What Is Emma Watson Accent

It’s been five years since Emma Watson last raised a wand as Hermione Granger, but it’s still been a strange journey to see her fully evolve her post-

Persona as international feminist pixie dream girl and star of films that don’t require her to pretend to see CGI dragons. Part of that evolution has been crossing the classic hurdle of any English actor who wants to be bankable in big Hollywood films: perfecting an American accent.

Hugh Laurie did it. Benedict Cumberbatch did it to get those big Marvel bucks. Jude Law, bless his soul, always tries. It’s something of a rite of passage, an inevitability that wannabe actors across the Atlantic learn early in their training (that’s part of the reason Brits are markedly better at going American than we are at trying to sound posh: they know it’s something they’re almost definitely going to need, and so they practice).

Surabaya 15 April 2018 Emma Watson Stock Vector (royalty Free) 1070953262

, in which she used a more specific, valley girl Calabasas accent a la Kardashian. And now she’s at it again, alongside Tom Hanks in

Dystopian future. (It should be noted that she’s also starring with fellow Brit Karen Gillan, who won my heart with her pretty decent American accent in the short-lived but delightful TV show, Selfie.)

Something about her answers seemed… pinched? Strange? It’s possible that I’m just so used to a beautiful English accent coming out of her gorgeous face that hearing our flat ugly American syllables seems a little off. Like taking a sip of

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But, I’m no expert. After all, I’m biased against her because she and I overlapped two years at college and I never got to become her friend. And so I reached out to an unbiased source,  Erik Singer—professional dialect coach and noted expert in analyzing celebrity accents in films—to see if he could enlighten me on whether Emma Watson was actually any good.

“Her accent in The Bling Ring, from what I heard, is flawless. Really excellent work. It’s a very specific accent, of course—what you might call young female LA. But in the trailer, there’s literally nothing I would want to hear differently. Is it broad/’pronounced’? Yes. Do real people speak like that? Yes. Is it appropriate to the role and the film? From what I can tell from the trailer, yes.”

E trailer aren’t enough to accurately gauge, really, how good she does overall.  “That said, it’s good, ” he wrote. “There are tiny things I’d adjust if I were giving her notes on the scene, but overall it’s good. Even leaving the paucity of material aside, we can’t really gauge improvement over time, because it’s a different American accent than she’s using in Bling Ring—much more what’s usually called ‘General’ American (I have problems with this term). One other thing I might add, I suppose, as general background, is that her native oral posture is closer to the posture of the accent she’s using inGet our free weekly email for all the latest cinematic news from our film critic Clarisse LoughreyGet our The Life Cinematic email for free

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In the months building up to Little Women’s release, rumours circulated, on Twitter and within Hermione Granger fan circles, that Emma Watson wasn’t very good in it. It was said that some of her scenes had been cut, that test audiences had disliked her American accent, and that she was only in the film in the first place as a last-minute favour to Sony head Amy Pascal. (Emma Stone, director Greta Gerwig’s first choice for the character of Meg March, dropped out.)

Watson’s relative absence on the Little Women press tour has given further weight to the speculation – specifically a day in the middle of December that saw the majority of the cast speak to press in a London hotel, while Watson was off darting around the city on her own, leaving free copies of Louisa May Alcott’s book near certain London landmarks.

A source told Page Six that Watson had informed Sony Pictures that she would only attend the film’s New York premiere and not commit to any further promotion for the film, leading to (potentially misogynist) speculation that there was a cast feud – or that Watson was unhappy with the film, or her performance in it.

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In truth, however, Watson is brilliant in Little Women – just as she has been in a number of films in recent years. But praising her as an actor is often met with cynicism – as if you’re either blinded by residual Hermione love, or you’re generally delusional.

Watson’s reputation as a not-very-good actor is partly Harry Potter’s fault, with an entire generation growing up watching her, Daniel Radcliffe and Rupert Grint stutter and shriek their way through the halls of Hogwarts. The fact that none of them were particularly good in the early entries of the franchise – chosen less for their acting abilities than for their physical similarities to JK Rowling’s source material – has also stuck around in the cultural consciousness. It’s meant that, even as adults, all three have been unfairly labelled as bad actors – despite having demonstrated their individual range in the nine years since the series ended.

