Rachel is featured in Vogue Italia’s December 2010 Fashion Style. You can watch the outtakes in our gallery. We now added magazine scans in our gallery. Thanks to Susy of Miss McAdams we have a translation of the interview. You can read it here below:
“I wasn’t popular at all in high school. I know that every actress says that, but I was really awkward.”
For the Canadian actress acting was just a hobby. But after breaking several times the box office, she made a career out of it. A career that’s now definitely on the rise.
“I love changing the color of my hair, sometimes I don’t do it for a role. I do it for myself.” The resolve shown in those simple words makes you understand the character of Rachel McAdams, volitive Canadian actress who gave proof in her career of a chameleonic talent. She was the romantic American dream pursued by the main character in 2002?s “My name is Tanino”; a dream that became evil, poisoned and intriguing in Regina George, the Queen Bee in 2004?s teen comedy “Mean Girls”. After this scathing performance, she got a box office success with Nick Cassavetes’ “The Notebook”, a corny movie to some, a touching one to others. She shined then in the comedy “Wedding Crashers”, starring Owen Wilson and Vince Vaughn, and in the hitchcockian thriller – that she defines “incredibly claustrophobic” – “Red Eye”, a Wes Craven surprisingly non-splatter movie. Romantic and determined, funny and ironic, ready to tears and laughters, she loves the “sweeping love stories,” but cannot resist comic situations, she has “a certain curiosity on life that often push me beyond,” and always tries “to choose what comunicates me something; at the bottom, I’m the one who has to do it.”
She loves to choose a “wardrobe” of different roles. Because she can’t stand routine. She says it herself, “I look like an angel, but I can play the bitch.”
So, as a real quick-change artist, last year she was the charming and funny traitor Irene Adler in Guy Ritchie’s “Sherlock Holmes.” “I have my ideas,” she says, “but I love playing different characters, I try to avoid repeating myself too much.” She has now a lot of new roles: Roger Mitchell’s “Morning Glory”, Woody Allen’s “Midnight in Paris” and Terrence Malik’s “The Burial”, just to say a few of them. A whole package of names and subject chosen. “I want to work with great directors,” she emphasizes, but without making it influence her judgment skills. “I want to choose the stories for what they are.” Definitely determined, to be a girl who thought she was awkward.
