Posted on March 13th, 2018 by Gillian Anderson Online

The X Files actress is the latest star to bare all for PETA as part of their I’d Rather Go Naked Than Wear Fur campaig

Gillian Anderson has joined the ranks of Khloe Kardashian, Pink and Eva Mendes by becoming the latest celebrity to strip off to front an anti fur campaign.

Posing in nothing but a pair of animal ears – and a huge smile on her face – Gillian, 49, flaunted her incredible bod for animal charity PETA.

The X Files star strategically covered her modesty with her hands for the black and white shot with the words ‘I’d rather go naked than wear fur’ in bright pink letters scrawled across her.

Speaking afterwards, Gillian said she found the whole experience ‘liberating.’

“I found it liberating to use my body to make an important statement. People tend to look away from anti-fur ads showing mangled animals, but they’re drawn to PETA’s ‘naked’ campaign, and I’m proud to be a part of it,” admitted Gillian who has pledged not to buy or wear fur.

PETA’S campaign with the actress aims to spread the word about the cruelty behind wearing fur, including fur trim and accessories.

The organisation claimed that major fashion companies—including Armani, BCBG, Hugo Boss,?Gucci,?Michael Kors?, Ralph Lauren, and Stella McCartney—are ‘doing the right thing by perfecting their?fur alternatives?or dropping the cruelly produced material altogether.’


Posted on September 16th, 2016 by Gillian Anderson Online

Gillian Anderson in London, June 2016 Credit: Jenny Hands


On the surface, Gillian Anderson appears icily controlled, but under the cool facade, there’s a wild side. On the eve of The Fall’s third season she speaks to Jessamy Calkin.?

One night in the summer of 2014, during the Young Vic’s sell-out run of A Streetcar Named Desire, Gillian Anderson, playing Blanche DuBois with a rapture that seemed to almost deify the role, took to the stage for the customary standing? ovation with blood coursing down one leg.

Her knee had been hit by a splinter of china from a plate hurled by a furious Stanley Kowalski (Ben Foster), and the wound had split open when she dropped to the floor. ‘Never have I seen a production of the play that was so raw in its emotion, so violent and so deeply upsetting,’ said the Telegraph critic Charles Spencer.

I was in the audience that night, on my feet and cheering what was an incandescent performance. Now, two years later, Anderson shows me the scar on her leg. It had been bandaged up backstage and she thought it would be fine. The next morning, she lifted the bandage to take a look,?and ‘I lost consciousness.

I went so far away. And when? I woke up there were four people standing over me. I’m? a bit phobic about blood. There’s been quite a bit of blood? in my life with my kids over the years, and I would rather be the one who’s strong rather than the mother who turns away or passes out…’? She passed out several times.

Her face is pale and completely beautiful’ Credit: Jenny Hands

It was down to exhaustion too – ‘By this point my whole being felt drained. I felt like I was the thinnest of threads’ – and there were two shows the next day. The doctor told her the cut was exceptionally deep and she’d be off for two weeks.

In the end the show was cancelled for just one night (which was a shame, she says, as Tom Stoppard had tickets), and she choreographed? a strategy that was knee-friendly on stage. Today she has just returned from a hugely successful run of the play in New York, at?St Ann’s Warehouse in Brooklyn, and is completely elated.

‘The whole experience for the cast and crew was kind of miraculous,’ she says. ‘Most often there’s something that doesn’t quite work – but everything, every single? thing, fit into place like cogs that were meant? to work together.’

A history of blood

Anderson is perched on a sofa in the bar of a small London hotel, wearing a blue dress, with her legs and bare feet tucked underneath her.

Her face is pale and completely beautiful. She has an air of fragility but also a voluptuousness of spirit; there is something wayward about her, and a sense of mystery and depth.

What you see is not necessarily what you get, and what you get is certainly not all there is. But she takes all my questions head-on, and is articulate and thoughtful in her replies.

We talk more about the blood. When she was little, she says, her father sliced his finger open on a tuna can, went into the bathroom to rinse it, and passed out on the floor, falling against the door so nobody could open it to get to him. ‘So perhaps the phobia is hereditary.’

I like Stella a lot, I really like her. I understood her without being told anything

None of this bodes well for the third series? of The Fall, the BBC’s riveting drama about? a serial killer in Belfast being hunted by Anderson’s DSI Stella Gibson. In the first?episode of the new series, Paul Spector (Jamie Dornan) – who was shot at the end of the? last one – is in the operating theatre having abdominal surgery to save his life. And boy, is there blood – a lot of it.

