays things straight.\u00a0\u00a0
\u00a0
For Seydoux, the\u00a0fantastical\u00a0approach makes things easier. \u201cScience fiction allows you to be even closer to human emotions. Because\u00a0it\u2019s\u00a0so unrealistic, if you decide to believe in what you see, you can really immerse yourself in the human emotions.\u201d\u00a0
\u00a0
If Cannes audiences are along for Harari\u2019s surreal ride,\u00a0they\u2019ll\u00a0find insights that stand out for just how real they are. \u201cIt\u2019s where cinema is an art form,\u201d\u00a0Seydoux\u00a0says. \u201cWith the fakeness of cinema, you can make the truth appear. When you do a realistic film like Marie\u2019s, where\u00a0it\u2019s\u00a0a believable story that could happen \u2014\u00a0it\u2019s\u00a0much more difficult.\u201d\u00a0Artistic transformation enables\u00a0Seydoux to go anywhere. But in a domestic drama,\u00a0she\u2019s\u00a0forced to rely on a story bound by the rules of our reality.\u00a0\u00a0
\u00a0
Not that\u00a0that\u2019s\u00a0holding her back. \u201cGentle Monster\u201d is as tenderly observed and wrenching as \u201cThe Unknown\u201d is transporting, and it fixes us in the perspective of Seydoux\u2019s Lucy Weiss; we get no more information about her husband\u2019s alleged misdeeds than she does, and sequences where Lucy must watch her child being\u00a0interrogated to learn if he\u2019s been touched inappropriately, or when she pleads with an investigator to believe in her husband\u2019s innocence, have a gut-punch power.\u00a0\u00a0
\u00a0
But Seydoux shrugs off the question of whether she took the work home with her. \u201cOf course I was affected,\u201d she says. \u201cBut I really tried to be more\u00a0in\u00a0the present. When\u00a0I\u2019m\u00a0acting, I\u00a0can\u2019t\u00a0think too much.\u00a0It\u2019s absolutely awful \u2014 but the thing is,\u00a0she doesn\u2019t know.\u00a0I\u2019m\u00a0not judging the story \u2014 she\u00a0doesn\u2019t\u00a0want to believe it.\u201d And\u00a0so\u00a0Seydoux, not getting ahead of the story,\u00a0couldn\u2019t\u00a0believe the facts of the film either.\u00a0<\/p>\n

