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Cover – Evangeline Lilly for Amazing Magazine

Evangeline Lilly is the new cover from Amazing Magazine, you can take your order here.

If you want support us to buy the version, talk with us in instagram.

From Lost to The Hobbit to the Marvel Cinematic Universe, Evangeline Lilly has had some of the biggest gigs in the business – and she couldn’t be less ‘Hollywood’ if she tried. As she gears up for the release of Ant-Man and the Wasp: Quantumania, the actor, writer and producer talks to AMAZING about the path to finding her dharma.

Evangeline Lilly cuts an inconspicuous figure when she arrives at her AMAZING cover shoot in Los Angeles’ Arts District on a sleepy November Sunday. Much like her character Hope Van Dyne (aka Wasp), in Marvel’s Ant-Man franchise, she has mastered the art of going incognito. Dressed casually, with a cap pulled over her pixie cut, Lilly does the rounds introducing herself before heading to hair and makeup. Emerging in a white Jonathan Simkhai pantsuit and flawless glam, she is ready to roll, constantly shapeshifting for photographer Shane McCauley’s lens and pausing only to banter with the crew or chat with the studio owner’s young daughter who is watching intently from the sidelines.

Just over a week later, with Lilly back in her native Canada, we hop on FaceTime and she’s every bit as friendly and unstarry as when we met in person. Splitting her time between Canada and Hawaii with partner Norman Kali and their two sons, the 43-year-old never set out to be a Hollywood star – but the universe had other plans when she was scouted by a modelling agent and fell into acting.

“It’s sort of sad to say, but it’s been a little bit of torture for me; it’s never been a fantastic fit,” says Lilly, with a laugh. “The moment when I decided, ‘Maybe I will go out and do some auditions,’ was driven by a couple things. One was desperation because I was going to university and my family had very little. From the time I was 15 years old I was responsible for everything myself, so I was paying my way through university while paying rent and insurance, and all the things. It was pretty hard. Acting and doing extra work on film sets gave me an incredible amount of flexibility for school, but then also gave me a decent income that could pay the bills and pay my tuition, and get things taken care of.”
Studying International Relations and Political Science at University of British Columbia, Lilly had ambitions to “be an ambassador or a diplomat or a humanitarian”, but with some pushing from her agent and her then-husband – as well as some deep self-reflection – she found herself on a different path.
For Evangeline Lilly’s full interview and shoot, pre-order your copy of AMAZING issue 3 now.

Evangeline Lilly wears Jonathan Simkhai.

Photographed by Shane McCauley
Styled by Alycia Cohen
Hair by Adir Abergel at A-Frame using Virtue Labs
Makeup by Kara Yoshimoto Bua at A-Frame using Chanel
Nails by Yoko Sakakura at A-Frame
Words by Jennifer Lynn
Production Director Benjamin Crank
Creative & Editorial Director Huw Gwyther
Editor-in-Chief Juliet Herd
Cover Design by Harry Fitzgerald & Aparna Aji
Special thanks to The Dream Factory LA, Madre Oaxacan Restaurant & Mezcaleria and Viewpoint PR

Please note: additional duties and taxes may apply depending on your country and delivery address.

We just add some pics that instagram from magazine shared.

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New Interview – Evangeline Lilly talks for Esquire

Evangeline Lilly Is Going Through It

Source: Esquire

Two decades into her career, and just before the release of Marvel’s Ant-Man and the Wasp: Quantumania, the actress talks to Esquire about her journey on the path of self-discovery.

ve always kept myself on the outside,” Evangeline Lilly says. “I’ve never lived in LA. I’ve always worked very little on purpose to sort of have a normal life outside of Hollywood.” The actress, forty-three, says this from her bedroom inside her home in Hawaii, on a recent January day that, at least via Zoom, appears to be as covetously bright and sunny as you’d expect a midwinter day in Hawaii to be. She moved there to film the TV show Lost around 2004, and when it wrapped six years later, she stayed. Her dyed-blonde hair is cut short, with brown roots showing beneath. Her face is the same face that many a Lost fan will remember: high cheekbones, arrestingly bright eyes, a smile like a canyon. She has a friendly, disarming warmth, one that pairs deftly with the strong, often well-armed characters she has played: first in her breakout role as Kate Austen on Lost, then as the bow-and-dagger-wielding woodland elf Tauriel in The Hobbit, and, for almost a decade now, as Marvel’s the Wasp (government name: Hope Van Dyne).