There is a wonderful scene in which the camera draws back on the chaotic aftermath in the trauma room, revealing all the visceral detritus and discarded? shoes and bits of clothing – it’s like a still life? by Sam Peckinpah.

Anderson, as the inscrutable Gibson, continues her battle of wits with Spector, though she is now under investigation for allowing him to be shot while in police custody.

There are moments of great tenderness in this episode; but I can also reveal that Spector’s nurse in hospital is young and pretty with black hair, rather like his favourite type of strangulation date…

‘As a mother and a responsible working woman I override many things that might be irresponsible. Most of the time.’ Credit: Jenny Hands

The Fallwas created by Allan Cubitt, who wrote the part of Stella Gibson with Anderson in mind. Gibson is perfect territory for Gillian Anderson: enigmatic and acerbic, endlessly sexy, but with a certain moral ambiguity. Anderson has described her as an island, and had no trouble getting under her skin.

‘I like Stella a lot,’ she says. ‘I really like her.? I felt I understood her without being told anything. Allan is such a good writer. There was something inherent in the sparseness of his writing, and how you learn about the characters through their actions.

‘It’s rare to read? a script that is so spare and yet gives you so much. All the characters are distinctive and interesting, and it felt quite European.’

‘An exploration of violence’

The Fall was received rapturously by audiences and critics, but it had its controversial aspects, especially in initial episodes, which included rather too many loving shots of Spector washing and posing corpses. Both Cubitt and Anderson vigorously defend the series against any accusations that it glamourises violence.

‘It’s an exploration of violence, but specifically male violence against women,’ says Cubitt later, over the phone.

‘But the show always aimed to empower the female characters as much as possible, and that includes the victims – I did everything I could to build Sarah Kay’s character before she became a victim, and to sustain her character through the grief of her family and through Gibson’s insistence that the women don’t become faceless victims.’

‘Allan’s intention has never been in any way to exploit, or be explicit in how women are? represented,’ Anderson says.

‘He’s not condoning it, it’s grounded in reality. Allan has done? so much research on serial killers and their psychology. We are paying attention to the deep, deep tragedy of violence against women.

‘There’s birth, there’s death, there’s love, there’s sickness. He gets the audience to question their own ethics.’

Gillian Anderson as DSI Stella Gibson in The Fall Credit: Artists Studio/BBC Northern Ireland

In one episode of the second series, Gibson draws attention to the viewer’s complicity when she points out that it is the ‘people who like to read and watch programmes about? people like Spector who should be asking themselves questions’. Anderson is an executive producer of The Fall, so she collaborates with Cubitt (who directed the new series and the second).

‘I give notes on the edit, and I’ve been on set for so many years and have an intuition about scenes and shots and rhythm and whatever, so feel confident about making suggestions. There are a few things I’ve fought for, but he might say, “No – I like it the way it is.” On a rare occasion I will say, begging, “Please look at it again.”’

‘Gillian is particular and meticulous. She understands what a shot is going to look like according to what lens you’ve got on the camera and so on,’ Cubitt says, ‘and she brings all of that to bear as well as being an intuitive and emotionally powerful actor. No one could render the character better.’

Detective Superintendent Stella Gibson is a complex woman. Cubitt rebelled against the archetypal TV detective with a dysfunctional trait: ‘They gamble or they drink or they have a failing marriage or a difficult daughter. I wanted to create a character who didn’t bring any obvious baggage into the story at the beginning, someone who you’d get to know little by little.

I felt this reflected the way things work in life: you meet people in a professional context and gradually, through the choices they make, you start to form an opinion of them. It’s not all laid out? for you on a plate; you don’t immediately? know about people’s childhood or their inner life, and so the idea was that she would be a fairly enigmatic character, and reveal herself gradually to the audience.

‘Gillian has always really embraced that aspect of Gibson. In fact, early on in the first season, if there was anything I was doing that revealed too much about [the character] she’d encourage me to take it out, so there’s still a lot left to learn.’

The ambiguities of The Fall’s characters are one of the appealing things about the series. They are fallible in a credible way; not all good or all bad. The sadistic Spector, for example, while fond of torturing and strangling women, is very loving to his young daughter, Olivia;? and Gibson herself makes some mistakes.

