Q&A: Disappointing Actresses, Mixed-Up Hunks, Subtitled Crickets
Wednesday, May 22, 2013 at 12:49PM And now the return of the 'Ask Nathaniel/Q&A' series wherein you asked me questions and I pick two handfuls to answer.
Disposable project on the line for Emily. Yes, another one.DAVID: Which actresses filmographies are you most disappointed in? I'm thinking in terms of actresses you admire and think are incredibly talented, but, for whatever reason, end up working in subpar films.
NATHANIEL: I think the popular answer here is Rachel McAdams but aside from Mean Girls I've never cared too much. The answer that came immediately to mind was Emily Blunt. It’s not that she’s making terrible films per se, it’s just that given how Oscar worthy she was in that plum comic part in Devil Wears Prada seven long years ago, and then how sexy she was in that blink and you’ll miss her bit in Charlie Wilson’s War soon thereafter, I expected her career to explode in the way, say, Carey Mulligan’s did post An Education or at least for her to be more direct competition for Anne Hathaway. I wonder why Blunt isn’t either in more demand or more interested in challenging herself. Maybe it's just bad luck. She seems to be working exclusively in indies that don't crossover, mainstream films that are quickly forgotten or headlining gigs which don't really work in some crucial way (Young Victoria, Adjustment Bureau). I’d love to see her really challenged either by a role or by an auteur. Will Into the Woods bring a happily ever after to that heat-losing career?
The second choice is Evan Rachel Wood who seemed to chuck what looked like incredible range and promise to the side for a long procession of Very Bad Girls. This was, in no small part thanks to her inarguable electricity in Thirteen (2003) but when you play variations on one theme too often you either become a superstar or people lose interest. I thought she was good in Ides of March (2011) but it isn't what she needed. What she needs is a total about face role.
JOHN T: The last foreign language film to clear $20 million was Pan's Labyrinth, almost seven years ago. What do you think it would take for a foreign language film to catch on in that way again?
Amy Adams, Oscar Tragedies, and a Beefcake Triple after the jump...
NATHANIEL: This is one of the big underreported stories of the cinema. It's been a steady and easily traceable decline for foreign film "blockbusters". I blame the explosion of viewing options (including more TV than we've ever had in the history of mankind) and the shortening of theatrical windows for less adventurous viewing by audiences. I used to mock people who were all lazy like "i'll wait for video" but since that often feels like "next week!" now (after the interminable wait for theatrical after festivals of course) it's easier and easier to get complacent and subtitled pictures have always needed more time to catch on. Without that time...
South Korea is "hot" in cinema... but it doesn't usually translate to box officeSo now I try to celebrate when a subtitled picture hits a measly 1 million in US revenue. That's the new threshhold wherein I try to pretend that EVERYONE IS TALKING ABOUT THEM to dry the tears. So I get excited for the occasional Farewell My Queen ($1,348,000) and thrilled for the likes of Amour ($6,800,000) and Volver ($12,900,000) -- and please note that I'm rounding up on the grosses -- but bummed for the far more regular cases like Reprise ($555,000) where a startling good film will win raves and fans but never cross some sort of intangible interest/awareness hurdle. The bext example of this is probably the fate of South Korean films in the current marketplace. It's tough to argue that that country isn't "hot" right now in terms of cinema but other than The Host ($2,200,000) they get stuck on their way to that magic $1 million mark even when people are talking about them. Consider: Oldboy ($708,000), Mother ($551,000), Thirst ($318,000), Poetry ($356,000), The Housemaid ($157,000). Maybe the audience just isn't there for foreign arthouse anymore?
What it's going to take is a shift in taste -- if all things are cyclable there will eventually be a time period where Americans are interested in things besides superheroes and reality and competition tv again - and maybe a foreign film offering something new-feeling even if it's just an old (but still exotic to Americans) form presented superbly... like Crouching Tiger Hidden Dragon 12 years back.
MARK: I think Amy Adams is destined to join the Kerr/Close/Ritter club of 6 Oscar noms and 0 wins. Thoughts?
