Welcome to Admiring Felicity Jones, your best source for everything Felicity Rose Hadley Jones since 2016. Felicity is known for her roles in The Theory of Everything, Inferno, A Monster Calls & Rogue One: A Star Wars Story. Our goal is to keep you updated with every project, photoshoot and news from the career of the British actress. Enjoy your stay.

Oscar-nominated actor Felicity Jones talks anxiety, red carpets and all things fashion – from charity-shop style to embracing tomboyishness

For an actor who has so successfully scaled the giddy heights of Hollywood, Felicity Jones has reassuringly normal teeth.

They are devoid of the spooky, preternaturally white veneers to which so many of her peers have succumbed. They are characterful, and ever so slightly off-kilter, their very charm residing in their imperfection.

In this, they mirror their owner’s taste in clothes. For when it comes to her own wardrobe, Jones, 38, is very firmly in the pre-loved camp, an English rose so passionate about sustainability that she has agreed to be the face of Oxfam’s Second Hand September initiative, an annual campaign to encourage people to choose pre-worn fashion over new. Given that the UK sends 13 million items of used clothing per week to landfill, it’s fair to say encouragement is needed.

Born in Birmingham to a journalist father and advertising executive mother, and raised in Bournville, Jones’s love affair with pre-loved clothing started early. ‘I remember sitting underneath rails of clothes when I was a little girl. My mother used to volunteer at a second-hand store when we were growing up, the Settlement shop, in Birmingham. She would always find great bargains, and I’ve inherited that interest from her. I love the mystery of second-hand shopping, and the narrative behind the clothes. You never quite know what you’re going to get.’

An actor since the age of 12 (her first role was in the 1996 TV film The Treasure Seekers, alongside Keira Knightley), the narrative behind the clothes is particularly relevant to her profession, clothing being such an essential part of building any character. And what characters Jones has played, her 26-year career resulting in a CV that any actor would envy.

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The actress used to put pressure on herself, but a baby, a new film and British beach holidays keep her grounded, she explains

I’ve heard that Felicity Jones is an immersive actor; when she takes on roles she devotes herself to them like a nun. So it was with a shock of recognition that I saw her in her new film, The Last Letter from Your Lover, sitting in the features department of a modern national newspaper with a long history and huge archive. Jones’s journalist answers her desk phone with a wary, one-word “Features”, just as I used to answer the phone in The Times features department, at least back when I used a phone.

I can say with confidence that Jones finally nails the character of a “feature writer” — if I also had the looks and charisma of a Hollywood actress and spent my weeks falling in love with The Times archivist while on the trail of an intense 1960s love story buried in its stacks. (At The Times the archive editor is an esteemed woman some years my senior, so that romance may have to wait for the sequel.) What was Jones’s character insight for this contemporary feature writer? Oh, play her as if “she is always a bit hung over”, she replies. Yes, I guess that is exactly right.

Talking to Jones I can see that, as much as she immerses herself in character, she can never stop being extremely British and somewhat vintage (her modern feature writer even sports a signature retro beret, something I have to say I have never done, even when hung over, which, as Jones points out, might be a lot of the time). Put those together and she evokes those classic British actresses of the 1970s, such as Julie Christie, Joanna Lumley and Diana Rigg, who, like Jones, have an upright bearing masking their softness.

Most of all there’s that voice. It’s a rich mix of no-nonsense and RP, a dame in welly boots. Even her name sounds like something that could be conjured up in an Austin Powers movie — “Felicity” the aristocrat matched with “Jones” the eternal British trademark.

Her most garlanded performance is as the 1970s-era Jane Hawking in The Theory of Everything, which was about the marriage of Stephen Hawking and won her an Oscar nomination. In this she starred with Eddie Redmayne, and she was also his romantic lead in The Aeronauts, a Victorian ballooning romp. They resemble each other like siblings. She is 37, but, like Redmayne, routinely plays characters ten years younger; they also share that fashionable overbite.