When we talk, Lilly is a couple weeks away from the release of Ant-Man and the Wasp: Quantumania (out now), the third entry in the franchise, in which she and Ant-Man, played by Paul Rudd, head into the infinitesimally small (even for insects) quantum realm to face off against Kang the Conqueror, played by Jonathan Majors, and kick off the next phase of Marvel movies. It has been two decades since she started her acting career, and those twenty years have taught her, among other things, about her limits, what she can and can’t give of herself physically. “Recently, I just felt this prompting to be gentler and work out less and not push my body so hard,” she says, wearing overalls over a white tank.

The Quantumania tour was supposed to be three weeks—mercifully shorter than the two months Lilly spent on the road for 2018’s Ant-Man and the Wasp—but now she expects it to be closer to two weeks, which is why I’ve found her at home in Hawaii. She’d just made the decision not to appear at a press event in Australia that she’d been expected to attend with Rudd, Majors, and other costars. “It was a bit of a personal choice not to go,” she says.

A few times during our conversation, Lilly mentions the ways in which she’s learning to self-advocate, to tap into the wisdom of her body, to connect “to mystery.” She recites a prayer most mornings: I’m here and I’m listening, and I’m asking for guidance, and I pray that you would guide every step and every choice that I make today and every word that I speak today. “It has a really big impact on my days,” she says. “I feel myself going to do something and then getting a proverbial tap on the shoulder and being like, I feel like I shouldn’t do that; I should go over here instead.”

I ask if her decision not to go to Australia had to do with her intuition. “Yes, it did,” she says.

When I ask for more details, she politely demurs. “I’m so torn about whether or not to tell you. I want to talk about it. And, also, I don’t want to conflate the release of this movie with some bullshit attack on my person.”

You don’t have to read too far between the lines to sense some lingering discomfort about the fallout last year after she shared a post on Instagram from a Washington, D.C., rally against vaccine mandates. Lilly briefly became the subject of some Internet wrath. That experience deepened questions she has constantly asked herself about a career that more or less took her by surprise: She was a twenty-four-year-old international-relations student with virtually no acting experience when she booked Lost. She says she’s tried to retire three times since—all unsuccessful, because an intriguing project has always come along—and has had her agents “on stand-down” for the past two years. “I have not been reading scripts or taking meetings,” she says. She’s reckoning with the occupational hazards of acting, particularly as experienced by a woman who catapulted to fame when the industry was still a boys’ club, being sexualized and, at the same time, dampening certain qualities to present as the woman those boys wanted to see. She’s now in the most Hollywood of franchises while trying to live that normal life outside Hollywood, caught between what the job demands of her and what she wants for herself. She’s found her voice but also learned the cost of using it.

“I’ve spent most of my life trying to be a good girl,” she says. “That’s a very dangerous game to play in Hollywood, because there are a lot of agendas.”

“When I got asked to do this article, my answer was ‘Fuck no, I will not do Esquire,’” Lilly admits toward the end of our conversation. Her reluctance stemmed from a 2006 piece during the second season of Lost, an ABC series about a group of plane-crash survivors that became a mega hit as soon as it entered the airspace in 2004. It made Lilly one of television’s biggest breakout stars—but not entirely for the reasons she might’ve wanted. “When I hired my first publicist, the one thing I told them was ‘I do not want to be the new, young, hot piece of ass,’” she remembers. “That was my only request. Immediately, they put me straight into Esquire, half undressed.”

That spread, in which this magazine described her as “the sexiest inhabitant of the freakiest island of all time,” was indicative of the way in which Lilly crash-landed into our cultural consciousness. “All my life, I’d been like, No way, nothing scares me,” she says. “But I suddenly realized I was legitimately afraid of fame.” It wasn’t just the amount of coverage but also how she was covered that left her feeling particularly exposed. She was perched near the top of objectifying lists like the Maxim “Hot 100” (Lilly hit #2 in 2005) and FHM’s “100 Sexiest Women” (#8 in 2006, in which she was described as “pint-sized, powerful, and unspeakably hot”). “That always felt stolen,” she says of being on those lists. “It never felt given.”