We are paying attention to the deep, deep tragedy of violence against women

‘Yes, some decisions that Stella makes are very questionable – and I like that. I’ll think, “You just lied!”’ gasps Anderson.

‘How does that square with the rest of how you carry yourself? That is so interesting…’? Do you recognise that quality in yourself,? a certain recklessness? She thinks for a moment.

‘Yeah. I am a mix? of normal, safe, quiet, regimented, serious, morally and ethically led – or at least I try to be for the most part.

A troubled?spirit

Then every once in a while – or maybe more than once in a while – there is? a part of me that is incredibly reckless. I think it bubbles underneath all the time, but as a mother, and an earner, and a responsible working woman, I override many things that might be irresponsible. Most of the time.’

I am intrigued: you still have the reckless instincts you had when you were younger, but you choose to go the other way? ‘Yes. Maybe yes.’ Were you wild when you were younger? ‘Mmmm…’ she says, nodding.

And she was. Drugs – lots of them – and? alcohol, along with stylistic misdemeanours such as piercings and adventurous hairstyles? – followed by therapy when she was only 14.? Anderson was born in Chicago but moved to London when she was two.

‘We started in Clapham Common, sleeping in other people’s places for a while, sharing flats, then found? a place in Crouch End, then Harringay.’

Her mother was a computer programmer and her father went to the London School of Film Technique, in Covent Garden, and opened a? little shop selling old-fashioned cameras, with a friend who was a puppeteer. Then the family moved to Grand Rapids, Michigan, where her father ran a film post-production company.

She is a cool customer whose portrayal of Scully inspired a whole generation of women Credit: Jenny Hands

Anderson was the eldest (by 13 years) of? three children. In 1986 she won a place at DePaul University’s theatre school in Chicago.

‘I drove to Chicago in my dad’s VW bus, breaking down along the way, and lived in a very cheap part of town,’ she says.

When she? graduated, she went to New York to audition? for casting directors and agents. ‘I wrote my? monologue and borrowed some clothes for? my audition, then someone from William Morris said they would represent me if I moved to New York. So off I went, and lived on couches and auditioned for what felt like forever not getting anything.’

Her big break was a role in Alan Ayckbourn’s Absent Friends, for which she won a best newcomer award, in 1991. She went to visit a boyfriend in LA, decided to stay and sold her? return ticket.

Paranormal activity?

Then she landed The X-Files. She was 25. In Vancouver, where she had flown to film the pilot, she met her first husband, Clyde Klotz, who was assistant art director on the series. Her daughter Piper was born the following year (an alien-abduction scene was arranged to cover for her pregnancy).

Anderson played Dana Scully, an FBI agent and medical doctor assigned to investigate the X-Files, a collection of unsolved cases possibly explained by?supernatural phenomena. Scully is the hard-line sceptic, the foil to Fox ‘Spooky’ Mulder (David Duchovny), whose firm belief in the?paranormal stems from witnessing his sister’s abduction when he was a child.

Anderson clearly had little idea that The? X-Files would last for 10 series and become one of the most successful sci-fi series in television history – involving months of 16-hour days? and many fights with Duchovny. (The 10th?season aired earlier this year, 14 years after the previous one.)

I don’t believe I’m ambitious but if there are things that I want to do, I’m a bit like a dog with a bone

The X-Files was a life-changer, but Anderson was a troubled spirit. ‘Success has nothing to do with happiness,’ she firmly told a rattled-sounding Sue Lawley on Desert Island Discs in 2003, when Lawley implied that being in The X-Files should have brought her happiness. ‘That kind of security isn’t really security. It’s got nothing to do with material things.’

Since then, Anderson has had a prolific career in television, film and theatre? and carved out a fairly unique position for herself; she is a cool customer whose portrayal of Scully inspired a whole generation of women, but she also appeals to purists? and serious drama fans.

She is memorable in? so many things: as the heartbreaking Lily Bart? in The House of Mirth, as the undone Miss Havisham in the BBC’s Great Expectations,? and as Lady Dedlock in another brilliant? BBC adaptation, Bleak House (a performance for which New York magazine memorably described her as ‘like a Ming vase with a?Munch scream’).

She has won a multitude of awards, including a Golden Globe for The X-Files, and been nominated by FHM as the Sexiest Woman in the World (‘Meaningless’). Not bad for a rebellious punk rocker who was voted the student most likely to get arrested by her schoolmates. She must be hugely motivated, I suggest, to have come as far as she has.