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Felicity Jones has always been drawn to narrative—first as an actor and student (she studied English literature in college), and now as a first-time executive producer. In Netflix’s “The Last Letter From Your Lover,” Jones plays a heartbroken journalist who pieces together a romantic tale from the 1960s after discovering a series of love letters in her newspaper’s archives. As executive producer and star, Jones was able to inform every aspect of her character, from world-building to dialogue.

What drew you to “The Last Letter From Your Lover” as not only an actor, but a producer?
I’ve been attracted to Jojo Moyes, [the author of the novel “The Last Letter From Your Lover,”] for years. I was looking for something of hers to option, and that came from seeing that she was so brilliant at creating such accessible female characters who were nuanced, who had comedy and humor. Ever since I’d done a film years ago called “Chalet Girl,” I‘d been looking for something a little bit similar. I’d had such fun on that. When I came across this, I thought it had a wonderful mixture of the modernity in the character I play, Ellie’s, story, mixed in with this romantic sweep of everlasting love. I thought, I’d love watching this film with some chocolate and a glass of wine. I’d done some quite heavy lifting in “The Aeronauts,” and I was ready for something a little bit more cozy. Actually, when I first met Augustine [Frizzell, the director], she and I sat down; and we were talking about what we were hoping to do, and she used that word, “cozy,” and that’s what I responded to and wanted to do next.

When you were reading the script and deciding how it would take place on the screen, was there ever a time when you considered taking on Jennifer, Shailene Woodley’s role, or was Ellie the character you connected with more?
I totally, immediately connected with Ellie’s character. I felt an empathy for the moment that she’s in in the film. She’s lost a little bit of the meaning of things, and she’s a little bit aimless. She’s got to a decent point in her career, and she’s going, “Is this it?” She’s been burned in the past in relationships, and I liked the way she was handling that with loads of sarcasm. That really appealed in that moment.

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The moment that Felicity Jones watched the livestream of Pierpaolo Piccioli’s autumn/winter 2021 collection for Valentino, she decided to wear one of his creation’s for her first post-lockdown event. Presented in Milan’s echoing Piccolo Teatro – which has been firmly closed since the beginning of the pandemic – Piccioli expressly designed clothes that would feel radical, bold and sensual.

“That combination of romance and punk spirit – it’s just my happy place,” the former BAFTA nominee tells Vogue over the phone on her way to tonight’s BAFTAs, where she is set to present the award for Best Cinematography. For the run-up to the ceremony, she selected a voluminous Valentino ballgown, before changing into an off-the-shoulder custom look at the Royal Albert Hall. The latter’s black fabric was embellished with masses of ’20s-style fringed beading – an appropriate way to welcome in the true beginning of the Roaring Twenties – paired with diamond Pluie de Cartier earrings and a Reflection de Cartier ring. “Pierpaolo’s idea that we’re living through a period when the rules have gone out of the window chimed with where my head is at in this particular moment. Creativity is opening up again in this fantastic way. It’s a new dawn for cinema and fashion.”

For Jones, that new dawn has personal resonance, with her long-delayed film The Last Letter From Your Lover finally due to premiere this summer. “I actually shot that in the last few months before the pandemic hit, so it’s quite nostalgic for me reflecting on it,” the 37-year-old, who also served as an executive producer for the movie, notes. “I play a journalist in London, who’s reached a point in her life when she’s feeling quite disillusioned. I actually played her as if she constantly had a hangover. Clearly, she’s lost her direction a bit, but then she finds these old letters between Shailene Woodley and Callum Turner’s characters, who had this illicit romance in the ’60s. For me, it’s a hopeful film, and one that will give people a much-needed laugh, I think.”