Part of Kate’s perceived sex appeal, the reason the media and Lost fans focused so intently on it, was the fact that the character engaged in so many conventionally masculine behaviors: shooting guns, climbing trees, suturing bloody wounds with a sewing needle and a nip of vodka, and delivering babies, all in the middle of the jungle. She was someone a Maxim editor might’ve referred to as a guy’s girl. “Men were hyper-impressed by a chick that could act like a dude,” Lilly says. So when she landed the role of Kate, she decided she’d play her as a “kick-ass chick.” She says she thought at the time, “I’m going to wear low-slung jeans and kick-ass boots and a white sleeveless tee, and I’m going to climb a tree and punch guys in the face.” Looking back now, she realizes that decision was informed by cultural missives she’d absorbed and embodied at a young age. “As a little girl,” she says, “I was so passive and sweet. I was very shy, and I was quintessentially, stereotypically feminine. But very quickly I learned that’s not cool. I learned that will end up making you a victim. If you want to be the victor, here’s the path; you better adopt masculinity in a hurry. I did, and it worked. That’s gross, right?”

“I’ve spent most of my life trying to be a good girl,” Lilly says. “That’s a very dangerous game to play in Hollywood.”

Lilly says that it’s only been in recent years that she recognized how much she had internalized her own sexualization, and discovered how to use it as a type of agency in a world where those without penises were often denied it. “I had spent a lifetime learning how to please men in a way that was like I got to be in the room with them,” she says. “I was allowed a key to the kingdom. I got a seat at the table because I could hang, because I was tough, because I was athletic, because I could be crude, because I could take a joke, because I could flirt, but in a way that was mutual, and they didn’t have any power over me. Men liked that sort of tough-chick thing. I had built this whole persona that was all about getting a seat at the table, and it worked. It fucking worked!” Then, when the sexual-assault allegations brought against Harvey Weinstein ignited the #MeToo movement around 2017, Lilly had a jarring epiphany. “All of that me that I stuffed away to be acceptable to the boys’ club is going to be meaningless pretty soon, and I’m going to have to start from scratch. I’m thirty-five; I don’t know if I can start from scratch,” she remembers thinking at the time. “I realized I had become a misogynist to survive misogyny. I was self-aware enough to look at myself and go, you are in a panic because your currency ain’t going to count anymore.… That is essentially what happened. Being a cute, tough, young white girl is no longer what’s going to get you in the door—which is fucking great! I was celebrating that for everyone else at the same time as being like, Oh my God, I’m in trouble.”

Historically, she says she would’ve understood exactly what to do to have me, a straight male reporter, in the palm of her hand. “I would’ve played that game, because it was the only way I knew how to protect myself and take care of myself. My only power was to intoxicate him with how you look, flirt with him, and then get some power back and control the situation. That doesn’t fly anymore, and it’s useless. It also sucks. It makes you feel like shit. It makes you feel like a little bit of a whore.”

Lilly acknowledges that if she were twenty years younger, she might still have to put up with some of those dynamics. Instead, she’s finding more empowered ways of being. She’s now very intentional about bringing an innate femininity to her roles—for instance, in the way she subtly tweaked the Wasp’s fighting style. “She doesn’t have to bear down and have a massive boxing punch. She has wings. She could be balletic in the way she moves. She could be graceful, and she could make beautiful lines, and she could do it in a way that feels very effortless and light but be effective and have a sting,” Lilly says.

When I later ask Paul Rudd about this, he wholeheartedly agrees. “She can put up a tough facade, but she finds those moments to show Hope’s vulnerability. She plays her that way, and that’s what makes her human and not just a one-dimensional cartoon character.” He adds, “Evangeline has a fiercely independent streak.”

That independent spirit has been hard-earned, and Lilly proudly protects it. But it’s not always easy for her to navigate. “My authenticity is going to piss some people off,” she says, “and is not going to always make me friends or make me popular. But it’s all I’ve got left.”

During the pandemic, her authenticity did piss some people off. On March 16, 2020, as the coronavirus was spreading around the world and quarantine measures were being put in place, Lilly posted a photo to Instagram with a caption saying she’d just dropped her kids off at gymnastics—she and her partner, Norman Kali, have two boys, ages eleven and seven—with the hashtag #businessasusual. Before long, people were ripping her apart for not taking the public-health crisis seriously enough. “I didn’t expect anyone to pay attention to it, because no one ever pays attention to what I post,” she says. Ten days after her original post, she posted again, this time to apologize. “I ended up having enough people say to me, ‘Well, there’s a lot of people who are dying right now, and it might have been really insensitive to what they’re going through,’ and that resonated for me,” she tells me.

