Age: 44
female
Rebecca Maria Hall (born May 3, 1982) is an English actress and filmmaker. She made her first onscreen appearance at age 10 in the 1992 television adaptation of The Camomile Lawn, directed by her father, Sir Peter Hall. Her professional stage debut came in her father's 2002 production of Mrs. Warren's Profession, which earned her the Ian Charleson Award. In 2006, following her film debut in Starter for 10, Hall got her breakthrough role in Christopher Nolan's thriller film The Prestige. In 2008, she starred as Vicky in Woody Allen's romantic comedy-drama Vicky Cristina Barcelona, for which she received a Golden Globe nomination for Best Actress. Hall then appeared in a wide array of films, including Ron Howard's historical drama Frost/Nixon (2008), Ben Affleck's crime drama The Town (2010), the horror thriller The Awakening (2011), the superhero film Iron Man 3 (2013), the science fiction film Transcendence (2014), the psychological thriller The Gift (2015), the live-action/CGI fantasy adventure film The BFG (2016), the biographical drama Professor Marston and the Wonder Women (2017) and the monster film Godzilla vs. Kong (2021). In 2016, Hall was praised by critics for her portrayal of news reporter Christine Chubbuck in the biographical drama Christine. She made her directorial debut with Passing (2021), receiving critical acclaim. Hall has also made several notable appearances on British television. She won the British Academy Television Award for Best Supporting Actress for the 2009 Channel 4 miniseries Red Riding: 1974. In 2013, she was nominated for the British Academy Television Award for Best Actress for her performance in BBC Two's Parade's End. Description above from the Wikipedia article Rebecca Hall, licensed under CC-BY-SA, full list of contributors on Wikipedia.
Rebecca Hall
Alice Scott
for Alice Scott in Great Big Beautiful Life
Suggested by vzzzzzzz
Alice Scott is an eternal optimist still dreaming of her big writing break. Hayden Anderson is a Pulitzer-prize winning human thundercloud. And they’re both on balmy Little Crescent Island for the same reason: To write the biography of a woman no one has seen in years--or at least to meet with the octogenarian who claims to be the Margaret Ives. Tragic heiress, former tabloid princess, and daughter of one of the most storied (and scandalous) families of the 20th Century. When Margaret invites them both for a one-month trial period, after which she’ll choose the person who’ll tell her story, there are three things keeping Alice’s head in the game. One: Alice genuinely likes people, which means people usually like Alice—and she has a whole month to win the legendary woman over. Two: She’s ready for this job and the chance to impress her perennially unimpressed family with a Serious Publication Three: Hayden Anderson, who should have no reason to be concerned about losing this book, is glowering at her in a shaken-to-the core way that suggests he sees her as competition. But the problem is, Margaret is only giving each of them pieces of her story. Pieces they can’t swap to put together because of an ironclad NDA and an inconvenient yearning pulsing between them every time they’re in the same room. And it’s becoming abundantly clear that their story—just like the tale Margaret’s spinning—could be a mystery, tragedy, or love ballad…depending on who’s telling it.