‘I don’t believe I’m ambitious,’ she says. ‘I don’t. I do have determination, and if there are things that I want to do, I’m a bit like a dog with a bone. And that has served me well in many ways.? I leap before I look, but it also makes me say? yes to things when I’m terrified.

‘Take Streetcar, for example. I don’t know what it was, but something in me felt like it? was something that I had to do before I died.? So I was determined to make that happen.’? She didn’t really understand the character she? was playing until halfway through rehearsals, she says.

Her mother reminded her that she’d played the part of DuBois in a national competition, in which she’d come second. ‘I had done? it when I was 16, and the crazy thing is I was? 46 when I next played the part!’

At the end of the New York run, she was heartbroken to leave DuBois behind. ‘The? missing of it,’ she says emotionally. ‘I felt like somebody had died. She was like one of my? oldest friends and I started to think, “If I don’t get to play her again then it’s like burying her.” I’ve never felt like that before about a role.’

She was old to play DuBois, but she brought to bear a convoluted mixture of grandeur?and unravelling tragedy.

Anderson herself? is no stranger to sadness. Her brother, Aaron, died of a brain tumour in 2011, having suffered from neurofibromatosis, a genetic disorder that causes tumours to grow on nerve?tissue, since he was three years old (Anderson works to raise awareness of the condition).

She has been through two divorces, and in?2012 split with businessman Mark Griffiths,?the father of her two sons, Oscar, nine, and Felix, seven.?Anderson has lived in London with her?children since 2002, having moved here from LA. (She still switches seamlessly from an American accent to an English one in interviews, depending on the continent.)

‘A manifesto for women’

Given?her own adolescence, what kind of parent is she? ‘It’s interesting: on the one hand I feel as if I’ve gotten off easy with my daughter and how sane she is at 21, but then every now?and then I think, “Oh, it just hasn’t come yet”? – and if it does then I question how equipped? I would be.

‘I think I’m incredibly trusting?and lenient because of my own experiences, and I don’t watch over her, I don’t check things – I’ve never been that kind of mother. I love?her with an open hand.’

เสียบาคาร่า pantipGillian Anderson is now 48, and looks better than ever. ‘The fact that I’m working consistently is miraculous, given the history of our industry. Especially over the past decade or so, television has been much more generous to women of? a certain age, and there are many series led by women.

It’s not quite the same in film, but it is a conversation that was started some time ago and has picked up pace with what Meryl Streep is doing for equal pay. I hope that momentum will actually equate to changes. But you have to create more material to begin with.’

It must help that Anderson doesn’t look her age; and she is refreshingly un-selfdeprecating about that.

‘It is my grandma Rose I have to thank – my mum says she is responsible for my skin. And when I was a teenager I looked older: I could always get into bars when I was underage, so I have been very lucky.’

Good genes, she thinks, are more effective than surgery. ‘There are so many things you can do these days without going under the knife: natural solutions. I’m not necessarily anti-surgery; I’m anti the shame that is attached to women who make that choice, rightly or wrongly, in their own mind.

‘I think it’s unfortunate that there is so much pressure on women, and yet they are damned if they do and damned if they don’t. That is heinous.

‘But I must say very honestly that I am lucky. In a few years there may be something I find intolerable, and I’m not going to say I wouldn’t buckle. I hope that I would be comfortable enough with myself not to, but I have to?allow for the fact that I am an actor, and there? is vanity in me. There have been times when I’ve observed myself ageing and mourned my youth, and I am always shocked by that.

‘I guess all one can do is try to make sure that the motivation for those types of choices is coming from the right place.’ Anderson is honest about all this, but her feminist credentials and belief in the part women can play on the political stage are at the core of her being. She is co-writing a book called We: A Manifesto for Modern Women with journalist Jennifer Nadel. ‘It’s a set of guiding principles.’

And she recently took part in MP?Jo Cox’s memorial service in London. She?didn’t know Cox, but ‘I was asked if I would read a poem, and I liked the poem and it felt? like the right thing to do. It was a beautiful event; Malala [Yousafzai] was there, which almost brought me to tears.

‘I was so moved? and inspired by what she said. She’s something to be reckoned with.’ She is optimistic about Yousafzai’s generation.

‘There’s a lot of powerful thinkers and activists and doers out there, who feel like they’ve got something to say and are not going to sit back and be dictated to – it’s fantastic.’

