Emily Mortimer Poster


Jump to: Overview (3)  | Mini Bio (1)  | Spouse (1)  | Trade Mark (1)  | Trivia (22)  | Personal Quotes (12)

Overview (3)

Born in London, England, UK
Birth NameEmily Kathleen Anne Mortimer
Height 5' 8" (1.73 m)

Mini Bio (1)

English actress Emily Kathleen Anne Mortimer was born in Hammersmith, London, England, to writer and barrister Sir John Mortimer and his second wife, Penelope (née Gollop). She was educated at St Paul's Girls' School in West London, and it was whilst there she began acting. Mortimer moved on from school to Lincoln College, Oxford University, where she studied English Literature and Russian, and spent two terms at the Moscow Arts Theater Drama School, studying acting.

While appearing in an Oxford University student production, Mortimer was spotted by a TV producer who cast her in an adaptation of Catherine Cookson' s The Glass Virgin (1995). She made her feature film debut in 1996 alongside Val Kilmer in The Ghost and the Darkness (1996). Roles in various projects have followed, including Elizabeth (1998), Love's Labour's Lost (2000), Match Point (2005), Lars and the Real Girl (2007), Shutter Island (2010) and Hugo (2011).

During the making of Love's Labour's Lost (2000), Mortimer met her husband Alessandro Nivola. The couple have two children, Samuel and May.

- IMDb Mini Biography By: Anonymous

Spouse (1)

Alessandro Nivola (3 January 2003 - present) ( 2 children)

Trade Mark (1)

high meek voice

Trivia (22)

Studied English & Russian at Lincoln College, Oxford (1990-1994). Daughter of John Mortimer and Penelope Gollop Mortimer.
Has one younger sister, Rosie Mortimer.
Gave birth to her son Samuel John Nivola, with husband Alessandro Nivola, at London's Portland Hospital, weighing in at 7lbs 10oz (26 September 2003).
A Mexican punk band played at her wedding to Alessandro Nivola.
Discovered an older half-brother, Ross Bentley, as a result of a past relationship between actress Wendy Craig and her father Sir John Mortimer. [September 2004]
Lives in Los Angeles, California, USA. [2004]
Attended St. Paul's Girls' School in London.
Attended Moscow Arts Theatre School.
The name of her mother, Penelope, was also the name of her father's first wife.
Fluent in Russian
Educated at the prestigious St Paul's Girls School in London. Was in the same class as fellow actress Rachel Weisz.
Was chosen to voice the young Sophie in the English language version of Howl's Moving Castle (2004) because the producers felt that her voice resembled that of the young Jean Simmons, who voiced the old Sophie.
Has two older half-siblings from her father's first marriage, Sally Silverman and Jeremy Mortimer.
Gave birth to her daughter May Rose Nivola, with husband Alessandro Nivola, in New York City, via Caesarean section (15 January 2010).
Her younger sister Rosie Mortimer gave birth to her son John just three days after Emily gave birth to her daughter May.
Returned to work ten months after giving birth to her son Samuel in order to begin filming Match Point (2005).
Returned to work six months after giving birth to her daughter May in order to begin filming Our Idiot Brother (2011).
Was three months pregnant with her daughter May when she completed filming on Shutter Island (2010).
Has become part of Martin Scorsese's acting company, working for him on three films.
Lives in Brooklyn, N.Y. USA [December 2012]
Auditioned for The Black Dahlia (2006).
She bears a striking facial resemblance to Miranda Otto, who is Australian.

Personal Quotes (12)

This is not meant to have happened to me at all. I am a Sloane, from the Chilterns.
To be in the hands of an auteur like [Andrei Tarkovsky], that would be just brilliant. But I don't know if those kind of films can ever be made any more. To get art nowadays, in cinema or books or anything, that grapples with the possibility of a meaningless universe . . . it just doesn't happen any more. In even the most indie of the indie films, everything has to come to some kind of neat conclusion. But that's part of the problem with politics and history and everything today, that people think there's a right and a wrong, a good and a bad . . . maybe there just isn't . . . .
I have to say that, though it sounds so superficial, the accent really does help. I like having accents preparing for a part. It's a hard thing to do, to be given a script, and know that you've got to turn up on the first day of the shoot - generally without having had any rehearsal - and present a character. It's really baffling; it's incredibly hard to know how to begin, to approach it, other than just thinking about it. But how do you think about it? There's no guidebook.
Until Frankie [Dear Frankie (2004)], I didn't realise that feeling part of a film was about staying up late, getting drunk, smoking and all that. And I wasn't doing it, obviously; or if I did, I felt wracked with guilt about it. That was odd. It felt much more like a job of work.
It doesn't feel like that. The big producers still want Kate Winslet and Kate Beckinsale, I suppose. - on whether she has made it into mainstream Hollywood.
I want any excuse to come home. My dad is not a spring chicken any more. If anyone says, go buy a postage stamp in London, I'll go and do it.
...acting was something I pretended I didn't want to do as I was growing up.
...you can imagine, or think you can imagine, how to play almost anything - a drug addict, a bank robber, a killer - but the imagination doesn't prepare you for being a mother and those particular feelings.
I wasn't prepared for the inexplicable, overwhelming feeling of love and protection, or how hard it would be to have to leave this little thing in the morning. The good thing about movies is that while you work hard for three or four months, you can have three months or so off afterward. Hopefully, it all works out. I'm trying to avoid, you know, guilt, even though before the child is born, you're already thinking you're doing things wrong. . . . Why do I think that will probably carry over until the day you die? [on having her son]
The preparation for a film is so ephemeral and hard -- you're lucky if you get a day of rehearsal or a chat with the director or actors on set. You really don't know what to do. Accents are very tangible, blessedly, and if you have to do one, it's a way of getting into character. I can read it through a few times and pretend I know what I'm doing!
But, yes, no matter how in character actresses are in a film, the moment they take off their clothes, you start wondering about them as a person. You start checking them out, in a way. It's a self-conscious moment for both the audience and for the actor and always, I think, slightly embarrassing.
[on Martin Scorsese] He gives you license to find the lights and darks in a character.

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