
Daisy Edgar-Jones starring in new Sense and Sensibility adaptation
The 27-year-old actress will play one of the Dashwood sisters in the latest take on Austen's classic 18th century novel that is being directed by Georgia Oakley from a script penned by author Diana Reid.
Sense and Sensibility tells the story of the impoverished Dashwood family and centres on the romantic experiences of sisters Elinor and Marianne as they and their widowed mother attempt to navigate life following the death of their father and husband respectively.
Edgar-Jones will portray the character of Elinor.
Tim Bevan and Eric Fellner of Working Title Films are producing the picture together with India Flint of November Pictures and Jo Wallett.
Sense and Sensibility was previously adapted for the big screen in 1995, with the movie being directed by Ang Lee and starring Dame Emma Thompson and Kate Winslet as the Dashwood sisters.
Daisy has starred in movies such as Twisters and On Swift Horses in recent times and explained that she wants every part that she plays to have "layers" within it.
She told ELLE: "You want to find characters with agency. It's great that more and more stories are being made with women front and center. It's also an interesting thing, being a woman in your 20s, wanting to find characters who are not always ingenues.
"I want every character I play to be complicated and deep and have layers to them, because that's what it is to be human. Like with Kate in Twisters, I know there was a big uproar that there wasn't a kiss at the end. But she went on a journey in that film that was bigger than a romantic journey."
Daisy came to prominence with her role opposite Paul Mescal in the acclaimed TV drama Normal People in 2020 but admits that she is keen to discuss other projects now.
She said: "It isn't that I'm bored of talking about it, because I am so proud of it, I want to find something that connects like that again. I still can't comprehend how widely it reached. Five years on, I'm older now, and I'm keen to talk about other things, too."
Daisy has worked with actors like Jacob Elordi and Glen Powell so far during her Hollywood career but is concerned about having to perform with someone who has an "ego".
The Where the Crawdads Sing star said: "I have worked with basically all of the internet's boyfriends. And I'm lucky that every actor has been incredibly supportive of me being the lead. I'm nervous for the point that it comes to working with someone who might not be so chill with it! Because there's so much ego that can exist in this industry."
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Sydney Morning Herald
2 days ago
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The Age
2 days ago
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It is a truth universally acknowledged that I'm suddenly addicted to period dramas
Whatever you do, don't watch the new Jane Austen documentary on the ABC. It's called Jane Austen: Rise of a Genius and it's far too good, leaving you with a hunger for Austen which cannot easily be satisfied. And so you find yourself rewatching the film of Sense and Sensibility, the one with Hugh Grant and Emma Thompson, and then one thing leads to another and you've watched every available Austen, and so you find yourself subscribing to BritBox, and soon life has no meaning unless you are hunched in front of the set watching Dame Judy Dench in a bonnet and Julia Sawalha in a hooped skirt. I've heard heroin addicts talk about how it all started. An innocent tug on an acquaintance's 'marijuana cigarette' and, three weeks later, they are sprawled in a Kings Cross gutter with no money and a needle in their arm. Friends, that is my story. It all begins with a moment of appreciation for Hugh Grant's tousled hair and ends with a wayward addict adrift in a sea of Trollope. In the last fortnight, I've watched at least 11 period dramas – all of Austen, then two TV versions of Tom Jones (the older version better than the later), Trollope's The Way We Live Now (excellent, by the way), Cranford, Return to Cranford, and Yet More Cranford. This last one doesn't exist yet, but surely I can dream? Strangely, I used to act superior about 'bonnet dramas'. I spent most of the 1990s falling asleep in front of them. If a drama featured headwear affixed under the chin with a ribbon, I found my eyes fluttering closed. Now, I'm watching so many period dramas that they blur in my memory. No, matter. In a way, they are all the same. They all star Imelda Staunton, Brenda Blethyn, Tom Hollander and Michael Gambon. If one of the characters isn't in it for a scene or two, one assumes the actor is up the road filming The Barchester Chronicles. Andrew Davies is always the writer, which means he's skilled at including all the classic tropes. They all have a cad, a spirited heroine, an interfering aunt, and a scene in which someone is pushed into a pond, puddle, river, moat or lake. There's a puppet show or magic performance, featuring either Tim Curry or Alexei Sayle. The sprawling country house, I'm pretty sure, is always the same. Presumably, the BBC bought it in 1952 and films everything there. If it's Anna Karenina, they'll ship in some scythes and a steaming samovar. Of course, much like the heroin addict, the period drama compulsion soon dominates your life. When every evening is spent in Georgian England, it's hard for every breakfast not to follow.


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