Then, in January 2022, she attended a Washington, D.C., rally against vaccine mandates. This time, she expected the backlash. “I know the beast that I’m attacking,” she recalls thinking then. “I know that I have a little pebble and there’s this fucking Goliath giant. If I shoot this pebble, it’s going to wake the giant.” Though she says she asked herself “about six hundred times” whether she should post, she ultimately decided to wake the giant. “I just wanted people out there who were struggling because they were under severe pressure to do something they didn’t want to do to know that they weren’t alone, to know that there were people who actually felt they had a right to say no,” says Lilly.

Debates about public health aside, it’s telling that the actress, who has 2.4 million followers on Instagram, considers herself to be David in that analogy. It speaks to the ways in which she still sees herself: Despite being a Marvel superhero, she feels like she’s an outsider. “I’ve never felt lonelier in Hollywood than I do now,” she says at one point. Part of that is the physical dislocation. She is literally on an island. But it’s also existential. She’s lived in Hawaii for almost two decades, but it’s only begun to feel like home in the past five years or so. She still drives the same 2001 Ford Escape that she bought when she “arrived as a broke university student,” and she’s still trying to answer some of the same questions she was asking around that time. “I had been raised Christian and I came into Loststill very devout and evangelical,” she says. “And as I went through some different questioning and struggle, as my life completely changed and got turned upside down, I started to ask really big questions. And those really big questions started to lead me to books of wisdom other than the Bible.”

“Evangeline has a fiercely independent streak,” says Paul Rudd, Ant-Man to her Wasp.

She looked for answers in the Tao Te Ching, the Bhagavad Gita. She began collecting the tools that now constitute her daily practice. There’s journaling, dancing, movement, praying, and an exercise called connected breathing. “We’re the only animal who takes pauses between the in breath and the out breath, and the suggestion in this practice is that when we leave the present moment, we go to the past and we go to the future,” she explains. “If you can keep your breath connected consciously, intentionally, it helps ground you here and stops you from doing that.” And she’s still searching for answers in books. When we talk, she’s reading The Red Book, by psychotherapist Carl Jung, and Falling Upward, by the Franciscan priest Richard Rohr. “Read that book when you hit midlife,” she tells me. “It’s an incredible book about the second journey that you take in life.”

I ask Lilly what big questions she’s asking about her own second journey. “What are my priorities, and how do I keep them straight?” she says. She’s torn between her “four careers”: running an NGO in Rwanda, writing children’s books, acting, and, more recently, writing and producing movies. “I can’t have it all. I’ve learned that. That was a lie I was told in the 1980s, when I was growing up as a little girl and being empowered by the feminists in the eighties saying, ‘Honey, you can have it all.’ You can’t.” As for the acting part of her career? Even though she’s not looking for work, she’s not counting it out. “I’ve learned never to say never. I mean, it would be comical at this point for me to be like, ‘I’m never going to act again,’ because I’ve said that thrice and have not followed through.”

“I can’t have it all,” Lilly says. “I’ve learned that.”

Right now she’s focusing on her daily practice and is finally getting comfortable with her fame. “I needed to move toward that fear instead of running away from it,” she says, invoking the lessons from another favorite books of hers: The Presence Process, by Michael Brown. It’s a ten-week program that Lilly says she began while shooting the first Ant-Man and has done three times since. She credits it with changing her life. “It’s a way of being present with what is,” she says, before adding that, well, that’s what all meditative practices are.

“But there are kind of two large, broad categories [of meditation],” she goes on to explain. “One is transcendental. I am going to, for lack of a better way of putting it, escape reality and go to another place, another plane where things are peaceful and calm, and I can regain my center and regain my perspective and then come back refreshed. The type of meditation you do in the Presence Process is all about actually getting really present with what is happening right now and what you’re doing and what you’re in and what you’re feeling. Not in any way getting away from it.”

She tells me that the expression used in the book is: The only way out is through. “So get the fuck in it,” she says. “Whatever it is, get in it.”

Esquire-05.jpg Esquire-02.jpgEsquire-01.jpgEsquire-04.jpg

Check all pictures in gallery!

Studio Photoshoots > 2023 > Esquire

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ABC Special Ant-Man and The Wasp Quantumania – Stills + Screen Captures

Hi Guys!

I wish an amazing new year for all fans that follow our website! We finally update the gallery with stills and screen captures from ABC Special Ant-Man and The Wasp Quantumania with Evangeline and Kathryn Newton!

If you want the link from episode just call me in instagram that I send for you. Lilly and Kathy participated about 3 minutes.