A helter-skelter ride of a movie, satirical, very witty and showing its director’s immense affection for the B-movie actors, stunt men and hangers on who make up its cast. It’s also a tribute to Sharon Tate (Margot Robbie). Who would have believed that a film set just as the Sixties in LA turned sour could be so uplifting? Geoffrey Macnab

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The world isn’t scared enough of Scientology, but perhaps it would be if enough people had seen The Master. Paul Thomas Anderson depicts (a fictionalised version of) the cult as a trap for bruised masculinity. Philip Seymour Hoffman and Joaquin Phoenix contort themselves into primitive creatures of greed and desire. It’s an ugly film, in the very best sense of the word. Clarisse Loughrey

Scorsese summons all his sad captains for one last reunion in his magisterial gangster epic. De Niro, Pesci, Keitel and (newcomer) Pacino are all cast in a film as much about friendship, memory and betrayal as it is about corruption in the Teamster union or Mafia violence. GM

This is Pixar’s boldest and strangest animated feature. It takes us deep inside the mind of its heroine, 11-year-old Riley, where her unconscious is shown as akin to a magical theme park; emotions like Joy and Sadness feature as characters. Director Pete Docter deals with complex subject matter in a lithe and inventive way, and without too many Freudian hang ups. GM

Emma Watson: Logan Lerman:

Hirokazu Kore-eda is like the Charles Dickens of contemporary Japanese cinema. He tells melodramatic family stories which would seem mawkish if they weren’t so brilliantly observed. Winner of the Palme D’Or in Cannes, this is one of his very best movies – a heart-tugging story about impoverished members of a makeshift family doing everything they can to survive. GM

Dogtooth is a grim tale of isolation, incest, cat murder and DIY dentistry. But Yorgos Lanthimos has a hidden superpower up his sleeve: the more off-putting his films, the more you get drawn in. His work breeds curiosity. We want to solve the mystery of these strange worlds and their cold, inscrutable characters. The fact that there are no answers keeps us coming back for more. GM

Kelly Fremon Craig’s gorgeous if cruelly unrecognised The Edge of Seventeen is deliberately small in plot, with Hailee Steinfeld playing a grumpy teen horrified to discover her best friend is dating her older brother. But it is told with heartwarming urgency, reflective of the heightened, dizzying drama of merely being a teenager.

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Reclusive New England poet Emily Dickinson, who published only a handful of poems during her lifetime, is brought to life in vivid fashion by actress Cynthia Nixon in Terence Davies’s biopic. She may look like a spinster aunt but Nixon shows us her passion, mischief and her eccentric brilliance.

Noah Baumbach’s Frances Ha is the definitive film about the quarter-life crisis, largely because it embraces the messiness of it all. We get the ups and the downs. We get the poorly-planned trip to Paris made by a young woman desperate to experience something profound. It’s a film without many dramatic conflicts, but marked by a gentle push towards accepting the inevitability of change.

Famous for its scene of Leonardo Di Caprio being mauled by a bear, Alejandro González Iñárritu’s western is part survival drama, part revenge movie. It’s a wilderness tale on the very grandest scale. From the opening massacre to the snowbound denouement, it if full of moments that startle you with their violence and their beauty. GM

Emma Watson's American Accent In The 'little Women' Trailer Is Being Roasted

Shot over 12 years, Richard Linklater’s Boyhood is the ultimate coming-of-age movie. It follows main character Mason (Ellar Coltrane) from when he is seven years old until he is a young adult. It’s a testament to the patience and ingenuity of Linklater and to the exceptional work of his cast (including Patricia Arquette and Ethan Hawke) that the film never feels phoney. GM

The horrors of Ari Aster’s occult contraption are matched only by the sheer volume of ideas crammed into it. A devastating kaleidoscope of stark images,