Léa Seydoux is not ready to hang up her Bond Girl shoes just yet.
The French actress appeared as Madeleine Swann in the most recent James Bond film, Spectre, and actually managed to survive until the end but earlier this year it was reported that she was shooting another film, The Story of My Wife, round about the same time as Bond 25 would in the middle of production.
Now that Danny Boyle has exited the film as the director it means the production dates will be pushed back to accommodate for a new writer-director to come on board. It could also mean that Seydoux could come back as Swann, something that she told Yahoo Movies UK at Toronto International Film Festival she was very keen to do.
“Of course I would love it,” the French actress said. “I loved working on Bond, it was actually one of my best experiences. Yes, I would love that but we’ll see.”
Seydoux is currently promoting new movie Kursk from director Thomas Vinterberg, who also shared his interest in directing Bond 25.
“Wow, yes of course Bond is a big deal,” the director told Yahoo Movies UK. “It’s the number one franchise so yeah that would be amazing.”
His latest film is based on Robert Moore’s A Time to Die: The Untold Story of the Kursk Tragedy, a tragedy that occurred in 2000 when a submarine sank during a Naval exercise that went terribly wrong.
Seydoux stars as Tanya, the wife of captain-lieutenant Mikhail Kalekov, played by Matthias Schoenaerts who she found was a “great partner” that made their chemistry so easy to develop.
“The chemistry is something, you just have to listen to each other,” the actress says, “Matthias is such a good partner. He’s a great actor, he’s very gentle it was easy to get along with him.”
Seydoux might not have as much screen time as her co-star but she certainly makes an impact, especially during a press conference scene where her character confronts a Russian military admiral over the misinformation they were giving over the Kursk’s crew status.
“You know I remember we rehearsed that scene with Thomas but I don’t like rehearsals,” she recalls. “It kills the emotion, you know, when you do something you have to keep it as a secret.
“So I remember when I shot the scene, they didn’t know that I would really explode. I like that as a spectator. I like to see when it cracks, when it emerges.”