And while Jones is “really, really excited to go to the shops” when various lockdown restrictions end in London tomorrow, she’s most thrilled about the prospect of heading to her local cinema in a few months time. “We’re never going to take that for granted again, watching a film with a box of popcorn and a glass of wine, that joyful communal experience – my God, I’ve missed it.” [Source]

The actress has dealt with stormtroopers, Stephen Hawking and the US Supreme Court during her career, but as the release of her latest film approaches, she tells Gavanndra Hodge how having a baby during lockdown was her most challenging role yet

It’s one of those dreaded conversations. You’ve just started your dream job when you discover you’re pregnant. How do you tell your new boss? This was what happened to the actress Felicity Jones, who had taken the role of the astronaut Sully in The Midnight Sky, a film starring and directed by George Clooney. Production had already begun when Jones had to make the call.

“I think I might have told George Clooney that I was pregnant before I told some of my friends and family,” Jones says over Zoom, sitting in an upstairs bedroom of her terrace house in London, late on a dark Friday afternoon. “But George was very determined to keep me in the film, and the more we explored it, the more it felt right to include the pregnancy as part of the story. It was really nice that I could play what was happening to me personally as well as playing the character. George was very modern in his approach and actually quite revolutionary in not wanting to hide it. In the end it was a much cooler way of navigating the story.”

The Midnight Sky is an end-of-days space opera set in the near future. Jones’s character is part of a crew manning the last ship in space, returning home after investigating the potential of another planet to sustain life. Meanwhile, back on Earth, an apocalyptic event seems to have killed most people except Clooney. Life and art intersected in troubling ways during filming, the insularity and joy of the set — “George is even nicer and funnier than you would expect,” Jones says. “He is just very honest, very straightforward, very unvain, very intelligent” — contrasting with news reports about Covid-19’s spread in China. “Soon after shooting we went into lockdown. It was so strange to be acting something and then, within weeks, going through it in reality. I remember thinking, I much prefer pretending.” Furthermore, Jones gave birth to her son in April, as deaths and hospital admissions were reaching their (first) peak in the UK. “To have a baby in an apocalyptic moment is pretty scary,” she admits.

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Director George Clooney not only insisted that the actress remain as the film’s marooned astronaut Sully, he worked the pregnancy into the script.

Back in 2017, Felicity Jones was preparing to star as Ruth Bader Ginsburg in the film On the Basis of Sex when she flew to Washington for some one-on-one time with the iconic Supreme Court justice, visiting her office and even the most intimate nook of her home.

“I remember her showing me her collection of gloves and collars in her wardrobe,” Jones says. “She was extraordinarily open with me in terms of sharing old photographs and very candid about her experiences, which was obviously very helpful in playing her.”

Jones, who became a first-time mother around the same time that Ginsburg passed away in September, now clings to the memory of their shared time together, keeping a picture of the legal trailblazer in her study.

With her latest film, The Midnight Sky, the British actress has pulled off something trailblazing herself — shooting the George Clooney-directed sci-fi film while pregnant. For decades in Hollywood, a baby bump typically meant getting bumped from a film. But Clooney not only insisted that the Oscar-nominated actress remain as the film’s marooned astronaut, Sully, he worked the pregnancy into the postapocalyptic script. Jones hopped on a Zoom call to discuss the film, which Netflix bows on Dec. 23, on shooting stunts while with child, fighting for pay parity and the future of Jyn Erso in the Star Wars universe.

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With her latest film, The Aeronauts, Felicity Jones is back in action-heroine mode. To stay so calm and cool amid the chaos, she gives herself a face massage and hits the yoga mat.

It’s not yet 7 p.m. in London, and the sky outside is dark. “Pitch black, really.” This won’t stop Felicity Jones from getting her run in. “I have my running trainers on already,” she says while driving home from the set of a romantic drama she’s filming. “I have a route that’s quite well lit.” She’ll wash off the movie makeup and hit the pavement.

The truth is, Felicity’s life is nonstop right now.

When filming wraps on the love story project, she’ll go straight into production on a post-apocalyptic flick with George Clooney while her current big-screen release, The Aeronauts, shows in theaters. This adventure story is set in 1862 Victorian England, when the daredevils were the boundary breakers taking flight in hot-air balloons—and it’s a nail-biter. (No spoilers, but you might not want to settle in with your popcorn until after that storm cloud passes in the opening scenes.) In the film, based loosely on the history-making ascent of early meteorologist James Glaisher (played by Eddie Redmayne), Felicity, 36, transforms herself into fearless pilot Amelia Wren.