\t\t\t\t\t\t\"\"<\/p>\n

\t\t\t\t\t\t\t\t\tJason Hetherington for Variety<\/p>\n

\n\tPlaying Lucy also enabled Seydoux to tap into her love for music: Lucy has sidelined a lucrative and productive career as a concert pianist and singer to care for her husband (Laurence Rupp) after\u00a0he has a\u00a0breakdown; a French speaker, she\u2019s settled in Germany, where she\u2019s less familiar with the language. (This specific plot element recalls the broken marriage of \u201cAnatomy of a Fall.\u201d) Seydoux, who grew up in an artistic family (her grandfather is the\u00a0chairman\u00a0of French media giant Path\u00e9), once aspired to sing professionally; using her voice was a return of sorts. \u201cWhen I was a young kid singing,\u201d she says, \u201cit was my only way of expression.\u201d\u00a0\u00a0
\u00a0
Seydoux was painfully shy,\u00a0and just as a sci-fi device can transform an incomprehensible truth into something legible, she used songs to express what she could not say.\u00a0Like Lucy, she spent much\u00a0of her childhood in a strange land \u2014 Seydoux\u2019s mother spent a great deal of time in\u00a0Senegal, where Seydoux would visit her, and she\u00a0passed\u00a0summers at camp in the U.S. so she could learn English. Today,\u00a0she\u2019s\u00a0grateful.\u00a0\u201cBizarrely, I feel even more myself when I\u2019m displaced,\u201d she says. But\u00a0in\u00a0the\u00a0moment, Seydoux was an isolated child and bullied in school. She eventually grew so withdrawn that she stopped singing.\u00a0
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Which meant that performing music on film came with a lot of fear. In her public life, Seydoux relies on the distancing effect of moviemaking to conceal\u00a0her real self. \u201cWhen you act in films, you can hide yourself. You can transform. You have layers \u2014 the screen and the camera\u00a0is\u00a0a layer between you and people. But to sing \u2014 you are very vulnerable when you sing.\u201d Seydoux worked with French singer Camille (winner of a songwriting Oscar for \u201cEmilia P\u00e9rez\u201d) to get the craft\u00a0right, and\u00a0tried to assure herself she was ready. \u201cI will have to sing, and it\u2019s\u00a0OK,\u201d she recalls thinking. \u201cI think I can do it. It really defines Lucy.\u201d\u00a0\u00a0
\u00a0
All, for\u00a0Seydoux, is in service of\u00a0the\u00a0character \u2014 but she\u00a0doesn\u2019t\u00a0know another way of working. \u201cI give so much of myself because I\u2019m so shy,\u201d she says. \u201cTo act, for me, is something where I feel so exposed and so vulnerable. Then\u00a0I\u2019m\u00a0like,\u00a0the only way to forget about things is to throw myself.\u00a0So\u00a0I throw myself, and sometimes it works.\u201d\u00a0\u00a0
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One recent example of it working well was \u201cThe Beast,\u201d Bertrand Bonello\u2019s 2023 sci-fi romance, in which\u00a0Seydoux\u00a0appeared\u00a0opposite George MacKay. (Unexpectedly for a movie featuring one of Cannes\u2019 signature stars, this one played Venice.) Across three timelines, Seydoux\u00a0inhabits\u00a0the\u00a0story of a woman exploring her past lives and seeking to tame her emotions; to do so will enable her to be a better cog in the economy of a future world defined by artificial intelligence.\u00a0
\u00a0
Back when\u00a0the movie\u00a0came out, I tell Seydoux, I thought about AI\u00a0basically never; now, I think about it all the time. Does she believe that AI will put filmmakers out of business?\u00a0
\u00a0
\u201cI don\u2019t think so,\u201d she says. \u201cI think that nothing can replace humanity. I\u00a0don\u2019t\u00a0feel threatened.\u00a0Maybe I\u2019m\u00a0wrong! But I believe in human nature.\u201d\u00a0\u00a0<\/p>\n

\n\tLike many shy people, Seydoux\u00a0seems to be most\u00a0at home in her own thoughts \u2014 and to speak to her is to enjoy the hairpin turn, the unexpected approach. Asked, for instance, what she thought of working with \u201cDune\u201d franchise director Denis Villeneuve, Seydoux first uncorks a series of observations\u00a0she\u2019s\u00a0made over the years about the general nature of French Canadians and their differences from her own\u00a0countrymen. \u201cThey have this language \u2014 it\u2019s American translated into French,\u201d she explains to me, with a crucial difference being that Canucks do not use the word \u201cbonjour\u201d in the morning.\u00a0\u00a0
\u00a0
Finally approaching the question directly, Seydoux says that she loves Villeneuve and sent him a note conveying her delight when he was named the next Bond director. Seydoux had been ambivalent at best to see a franchise for which\u00a0she\u2019d\u00a0recently helped close a chapter \u2014 Craig\u2019s Bond allows himself to be sacrificed to save Madeleine and the daughter they share \u2014 getting\u00a0acquired\u00a0by Amazon MGM. \u201cI was a bit sad when I heard that it was sold,\u201d she says, \u201cbut now that it\u2019s Denis, I was like,\u00a0Oh, at least it\u2019s him, so it will be cinema.\u201d\u00a0
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Her praise for Villeneuve includes\u00a0the observation\u00a0that \u201che\u2019s super\u00a0cultured \u2014 he knows so much about cinema, but not only cinema.\u201d Seydoux, with her curiosity about identity and her appetite for challenging roles, is the same. But she gets less cerebral, more instinctual, when she acts. On \u201cThe Unknown,\u201d for instance, she found herself consumed by recursive thought processes.\u00a0\u201cI\u2019ve\u00a0never done any theater school. I learned to act in front of a camera,\u201d she says. \u201cSo\u00a0I feel that\u00a0I\u2019m\u00a0almost an\u00a0unprofessional actor.\u00a0I\u2019ve\u00a0done so many films,\u00a0but\u00a0I\u2019m\u00a0still sometimes like\u00a0I will never be able to do this.\u201d Up until shooting began, Seydoux was in a state of dread. Then \u201csomething clicked \u2014 something that I understood about the character. And I was like, \u2018OK\u00a0\u2014 now I am David.\u2019 I was completely transcended by this character \u2014 I\u00a0was\u00a0David, this man in this woman\u2019s body.\u201d Seydoux smiles. \u201cAnd this is what I love about cinema.\u201d<\/p>\n