And she is unflinching in her support of Hillary Clinton. ‘I think it’s so important to have a woman in the White House – and when will that happen again?’ she says levelly. ‘Having women in power right now is vital?to the stability and sanity of our globe.’

Posted on June 25th, 2016 by Gillian Anderson Online

Ever wonder what an A-list actress depends on to keep herself looking beautiful at all times? We caught up with Gillian Anderson to get the scoop on what she can’t be without, how she deals with the effects of aging and her secret to that incredible body!

Skin-Care Savior: “Even with all the fancy creams I’ve been gifted over the years, once I started seeing that my skin was suffering, I began to pay more attention to it. I started using a mixture over the years of Clinique and Estée Lauder. It’s not a huge part of my life, but I’ve began making an attempt to use some of the stuff that’s out there. And you know, I think it works. I think my skin definitely feels better.”

Color Confession: “My hair usually gets dyed depending on which character I’m playing. Lately I’ve been blond. It’s been a long time since I was a redhead. I don’t think when I was a redhead (back in the day) that I felt particularly sexy. I don’t and can’t do my hair myself. I’ve never been able to use irons or hairdryers or anything. If I want it to look nice in any way, shape or form, I go somewhere and have somebody else do it.”

Moisture Must-Have: “There’s a Clinique Moisture Surge Gel, which is kind of extraordinary for application in the afternoon, if you’re starting to feel like you’re drying up and need some hydration.”

Beauty Staple: “I’m pretty dependent on Laura Mercier Tinted Moisturizer—I rely on it—that’s a staple. It feels natural, moisturizing, smooth and silky and gives great coverage without making it feel like I’m wearing anything. That’s a pretty big statement for me.”

My Biggest Beauty Mistake: “When I haven’t really paid attention to what my hair and makeup people are doing and the car is waiting outside and I don’t really have time to fix it at the last minute. That’s happened plenty of times.”

Worst Habit: “There are tons of them. Choosing to not exercise or meditate on any particular day is not good for me. I often opt to stay busy instead of doing these things. And, drinking Coca-Cola—I know it’s not good for me, but I drink it anyway.”

I Feel Good About Myself When…: “I’m doing all the things I know are good for self-care. When I get enough sleep, meditate, eat healthfully and have a balance in my life between work, family and friends and have cultural intellectual stimulation—it’s a lot to ask. But, when that balance is right, I probably feel the most fulfilled and the happiest.”

Morning Ritual: “I start my day with meditation. Even just waking up a few minutes before my kids wake up to center my head. It makes a big difference.”

Diet Debate: “I’ve always been interested in the raw food diet but I’ve been told by a couple people that it’s not particularly good for women. I like the idea of eating that clean; that appeals to me. But, I’ve never been brave enough to actually try it for any period of time. When it comes to my diet, I usually stay away from high carbs. I also do occasional yoga.”

For more of Gillian’s beauty secrets, pick up the latest issue of NewBeauty, on stands June 28.?

Posted on June 3rd, 2016 by Gillian Anderson Online

(SOURCE)Gillian Anderson and Bryan Fuller, reunited again!

Starz announced Friday that Gillian Anderson — she of The X-Files,The Fall, and countless other roles (including Fuller’s beloved cult series, Hannibal) — has joined the ensemble cast of Fuller and Michael Green’s forthcoming adaptation of Neil Gaiman’s fantasy novel, American Gods.

Anderson will play Media, one of — if not the — most visible faces of the New Gods, a group of contemporary deities who go head-to-head with the immigrant old gods (led by Ian McShane’s mysterious Mr. Wednesday) for control of the American heartland. Media thrives off the currency of human attention, growing stronger from the country’s increasing worship of screens, phones, and laptops. She often takes the form of public figures and celebrities (perhaps most memorably in the book, as a perverse Lucille Ball).

Posted on April 27th, 2016 by Gillian Anderson Online

SOURCE-Diane Arbus, who certainly knew a thing or two about risk-taking, once said, “My favorite thing is to go where I’ve never been.” Judging from the bold choices Gillian Anderson has made as an actress, she also lives by this credo.

In the course of her almost 30-year career, Anderson has been fearless and determined in her pursuit of difficult, demanding roles. She refuses to be pigeon-holed; it would have been easy and safe to have dined out on agent Dana Scully for the rest of her career and to have coasted: another series, tent-pole movies, vanity projects.