To give you a sense, picture Felicity perched midair at 3,000 feet—more than twice the height of the Empire State Building in New York—on the floating hoop between basket and balloon. “I like doing as many stunts as possible myself,” she says. “I even have to be held back a little.”

Perhaps it’s not what you would expect from an Oscar-nominated British actor with an Oxford education, but Felicity is all in when it comes to action roles. For her 2016 part as Jyn Erso in Rogue One: A Star Wars Story, she ran in combat boots on the treadmill to prep for running on the boiling sand of the Maldives. For Aeronauts, she learned trapeze and how to climb silks Cirque du Soleil style, and she nearly missed garroting herself doing wirework for one climactic sequence.

Not that you would have seen or heard any of this on her Instagram account. Felicity doesn’t have one. “I think if it’s the right time and it feels right, then I’ll go for it,” she says with a shrug. “I just haven’t yet.” (Related: What It’s Like to Have Social Anxiety As an Instagram Influencer)

Unplugging is, in fact, Felicity’s idea of a luxury in the perpetual motion of modern stardom. “It’s such a gypsy job,” she says. “Not having to leave the house is a real treat.” This includes staying in and making dinner with her husband of just over a year, movie director Charles Guard. “We’re both real foodies, so we get enormous pleasure from cooking together.” (These cooking celebs will inspire you to skip take-out and make your own dinner tonight.)

Here, Felicity shares her go-to soup recipe and the everyday moves that help her stay grounded even at 3,000 feet.

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Who hasn’t dreamed of going up to the sky and touching the clouds? In 1962, James Glaisher and his pilot, Henry Coxwell, went up to a record-setting 36,000 feet. The journey undertaken by these scientists is dramatized in the new film, The Aeronauts. Directed by Tom Harper, The Aeronauts stars Eddie Redmayne as Glaisher and Felicity Jones as a fictional character, Amelia Wren, who is based on a composite of several real-life balloonists, including Sophie Blanchard and Coxwell himself.

The Aeronauts is at once an intimate story about two people trying to find their place in the world, a celebration of the scientists who push the boundaries of what is possible, and a harrowing thrillride with some of the most creative and amazing action of any film this year. Jones and Redmayne are perfectly paired as misfits on a mission to prove themselves to anyone and everyone who ever doubted them, while the jaw-dropping special effects speak for themselves.

While promoting The Aeronauts, Felicity Jones sat down with Screen Rant to discuss her work on the film, from reuniting with her co-star from The Theory of Everything to tossing a dog out of a hot air balloon (don’t worry, the pooch is fine!). She discusses the pressures of acting in such a confined space as a balloon basket and the challenges that come from filming action scenes while surrounded entirely by blue screens.

The Aeronauts is out in theaters now, and releases on Amazon Prime streaming on December 20.

I know you shot some stuff up in the air in an actual balloon, but I imagine a lot of the movie is you and Eddie in a box surrounded by blue screens.

Yes. It was an interesting juxtaposition, actually. They built a balloon for real, hand-made, that we took on a flight on our first day, doing these helicopter shots, wide shots of us in the initial scenes where they’re taking off. So we kind of went from this incredible, absolutely real experience to something that was Eddie and I in a blue room with blue walls and blue carpet for hours and hours in a very small space. We’re definitely an experience in extremes.

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If you don’t have a fear of heights, The Aeronauts might just give you one. A handsome and invigorating adventure film set in 1820s England, it’s partly based on true stories and stars Eddie Redmayne as James Glaisher, a pioneering meteorologist whose desire to ascend heavenwards is driven by a wish to better understand and predict the weather.

To get up there he’ll need the help of an expert balloonist and when he first meets Amelia Rennes (Felicity Jones), he’s not impressed. For she’s a show-woman who cartwheels into the arena on the morning of their flight and does tricks for the audience, knowing well that even science depends on sponsorship. But she has her secret sorrows, and this mismatched pair will grow closer during a record-breaking but reckless and dangerous flight.