\t\t\t\t\t\t\"\"<\/p>\n

\t\t\t\t\t\t\t\t\tJason Hetherington for Variety<\/p>\n

\n\tLately,\u00a0she\u2019s\u00a0had more opportunities to explore that love: \u201cGentle Monster\u201d and \u201cThe Unknown\u201d represent half of a four-in-a-row run for the\u00a0actress. Only weeks ago, Seydoux wrapped Charlie Polinger\u2019s \u201cThe Masque of the Red Death,\u201d an A24 adaptation of one of Edgar Allan Poe\u2019s\u00a0most\u00a0macabre\u00a0tales, about the Grim Reaper stalking a group of nobles celebrating at a masquerade ball\u00a0amid\u00a0a\u00a0plague. Seydoux stars opposite Mikey Madison (who replaced original topliner Sydney Sweeney) and Franz Rogowski.\u00a0\u00a0
\u00a0
\u201cIt was\u00a0very different\u00a0from \u2018The Unknown\u2019 and from Marie\u2019s film,\u201d she says. (One would expect nothing less.) \u201cI\u2019m\u00a0playing a very mean lady-in-waiting.\u00a0To play\u00a0alongside Mikey was one of the greatest things\u00a0I\u2019ve\u00a0experienced in my life.\u00a0I\u2019m\u00a0really, really impressed by her talent \u2014 wow,\u00a0she\u2019s\u00a0amazing. Mikey has this strength and vulnerability at the same time.\u00a0She\u2019s\u00a0a very touching\u00a0actress\u00a0\u2014 I am rarely touched like I was with her.\u201d Seydoux reaches for a comparison: \u201cShe reminds me a little bit, even though\u00a0she\u2019s\u00a0very different, of when I worked with Ad\u00e8le\u00a0[Exarchopoulos]\u00a0on \u2018Blue Is the Warmest\u00a0Colour.\u2019 She was astonishing.\u201d\u00a0\u00a0
\u00a0
\u201cBlue Is the Warmest\u00a0Colour\u201d occupies complicated territory in recent Cannes history. The love story between Exarchopoulos\u2019 high schooler and Seydoux\u2019s sophisticated older artist was a sensation at the fest;\u00a0the\u00a0Steven Spielberg-led\u00a0jury voted it the Palme winner unanimously. (Seydoux and Exarchopoulos shared the win with their director,\u00a0Abdellatif Kechiche, in an unprecedented jury decision meant to highlight the depth of the trio\u2019s\u00a0collaboration.)\u00a0In a joint interview months later, though, Seydoux described the shoot as \u201chorrible\u201d and Exarchopoulos described Kechiche\u2019s directing style as \u201ca kind of manipulation, which was hard to handle\u201d;\u00a0both said that they would not work with\u00a0him\u00a0again. Given that the film\u2019s plot \u2014 and its critical success \u2014 hinged in large part on its ruthlessly\u00a0direct\u00a0depiction of its central couple having sex, this set off alarms.\u00a0\u00a0
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Time brought Seydoux some relief;\u00a0perhaps, for\u00a0an admitted overthinker, the heat of the film\u2019s release was uncomfortable. \u201cActing alongside Ad\u00e8le was really like a force of nature. She throws herself in a way that I find mesmerizing. Abdellatif is a great\u00a0actor\u2019s\u00a0director.\u00a0I\u2019m\u00a0an actor\u00a0who\u2019s\u00a0always looking for truth. I want things to be\u00a0embodied. And there was an exploration. Sometimes he was filming with three cameras, and he really let us experience things and do things and try things.\u201d New thoughts seem to occur to Seydoux as she\u00a0speaks: \u201cThis is a process that I liked. We are looking for something. And cinema is not an exact science.\u00a0You\u2019re\u00a0looking for something,\u00a0and then there is a grace. Grace happens.\u00a0You\u2019re\u00a0looking for\u00a0\u2014\u201d She cuts herself off. Another new thought, presented with the triumphant tone of someone comfortable rooting around\u00a0in\u00a0her own thoughts having found\u00a0le mot\u00a0juste. \u201cWe are gold diggers!\u201d\u00a0<\/p>\n