Instead, she chose Arbus’ route. In the past 10 years, on stage and television, Anderson has tackled such challenging roles as Nora in “A Doll’s House,” Ms. Havisham in “Great Expectations,” Lady Dedlock in “Bleak House” and Anna Pavlova Scherer in “War & Peace.”

Now, following an award-winning, sold-out 2014 run in London, and marking the first collaboration between the Young Vic and St. Ann’s Warehouse, Anderson will be reprising her acclaimed performance as Blanche DuBois in Tennessee Williams’ “A Streetcar Named Desire.” She is rejoined by fellow London cast members Ben Foster, Vanessa Kirby and Corey Johnson. Benedict Andrews once again directs.

Recently, via email, theBrooklyn Eagle had a chance to catch up with the actress before the play’s opening night.

Eagle: Elia Kazan is quoted as having said “Tennessee [Williams] is Blanche.” What’s your take on that?

Gillian Anderson: From everything I’ve read about and seen of Tennessee, I would say that is likely! I think, however, his woven fantasy was on the page, rather than in life. But certainly that life bore the weight of tragedy, the bouts of alcoholism, the flamboyance, the vanity. Kazan saw that firsthand.

Eagle: I read in The Guardianthat you told a London-based producer that “Streetcar” was the only play you were interested in appearing in and that you also stipulated that it be done in the round. Why?

GA: I have always felt very separate from the productions of “Streetcar” that I have seen and I yearned to be inside it as an audience member. Also, these characters are trapped in this moment of time in this one tiny apartment. How better to perpetuate the claustrophobia of their particular hell than to have it surrounded by an unseen, looming presence — the audience?

Eagle: I’ve also read that you deliberately have never seen Kazan’s film version of “Streetcar” and that you didn’t even allow yourself to watch “Blue Jasmine.”

GA: Well, I have seen bits of the film over the years, never in its entirety. As for “Blue Jasmine,”

I will wait to see it until I’ve finished our run. I am so admiring of Cate Blanchett and I don’t want to think for a second that I am picking up on or emulating her work.

Eagle: You’ve played some iconic roles — Lilly Bart in “House of Mirth,” Nora in “A Doll’s House.” What attracted you at this point in your career to playing perhaps the iconic female role in American theater?

GA: It is clear to me now that, from the moment I first read Blanche on the page, something inside me said, “I know what that is!” Somehow, something in me recognized something in her and I became determined to play her. I cannot tell you definitively what that “something” was, except that she is so complex and her journey, whatever the truths or falsehoods of it, so easy to empathize with. And, of course, she meets such a devastatingly sad end.

Eagle: You’ve had, and continue to have, a diverse career, alternating work in film and television and theater, in the States and in England. Conscious choice?

GA: Yes! What a blessing to get do it all and on many continents! I am very lucky.

Eagle: Finally, this is the first time you have performed in Brooklyn. Do you know the borough at all? Have you spent any significant time in Brooklyn?

GA: I lived in New York for a short time in the ’90s, playing in off-Broadway productions. Of course, I have visited many, many times over the years. For some reason I always had in my mind that Brooklyn was Manhattan’s smaller suburb! I am so sorry! I had no idea Brooklyn was so big, that there are so many fantastic neighborhoods, all with very different personalities. I am very much enjoying the opportunity to explore and yet I’m gob-smacked at how long it takes to get from one point to another. Who knew?

Eagle: Well, if you happen to get lost, you can always rely on the kindness of Brooklynites to give you excellent directions.

Posted on March 23rd, 2016 by Gillian Anderson Online

You know her best as FBI special agent Dana Scully from the hit show “The X-Files,” but now Gillian Anderson is bringing her star power to an important issue with her newest film, “Sold.” The movie tells the story of a young girl who’s sold into a human sex trafficking ring in modern-day India, and the lengths she goes to get her freedom back.

The X-Files Revival
Gillian as Agent Dana Scully
News    Photos    IMDb
Two FBI agents, Fox Mulder the believer and Dana Scully the skeptic, investigate the strange and unexplained while hidden forces work to impede their efforts.

Gillian as Anna Pavlovna Scherer
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As the Russian conflict with Napoleon reaches its peak, five aristocratic families face the possibility of their lives being changed forever.

The Fall
Gillian as Stella Gibson
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Two hunters, one cold, deliberate and highly efficient and the other, a strong, athletic man with a wife, two children and a counselling job... one of them is a serial killer and one is a cop.

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