Special thanks for Kathryn Newton Brasil that send to me the episode link!

Gallery Link

TV Appearances & Interviews > 2022 > Dec 25 | ABC Special Ant-Man and The Wasp Quantumania

Home > Appearances & Events > 2022 > Dec 25 | ABC Special Ant-Man and The Wasp Quantumania



Filed Ant-Man and The Wasp: Quantumania Articles Interviews Movies

Evangeline Lilly Discusses Hope’s Relationship With Her Mother In ‘Ant-Man and the Wasp: Quantumania’

Source: Collider

Evangeline Lilly returns for the fourth time to the role of Hope van Dyne/The Wasp in Ant-Man and the Wasp: Quantumania. In anticipation of the threequel, she has been speaking to Hyper Omelete at the CCXP event in Brazil about what fans can expect from her character as she reunites properly with her mother, Janet – also formerly The Wasp – played by Michelle Pfeiffer.

Hope’s unstable relationship with her father, Hank Pym (Michael Douglas) is made clear in the original Ant-Man from 2015, when her tragic past is revealed. Hope grew up believing that Janet, while on a mission with Hank, was killed due to sacrificing herself for the sake of succeeding in their task, and was resentful of her father for the role he played in her apparent death.

However, 2018’s Ant-Man and the Wasp built on clues left behind at the climax of Ant-Man to reveal that Janet was alive after all, and she was successfully retrieved from her thirty years in the Quantum Realm before being reunited with her family – briefly, until she was snapped out of existence by Thanos. That’s just bad timing. Fortunately, Scott Lang (Paul Rudd) was able to assist the Avengers in restoring the universe, and Lilly has explained her character’s mindset at finally having her protracted reunion with her mother.

Lilly revealed that despite their emotional reunion, their relationship will face certain obstacles, stating:

“So of course, Hope was so excited to get her Mom back. And she was thinking, this is gonna be a fantasy, and I’m going to have my mom, and we’re going to be best friends and we’ll tell each other everything and life will be intimate and my life will be perfect. And life is never perfect, especially with our parents. Especially with parents who spent thirty years in the Quantum realm. And so there’s a lot that Hope doesn’t know, and doesn’t find out about her mom until this journey begins. And it’s a dark and difficult thing to deal with for her.”

Quantumania will finally present Hope with the opportunity to work together with her entire family, as Pfeiffer steps up to a leading role in the film, allowing Hope both the chance to reignite her relationship with her mother, but continue to repair the fractured relationship with her father, while juggling the threat of the menacing Kang the Conqueror (Jonathan Majors).

Ant-Man and the Wasp: Quantumania premieres in theaters on February 17. Check out the movie’s trailer and synopsis below.

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Evangeline Lilly attended CCXP in Sao Paulo to promote Ant Man and The Wasp Quantumania

Hi guys! How are you? We update here with all pictures from Evangeline in Sao Paulo, Brazil. She attended the Comic Con Experience Sao Paulo in 01 december, with Kevin Feige, Paul Rudd and Peyton Reed. We take screencaps from Omelete Panel and add in our gallery some pictures shared from Evie in Brazil. She send a message to all brazilian fans and participated in a Press Day with a Brazilian jornalists. Check all pictures and videos in this post.

Special thanks to Evangelinen.Lilly instagram for help with all content.



TV Appearances & Interviews > 2022 > Dec 01 | Omelete Panel – Comic Con Experience Sao Paulo

Appearances & Events > 2022 > Dec 01 | CCXP Sao Paulo 2022 – Marvel Studios Panel

Appearances & Events > 2022 > Dec 01 | CCXP Sao Paulo 2022 – Omelete Panel

Appearances & Events > 2022 > Dec 01 | CCXP Sao Paulo 2022 – Marvel Studios Panel (Backstage)

Dec 03 | Press Conference Ant-Man & The Wasp Quantumania in Sao Paulo

Take a look in the panel video from Omelete:


Also Evangeline’s interview for Marvel Brasil:


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Why Evangeline Lilly loved The Hobbit and wanted to be in Star Wars

Yesterday, SYFY WIRE published an interview with Evangeline, where she talked about her passion for writing, her books of The Squickerwonkers, her most important roles (Kate Austen, Tauriel and Hope Van Dyne), among other things. You can read it below … Maybe it seems a little long, but it’s very entertaining and interesting!

Syfy Wire – “I see myself as a writer who has a fantastic day job.”