\n\t
Between the existential excavation of \u201cThe Unknown\u201d and the human-scale angst of \u201cGentle Monster,\u201d Seydoux has struck pay dirt this year. \u201cI am very curious to see how people will receive the movies,\u201d she says. \u201cI make films for people \u2014 once I\u2019ve done the movie, then it doesn\u2019t belong to me anymore.\u201d\u00a0\u00a0
\u00a0
The reception is an interesting object of study, but\u00a0it\u2019s\u00a0not the point for Seydoux \u2014\u00a0she\u2019s\u00a0had the experience of becoming Lucy, becoming David. \u201cWhen I act, it\u2019s a selfish pleasure,\u201d she says. \u201cWhile\u00a0I\u2019m\u00a0doing the film,\u00a0I\u2019m\u00a0totally in it. I give everything I can to make the character believable and human.\u201d<\/p>\n

\t\t\t\t\t\t\"\"<\/p>\n

\t\t\t\t\t\t\t\t\tJason Hetherington for Variety<\/p>\n

\n\tIt might seem as though Seydoux is saying that she wants simply to do a convincing job as\u00a0an\u00a0actress, but something\u00a0more seems to animate\u00a0her words. Why is it so important for her to transform?\u00a0\u00a0
\u00a0
\u201cSometimes I experience the feeling of being transparent,\u201d she tells me. The childhood\u00a0anomie\u00a0that caused her to stop singing is still with her. \u201cNo one sees me. No\u00a0one\u2019s\u00a0paying attention to me. Am I even a real person?\u201d\u00a0
\u00a0
Film\u00a0is not the be-all and end-all for Seydoux. (Asked about her \u201cGentle Monster\u201d co-star Catherine Deneuve, who plays Seydoux\u2019s mother, the actress marvels at a half-remembered Deneuve quote\u00a0about\u00a0work taking\u00a0a back\u00a0seat to life: \u201cThe real experience of life is love,\u201d Seydoux says in a faraway\u00a0voice.)\u00a0But it allows her to experience some fundamental understanding of herself \u2014 an understanding that may elude her when\u00a0she\u2019s\u00a0not working.\u00a0
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\u201cI\u2019m going to tell you something very intimate,\u201d she goes on. \u201cThe reason why I do this job\u00a0\u2026\u201d She\u00a0trails\u00a0off, starts again. \u201cI never really wanted to become\u00a0an actress, but I wanted to exist. The only way I found to exist was to have my image printed on a\u00a0film and\u00a0have the proof of my existence.\u201d\u00a0
\u00a0
David, a lost soul searching for himself, could relate,\u00a0perhaps even\u00a0before he transforms: He makes his art, photographs of the world around him,\u00a0as a way to\u00a0communicate some essential truth. Seydoux, toggling between\u00a0dreamlike\u00a0drama and intimate character study, is doing the same.\u00a0\u00a0
\u00a0
\u201cI was like, no one really cares about me.\u201d How heartbreaking, I reply. \u201cYeah, but it\u2019s true,\u201d Seydoux says with Parisian flatness. She\u00a0doesn\u2019t\u00a0want sympathy, but she needs to be understood. \u201cIn a way, acting \u2014 this is why\u00a0it\u2019s\u00a0so important, and fundamental for me. I have this need to be seen.\u201d\u00a0\u00a0<\/p>\n

\t\tLocation: Mandarin Oriental Lutetia, Paris; Styling: Alexandra Imgruth\/The Wall Group; Makeup: Sandrine Cano Bock\/Artlist Paris \u2013 New York; Hair: Marion Anee\/Call My Agent; Manicure: Adrienne\/B.Agency; Style Credits: Full looks: Louis Vuitton\t<\/p>\n","protected":false},"excerpt":{"rendered":"\u201cI\u2019m\u00a0pregnant. Will that be\u00a0OK?\u201d\u00a0\u00a0L\u00e9a Seydoux\u00a0wasn\u2019t\u00a0sure if the timing was right at all.\u00a0She\u2019d\u00a0been approached years prior by writer-director Arthur…\n","protected":false},"author":2,"featured_media":650692,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[33],"tags":[32176,88,280733],"class_list":["post-650691","post","type-post","status-publish","format-standard","has-post-thumbnail","category-entertainment","tag-cannes-film-festival","tag-entertainment","tag-lu00e9a-seydoux"],"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/posts\/650691","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/comments?post=650691"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/posts\/650691\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/media\/650692"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/media?parent=650691"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/categories?post=650691"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/tags?post=650691"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}