Felicity Jones is wonderful in the film, and nods modestly as I tell her so when we meet. Petite, neat and sporting a boho-ish red dress, she explains what attracted her to the project in the first place.

“I loved the combination of it being a period drama but not feeling like a period drama at all. It had this immense modernity to it and, by the end of the film, you don’t know where they are or when they were, and you don’t really care – it becomes a story about survival.”

In the British press, which ought to have better things to worry about, there’s been much grumbling about the fact that, while Eddie Redmayne’s character is based on a real man, Amelia’s is a construct; some of the heroic exploits she undertakes in the film were performed on a flight with the real James Glaisher by a man.

This, however, is a film, not a History Channel documentary, and there were plenty of female aeronauts who achieved similar feats.

“The biggest inspiration for my character, Amelia, is this woman called Sophie Blanchard, who was this quite extraordinary 18th-century aeronaut. A lot of Blanchard’s story is Amelia’s story, and she used to love flying solo. She used to fly at night and set fireworks off and all that sort of stuff – she was a bit of a wild cat.”

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Felicity Jones loves playing powerful women who have made a big impact. She talks about her roller-coaster life, being a ‘constant news-checker’, and the fun of winding up her co-stars

The actor Felicity Jones, judged by dreary national statistics, is neither tall nor short: she’s a bang-on average 5ft 3in. Measured by the slightly looser gauge in her imagination, though, Jones is a colossus, a towering church-and-steeple of a human being. She’s got a basketballer’s reach and a bodyguard’s doorway-filling bulk. Even in flat-soled shoes, this 36-year-old can go around plucking stranded cats out of trees. “Without a doubt,” she says, “I’ve always felt bigger and taller than I am.”

In the past few years especially, the actor has made good use of this inside-outside differential. Whether it was playing the pioneering American judge, Ruth Bader Ginsburg, in 2018’s On the Basis of Sex, or earning an Oscar nomination as Jane Hawking, Stephen’s formidable first wife, in 2015’s The Theory of Everything, Jones has had an instinctive sense for the pathos and humour in characters whose physical slightness tends to trick others into overlooking them. In a Star Wars movie, 2016’s Rogue One, she played a watchful and almost childlike guerrilla who ultimately tough-nutted past dozens of baddies to bring down an army. In her coming movie, The Aeronauts, she plays a 19th-century balloonist – a figure of fun to the scientists and flight enthusiasts of Victorian London, until she has to rescue one of them from death at 37,000ft.

Jones meets me for lunch in a pub in north London. She is early, and pumped for some roast chicken. When our meals arrive she sets about eating and talking at an equally brisk clip. Although this can lead to accidents (she points out a stain on her sweatshirt), Jones is a cool bean and has that performer’s knack, just about inexplicable to me, of chatting away fluently even after forking in a mouthful of drumstick meat.

She’s interesting and eloquent about her job, stiffer when it comes to talking about herself and her personal life. First we talk about the wider world, which seems, most weeks, to be falling to pieces. “There was that old-fashioned idea, years and years ago,” she says, “of a movie star who was this godlike being who never deigned to talk about anything mortal. But that’s long gone.” All for the better, she thinks. “I’m a constant news-checker. You can’t not be, now. There’s such chaos in the world. It seems to be our duty to be informed, to be abreast of things. Particularly in my work, now, I’m not shy of things that have a strong ideology, that are political.”

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Current Projects
The Midnight Sky

Role: Sully Ginsburg
Release Date: 2020
A scientist, alone in the Arctic, tries to make contact with a spacecraft returning to Earth.
Last Letter from Your Lover

Role: Ellie Haworth
Release Date: 2021
A young journalist in London becomes obsessed with a series of letters she discovers that recounts an intense star-crossed love affair from the 1960s.

Role: Unknown
Release Date: Unknown
An IRA member hunts for his wife's murderer, while also being tracked by the same killer.
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