Talk to Evangeline Lilly for more than three minutes, and one thing become remarkably clear. She’s positively overflowing with stories she wants to tell, and Hollywood isn’t necessarily where she wants to tell them. So when you sit down with her for nearly an hour, as we recently did, the insight is profound.

For six seasons, she navigated the mysteries of The Island as Kate Austen on the show that defined binge-worthy TV: the addictive and ultimately divisive Lost. Though she tried to retire from acting once Lost ended, Peter Jackson brought her back by personally reaching out and asking her to play Tauriel in his adaptation of The Hobbit. How do you follow up playing a woodland elf? Well, you play a superhero (Wasp) who becomes the first female character to headline a film in the Marvel Cinematic Universe.

Though her three biggest roles may seem, at first blush, to be incredibly different, they all share one very clear trait: Each draws her strength by embracing her flaws. And that’s the theme that pervades so many of Lilly’s own stories (including the character she tried to nab in Star Wars).

“Acting is my bread and butter. It’s what puts a roof over my family’s head and food on our table, and it’s something I rely on very heavily and is important to me,” she tells me. “But my passion — my truest passion — the thing that fulfills me and makes me feel whole as a human being is writing.”

As is evident from the roles she’s chosen to play, the stories that mean the most to her — the stories worth telling — are those that skew close to the brutal truths of life and don’t pull any punches. Stories that are true to life but still show a path toward redemption. And that’s true even — perhaps especially — if those stories are meant for children. Crack open the first book in her children’s series, The Squickerwonkers: The Prequel, and you’ll see what I mean.

Illustrated by WETA Workshop conceptual designer Johnny Fraser-Allen, the book is dark, clever, creative, and emotional. And there’s nary a “happily ever after” in sight. The book ends on an unquestionable downbeat of a cliffhanger that sets up the second book, The Demise of Selma the Spoiled(out this May from Quiet Cocoon and illustrated by Rodrigo Bastos Didier).

The first book sets up the series (which will eventually include an ambitious 20 books) and the players: a colorful cast of 10 vice-ridden marionettes who inhabit the upside-down and creepy SquickerWorld. The following nine books, collectively known as The Demise Series, will bring those misfit characters to their inevitable and terrible demises. Yes, they’ll all “die.”

Lilly first started writing the story when she was just 14, and it’s followed her around for almost 25 years.

“I don’t know many stories that have lived with someone as long as this has lived with me,” she says. “I was a reclusive young woman and a bit of a loner. I was somebody who came to literature very late, and when I did, I just fell in love with such a passion that I kind of became very focused on not just reading but writing as well. And seriously, that was my idea of a great Friday night at 14 – staying home and writing by myself.

“I was a big fan of Dr. Seuss, believe it or not. Where most people come to him at four, I was reading him at 14,” she continues. “And I think the adult side of me realized what he was doing. The subtlety of the messages he’d thread into these simple, silly poems really struck me as meaningful. And I realized that this adult took the time to put these sophisticated, important messages into my childhood stories.”

That approach was formative for Lilly, as was the famed author’s inventive use of language.

“I also dug his irreverent use of language. If he was making a rhyme, and he was lacking a sufficient rhyming word, he would just make one up. And it was silly and wonderful, so I wanted to make up my own words,” she reveals. “And I started making a list of silly, irreverent, wonderful words, and one of the words on that list just stuck in my head and on my tongue, and I really liked it. And that word was squickerwonker.”

Fans of A Series of Unfortunate Events or Edward Gorey will quickly pick up on the mood Lilly is going for here. The Squickerwonkers books embrace and are honest about the flaws we all have. They shine a spotlight on human frailty and say, “It’s OK not to be perfect.” And that honesty is even more critical because the books are for children.

Young readers should be exposed to the world as it is. Presenting kids exclusively with teddy bears, rainbows, and happily-ever-afters does them a massive disservice. For many kids, these sweet stories simply don’t resonate with their reality. If we never tell our kids that it’s OK to fail or have flaws, then their unrealistic expectations — and anxieties — about the world and themselves balloon and quickly get out of control.

“Who are you in the face of that hardship?” Lilly says, explaining what her books tend to focus on. “Because that’s what will bring you happiness. That’s how you understand who you are, even in the mire. Even in the murk. Even in the horror. That’s our internal compass.”

In the absence of such stories, the anxieties that develop can have serious ripple effects that follow us throughout our lives. For Lilly, they manifested as clinical depression and an attachment to the idea of the tortured artist.

