Carey Mulligan OnlineYour Original Fansite Resource for Carey Mulligan

Collider has a bunch of new stills from Drive‘s press kit that was released a little bit ago and two of those feature Carey! A full synopsis has also been released, which you can read below.

Driver (RYAN GOSLING) is a stunt driver by day and a getaway driver by night. Doesn’t matter what job he does, Driver is most comfortable behind the wheel of a car. Shannon (BRYAN CRANSTON) is part mentor, part manager for Driver. Since he knows what a great talent Driver is behind the wheel, he either peddles him to film and television directors in the entertainment business or thieves who need an accomplished getaway driver, taking a cut for his own pockets. Always looking to make a buck, Shannon’s current plan is funding a stock car that Driver can race on the professional circuit. Since Bernie Rose (ALBERT BROOKS) is the wealthiest guy he knows, even if the sources of his money are questionable, Shannon proposes he be their investor. After seeing Driver in action at the speedway, Bernie Rose insists Nino (RON PERLMAN) partners with them as well. Primarily a loner and ambivalent about the deals Shannon makes for him, Driver’s world changes the day he shares an elevator ride at his apartment building with Irene (CAREY MULLIGAN). When he sees her again at the grocery store with her young son, Benicio (KADEN LEOS), he is transfixed, and willingly offers help when they are stranded in the parking lot because Irene’s car won’t start. Soon Driver settles into a routine of driving Irene to her waitress job and watching Benicio, entangled in their lives while her car is fixed. This interlude in Driver’s life abruptly stops when Standard (OSCAR ISAAC), Irene’s husband, is let out early from prison for good behavior. Even though nothing has happened between Driver and Irene, Standard is threatened by another man’s presence in his family’s life. Driver backs off, respectful of Irene’s desire to keep her family together, but when he finds Standard bloodied and lying in the garage with a scared Benicio standing next to his father, Driver is embroiled even further in Irene’s life. Then trouble begins…

Ben Affleck is out, Isla Fisher is (almost) in. Baz Luhrmann’s 3-D adaptation of F. Scott Fitzgerald’s The Great Gatsby will look something like this: Leonardo DiCaprio, Tobey Maguire and Carey Mulligan are a lock (as Jay Gatsby, Nick Carraway, Daisy Buchanan—just as Lurhmann has wanted it since October 2010).

Affleck has finally committed to his next directing gig, Argo, about the 1979 Iranian hostage crisis in the Middle East, so the actor won’t be donning ‘20s tweeds as Tom Buchanan. Fisher is in negotiations to play Myrtle, Buchanan’s married lover. The Warner Bros. production will kick off in Sydney, Australia this August.

Source

Thanks once again to Mariana for scans of Carey in Stylist magazine’s February 9th issue! Please do not repost these on other sites as it they were scanned specifically for Carey Mulligan Online. Thanks.

A nice treat for the visitors! Thanks again to my lovely friend Mariana for scanning and sending this to me: it’s a scan of Carey in Radio Times from 2005! Please do not repost this on other sites as it was scanned specifically for Carey Mulligan Online. Thanks.

Last night, Carey attended the after party for Happythankyoumoreplease in support of her best friend, Zoe Kazan. Pictures have been added to the gallery!

Scans update

February 20th, 2011

Thanks to my wonderful friend Mariana, I’ve been able to add scans from Guardian Weekend, Radio Times and Sunday Times Style to the gallery! Please do not repost these on other sites as they were scanned specifically for Carey Mulligan Online. Thanks.

I’ve added some more gorgeous outtakes from Carey’s Los Angeles Times photoshoot. Enjoy!

It’s the day of the premiere and confusion reigns inside the London hotel. TV cables are snaking down the corridors, photographers stand in huddles and the doors keep opening and shutting like a Feydeau farce. The press minders, meantime, have turned harried and irritable. “What time are we leaving, Jane?” barks one to the other. “It’s Kate,” Kate snaps back.

In all the hubbub it takes me a moment to register Carey Mulligan, hiding out on a window-seat with her back to the light. Her blond bob is scrunched, her make-up applied. At first glance, she might be a 14-year-old trying to pass for 18 at the local nightclub. Then she gets to her feet and is instantly transformed, looming 5ft 10in in her tottering heels. Her voice is in her boots; rich and deep, at least three octaves lower than it ought to be. Everything about her is quietly confounding.

In the course of a hectic six-year career, Mulligan has conspired to look both young and old, plain and beautiful. She was flyweight and mousy as Kitty Bennet in Pride & Prejudice, grave and soulful as Ada Clare in the BBC production of Bleak House; impishly vulnerable in her Oscar-nominated breakthrough in An Education, a broken bird when she played The Seagull on Broadway. I can’t tell whether she’s a wizened, watchful Miss Marple in the guise of a limpid ingénue, or the other way around. “I have a very forgettable face,” she explains ruefully. “I don’t look specific.”

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