Evangeline Lilly Biography
Evangeline Lilly was born in Fort Saskatchewan, Alberta, Canada as Nicole Evangeline Lilly. She is a Canadian actress, who gained fame for her role in ABC programming Lost (2004–10), where she earned a Screen Actors Guild Award and received a Golden Globe Award nomination.
Evangeline Lilly Age
Nicole Evangeline Lilly was born on August 3, 1979, in Fort Saskatchewan, Alberta, Canada. She is 39 years old as of 2018.
Evangeline Lilly Family
Lilly was born in Fort Saskatchewan in Alberta. Her father is an economics teacher, and her mother is a secretary at a middle school. She has two siblings an older sister and a younger sister. She was raised in British Columbia.
Evangeline Lilly Husband
Lilly was first married to Canadian national, Murray Hone and later divorced. She was also in a relationship with Lost’ co-star, Dominic Monaghan from 2004 to 2009. Lill was later involved with Norman Kali, the two were blessed with two kids a son Kahekili, and a daughter.
Evangeline Lilly Children
- Kahekili Kali, born in 2011
- A daughter who was born in October 2015
Evangeline Lilly Height
Nicole Evangeline Lilly stands at 1.68 m tall.
Evangeline Lilly Image
Evangeline Lilly Image
Evangeline Lilly Net Worth
Evangeline Lilly has an estimated net worth of $15 million.
Evangeline Lilly Lost
Evangeline Lilly starred in Lost an American drama television series, appearing in as Kate Austen.
Evangeline Lilly Hobbit
The Hobbit is a film series consisting of three high fantasy adventure films, where Evangeline Lilly, starred in as Tauriel.
Evangeline Lilly Ant-Man
Evangeline Lilly starred in Ant-Man, a 2015 American superhero film appearing as Hope van Dyne, portraying the daughter of Hank Pym and Janet van Dyne and a senior board member of Pym Technologies, who helps Darren Cross take over the company.
Evangeline Lilly Tauriel
Evangeline Lilly portrayed Tauriel in The Hobbit a film series consisting of three high fantasy adventure films.
Evangeline Lilly Real Steel
Evangeline Lilly starred in Real Steel a 2011 American science fiction sports film portraying Bailey Tallet.
Evangeline Lilly Instagram
Evangeline Lilly Interview
Marvel fans have been calling for a female superhero film for years. At what point in your casting did you know that you would actually be getting in the suit and fighting?
When they cast me in the first Ant-Man, I knew that if the first film was a box-office success, then that would mean I would get to put on a suit. So there was probably no one more invested in the box-office numbers of Ant-Man than me. Once the film was successful enough to warrant a second, and I knew that that was going, I still didn’t know that Wasp would be getting equal billing with Ant-Man. So that came as a surprise later: I got a surprise email with nothing but a JPEG of the title card. And that was how they told me. Pretty cool.
You’ve said before that you don’t think female power in entertainment comes from “embracing or copying violent men.” How did you bring that perspective to this film?
Even for the first film, it was very important to me that Hope be an extremely empathetic and compassionate person. And I still did that while having that stereotypical or archetypical [quality] of femininity of being nurturing, compassionate, empathetic. Men can, of course, be compassionate or feminine, but femininity is at the core of what is disrespected in the patriarchy, so it was important to me to always push for feminine qualities to be apparent when she is dealing with situations — how she emotionally reacts to them [for instance].
In her fight scenes, as trivial as it might seem, I really pushed and fought for her to fight with elegance, grace, and femininity. She moves differently than a man. I wanted her to have a signature style that little girls like I was when I was a feminine, girly little girl, would be able to fall in love with, emulate and relate to in their own movements.
When we did Ant-Man, I had to study a little bit of Muay Thai and MMA-style fighting. And MMA-style fighting is distinctly masculine, it’s got a very masculine posture and a very masculine attack, and that was so difficult for me because I don’t move that way naturally. I really wanted to change that in this film. I wanted to move the way my body wants to move, as a more graceful, feminine woman.
There was an interview with you that went viral in which you talked about your costume being more comfortable than men had led you to believe.
That got so viral that it was sent back to me by people I know. I have friends, agents, everyone’s sending me that interview.
Were there other times on set where you felt you had to offer a perspective of your gender that hadn’t been offered as much before?
I always tried to offer a perspective of my gender that maybe wasn’t offered as much because I live in worlds that are boys’ clubs. In the sci-fi/fantasy space of Hollywood, it’s even more predominately male than in some of the other dramatic spaces, so I’m used to trying to be that voice in the room.
But also, admittedly, something that I really challenged myself with is that it’s very easy for me to say to myself, “You know what, let the boys be boys, let them tell their stories, let them play with their toys, don’t get in the way with your perspective, because you’re just being irritating.” Because I think there is an unconscious message for little girls and women that when you challenge men in the midst of doing something juvenile or fun, then you’re heavy, a killjoy, a ball and chain. And all my life I grew up thinking, “I swear I won’t be that way, I’ll be cool, I’ll be fun, I’m going to be the chick that can hang with the guys.” And I really challenged myself on this film to shut out all of those critical voices, and the male pressures to conform and to really stand up and be a female voice in this world. And I wasn’t always successful. I still feel that fear of being this irritating schoolmarm type of thing.
But one of the things that I did see when I watched the film is that they really, really heard me and honored my requests. Because I didn’t want Hope to be that in the movie. It would be so easy with her nature, personality and drive to get her mother for her to become the motherly figure that’s constantly scolding the juvenile boys, saying, “Now boys, let’s focus, let’s stop goofing around.” I was just was terrified of the idea of this female superhero who’s meant to represent a modern woman being some kind of horrible stereotype of “mommy.” So I really voiced that a lot, and every scene where there was any potential for that, I would push up against that and say, “Let’s pay attention to this. Let’s make sure we represent a woman who can also smile and have a little fun, can understand that there can be levity in moments of severity, that gets a joke, that isn’t heavy.” Because you often see female characters — especially in the superhero world — being super-serious characters, and the boys get to have all the fun. And I really felt heard, and I feel like when you see the movie, you’re going to see that. And I think it’s really fresh and really fun to see a woman who knows how to take a joke and roll with things but also can get the job done.
Viewers haven’t seen you in a ton of leading roles like this since Lost, although you’ve been in several movies. What kind of parts were you offered after the show — because that show had such a huge cultural shadow to it — and how did they work with your professional goals?
I don’t know if you’re familiar with my journey with acting, but it’s been a unique one, it’s not your typical story. Basically, by accident, my first speaking role in film or television was Lost, and so I was instantly launched into international stardom, and that was really uncomfortable for me. I instantly balked, didn’t know how to deal with it and felt very uncomfortable after that situation. I ended up deciding to retire after I finished Lost. I did a film called Real Steel with Hugh Jackman and then I walked away. I said, “I’m done, I’m never doing this again.” I had a baby, I was writing scripts, I had a quiet little life, and two years later — and I mean, throughout those two years, I had no contact with Hollywood at all — I got a covert call from Peter Jackson, who I knew through my relationship with Dom[inic Monaghan] back in the day, and he said, “Nobody in Hollywood seems to be able to reach Evangeline, but we want to get a hold of her because we want to cast her in this film.” And I was so torn because I had genuinely retired, I thought I was done, but I really wanted to do the movie. The little 13-year-old girl in me was like “I get to be a woodland elf? What?”
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