“My first speaking role was on Lost, and I was very unhappy. I didn’t get joy from my job.” And even though her job was, admittedly, many people’s dream job, her unhappiness with it inspired a lot of soul-searching. Which ultimately led her to the realization that the only thing she’d consistently done her entire life because she enjoyed it was writing.

“Nowadays, in 2019, there’s a lot of emphasis put on [the idea that] you must have your passion be your livelihood,” she says. “And I think there’s such an innate danger in teaching young people that somehow they have failed at life if they have to have some kind of a grind. If the job they do — the one that pays the bills and gives them food and a house — if that job is not their passion, then somehow they’ve failed. They’re not doing life very well. And I just think that’s not true.

“There’s a righteousness [among artists] that your art has to be this pure thing that you’ve sacrificed yourself to. I was clinically depressed through most of my life, until my late 20s. I dealt with depression through artistic expression,” Lilly reveals. “And I remember when I first got diagnosed, I was told I should go on antidepressants. I remember having this moment of panic right before I put the pill in my mouth because I thought, ‘I’m never going to be able to create again!’ [Because I thought] my creativity came from my angst and my sadness and my struggle. I was terrified because my whole life was art. I thought it would all end if I didn’t have the angst anymore.

“But in the end, it was all total bullshit. Oh my God, stability and happiness allow me to be productive with my creativity?” Lilly exclaims. “Suddenly, I’m creating way more and putting it out into the world instead of hammering away in a dark little hole and never going anywhere. That wasn’t productive creativity. It was insular and self-perpetuating, but now there’s this beautiful health that allows creativity to happen from a place of stability and happiness.”

Like Kate Austen, Tauriel, and Hope Van Dyne, there is no character in Lilly’s books who is above reproach. They are, all of them, flawed — some more deeply than others. And that’s the reality she wants to show young readers.

Evangeline Lilly has been fortunate enough in her career to inhabit characters who had the ability to grow and develop. She had over 100 episodes on Lost and multiple films as both Tauriel and Hope Van Dyne of Ant-Man series fame. That’s not an opportunity every actor gets. And even though we haven’t yet seen the end of Hope’s story, the character whose arc she’s most satisfied with is both revealing and not at all surprising. It’s the one that — ironically, given the world she inhabits — is truest to life.

“I was really excited about the potential for Kate’s character and who she was and what it meant for how much room for growth there was – because she started out deeply, deeply flawed. I don’t feel I ever got the satisfaction I was looking for in terms of a full character arc,” Lilly says. “I didn’t come to the end of that show and clearly see how she’d grown and what she’d learned. I felt like some of that got lost in the intensity of the mythology of the show. That became the priority and the focus, and the character arcs became secondary. So I never really felt like I got that satisfaction with her, even though I’m very proud to have played her and will always be proud.”

Her role in the Marvel Universe gives her a bit more… hope.

“Hope is mid-journey. I don’t see her journey as being over by any stretch,” she says. “But from being practically an orphan — a girl who lost her mother at eight years old and left with a father who emotionally abandoned her — to being a woman who has an intimate and meaningful relationship with her father and who has been reunited with her mother, that’s a pretty epic arc. That’s pretty great.”

It’ll take a really solid landing, however, to outshine her arc in The Hobbit.

“Tauriel, though, was cool because she was left with a bad ending. Things did not end well for Tauriel. Her last scene, really, was tragic. She was in tears and pain and sorrow,” she says. “And what I like about that is it allows for two things. One, it allows for the viewer’s imagination to then say, ‘Where does she go from here? What happens now?’ And two, it’s truer to life. I don’t know if I’ve ever had anything resolve itself with such a pretty bow as we see in stories. I like that we can do that in stories, but it is refreshing sometimes to see things not wrap up and be left more like life.”

The nice thing about Tolkien’s elves is that they don’t age very quickly, so Tauriel could conceivably pop up in almost any era of Middle-earth’s history. So might we see her in the Amazon show that’s currently in development?

“If that happens,” Lilly admits, “I assume it’ll be played by someone other than me. Because I’ve not heard anything about it.”

Secrets. There’s always so much secrecy.

“It’s all I’ve ever known. My career has been filled with a lot of secrecy. With porters who hand deliver scripts to me after flying across the country because they’re not allowed to put it in the mail or email it to me,” she marvels. “I’m doing a film this spring, and I’m so excited to finally be doing a film where I’ve gotten a complete script in advance. To have a script memorized before I start work is going to be an incredible luxury. I can actually do my job the way I’m supposed to!”

But that doesn’t mean it’s gotten any easier to keep everything under wraps. She’s certainly had her own Tom Holland moments.

“Oh, I totally did. I got so lucky because it somehow magically got buried and no one ever heard about it. I was sweating bricks for about a week. Then I started breathing easier when I realized that nobody was going to see it. It’s hard not to slip up! It’s no coincidence that it’s always Tom Holland and Mark Ruffalo because those two are such genuine, sweet, open, vulnerable human beings. Their nature is not cagey or to hide, lie, and defend. They’re just lovers whose arms are wide open to the world.”

Lest you think she’d have no interest in the galaxy far, far away because of the SECRETS, think again.

“Several years ago, when I found out that J.J. Abrams was remaking, or rebooting, the Star Wars franchise, it was the only time in my career that I’ve ever put a call out,” she admits. “I wanted to be Leia. If I got to be a woodland elf and Kate from Lost and Leia, that would cover it. And then I got to be the Wasp! That’s all the big franchises.”

“I was so in love with Leia when I was a little girl. Those were my two fantasies – to be a woodland elf and to be Leia tied to Jabba the Hutt in her sexy bikini. But then they called me back and said, ‘Well, there’s a little-known actress called Carrie Fisher who will be playing Princess Leia.’ Well, FINE, I guess that’s OK.”

So is there anything she can share about the Marvel universe, asks everyone in the country?

“They keep these things so under wraps that no one’s said anything to me about anything that will happen after [Avengers: Endgame]. But you know… anything can happen.”

Filed Ant-Man and The Wasp Interviews News

Women of Action: Meet the Stunt Performers Who Help Scarlett Johansson, Evangeline Lilly and More Stars Kick Ass

Evangeline and her stunt doubles of “Ant-Man and The Wasp”, Ingrid Kleinig and Renae Moneymaker are three of the people featured in the new article by The Hollywood Reporter to shine the light on the people who make the main actors look good in the big and small screen.

The Hollywood Reporter – When Evangeline Lilly was starring in Lost, she liked to do her own stunts. But two kids and a decade and change later, the 39-year-old actress had to reevaluate her priorities. “I had to let go of that young, egotistical pride that I’ll do it all, that nobody is doing it for me,” she says. “It was hard for me, I won’t lie. But I’m not 25 anymore.”

Making it a little easier for her on Ant-Man and the Wasp, Marvel’s first movie to include a female character in its title, were Ingrid Kleinig, 39, and Renae Moneymaker, 31, Lilly’s two stuntwomen. With multiple units shooting the film at the same time — one stuntwoman doing a car chase, another a fight sequence, while Lilly worked on an acting scene — the film literally could not have been made without them. “There were four of me in this film,” says the actress, including in her count the CGI-created version of her insect-inspired superhero character.

Kleinig is a trained dancer and acrobat — she performed in the opening ceremony of the 2000 Sydney Olympics — who grew up in a car-obsessed family (her great-great-grandfather started the Australian Grand Prix and her dad was a professional driver for the army before she started racing cars in Australia). The two skills led to her landing gigs as Margot Robbie’s double in The Legend of Tarzan and Suicide Squad and Brie Larson’s double in Kong: Skull Island and Captain Marvel. “I used to be the black sheep of the family,” she says, “but now I’ve redeemed myself.”

Moneymaker started out as a gymnast but got introduced to stunt work by her sister, Heidi. “I was hooked,” she says. “I was like, ‘This is what I need to be doing.’ I fell in love with all of it, with the amount of people that are involved [in making a movie], the preparation and executing the stunts.” Along with Ant-Man and the Wasp, Moneymaker also has done stunt work for Jennifer Lawrence in The Hunger Games and X-Men: Apocalypse.

Even though the three women were often working on different scenes, they formed a bond during preproduction training, practicing in front of a mirror by doing motions together in sync. And Lilly, whenever she could, kept a close eye on her doubles, giving her input on action scenes in “very long emails” to the producers and director (“I’ve seen the stunt videos you’ve mocked up, and I have a lot of notes”). Her biggest concern was that she wanted the action sequences to emphasize the femininity of The Wasp’s fighting style to show women don’t have to be “either the tomboy or the girly-girl. I consider myself the godmother of this character,” Lilly explains, “so I wanted to be on set anytime there was a stunt happening. I wanted to have eyes on it and have input.”


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