NATHANIEL: I would have thought this was a crazy notion just a year and a half ago but since she keeps getting nominated whether she’s statue worthy (Junebug, The Fighter) fine but unexciting (Doubt) or 'damn I wish a more fascinating actress had had a crack at this role' (The Master) it’s clear that they’ll nominate her for just about anything… besides hilarious Disney Princess mimicry that is. She doesn't even seem to have to do that much pleading of her case (witness her checked-out / non-efforts in those THR roundtables wherein the other actresses are really laying on the charm). If she doesn’t win soon an Oscar is probably out of the question (given Oscar's love of The New) and the real hurdle now will be getting people exciting about her work each time now that it's expected that she'll be good and in worthy movies. Being reliable is different than keeping people interested in seeing you glorified on an annual shortlist.
3RTFUL: Does our valuing of awards add a layer of tragedy to the fate of actresses who never receive them?
NATHANIEL: This is a totally interesting question and one I’m ashamed to say I haven’t really considered. I’ve always said that Great Work is its own Reward…. And a better award than a gold statue certainly. I mean I’m thrilled that Tilda Swinton has an Oscar but it’s not like that career would be any less amazing had that year’s supporting actress category gone in one of four other directions (which it might easily have given the precursor indecision that year). But maybe the collective obsession with awards does add tragic undertones. I mean by any reasonable judge of acting careers, 80s queens Close, Winger, Weaver, Pfeiffer and Turner for example are lottery winners and extremely successful women. That they never won Oscars feels like tragedy… but only for the overly dramatic actressexual who loves them and maybe for the women themselves (provided that they really wanted one... which I suspect at least two of them truly did). I bring up the 80s women so much, not because I am so connected to the 80s (though I am) but because I would maybe argue that that decade's crop of Major Actresses has the least correlation of any decade's crop to eventual Oscar Winners.
On the other hand, being frequently cited as a loser can add a layer of "too good for the room" awesomeness to your career. Nobody thinks of Barbara Stanwyck or Alfred Hitchcock as tragic Hollywood careers, you know?
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i swiped these from the futurist
They think of them as giants that Oscar was too dumb to embrace! Some legends of the craft become bludgeons used against the Academy's reputation.
MIKA: Not a question. I would like to see more coverage on Jessica Chastain and Kate Winslet and frankly less of Nicole.
NATHANIEL: Not an answer. What has Kate Winslet done for us lately? P.S. I’d happily talk up Chastain more but we’re inbetween movies (a rarity!) with that busy one.
TOMBEET: On what you said about the confusion of screenplay category in Oscar, would you think it's better/ more appropriate if the Academy (and other awards) splits it into 3 categories: Best Original Screenplay, Best Adapted Screenplay, Best Screenplay Based on Actual Events?
NATHANIEL: No. Two is enough categories for any one piece of filmmaking’s big puzzle – except acting (four categories is fine there). But if its truly about creating from your own mind (original!) versus creating from pre-existing stuff, maybe true stories and biopics and the like should be considered “adapted”… I mean they’re way more “adapted” than Richard Linklater’s Before Midnight will ever be. I am uncomfortable with the automatic categorization of sequels as Adapted unless they’re the type of sequel that seems to be operating under the Same Thing Only Different Setting / Same Thing only Bigger directive like, oh, The Hangover movies.
SKYFLY Are the Extra Categories with Best Scenes and Best Cameos etc dead? 2010 was the last time you did them and they were one of my favourite parts of Film Bitch Awards.
NATHANIEL: They are not dead. I’m just slow. I will try to finish 2012 before my June 2013 vacation. So punctual!
Who would you cast to play AVA GARDNER in a biopic?
TYLER: No one lived a more biopic-worthy life than Ava Gardner. If we can have 10000 biopics on Marilyn and Liz, can't we have just one on Ava? Who would you cast to play her?
NATHANIEL: co-sign! An Ava Gardner biopic would be such a cool project… well, “cool” for the overly familiar biopic genre of course. The problem with biopics of iconic film actors is they are usually iconic because they were so damn unique. I though Kate Beckinsale was a complete wash as Ava in The Aviator. But really no one on the scene looks enough like her (not that that stops the endless procession of actresses doing "Marilyn"). How about we get into a time machine and give Gina Gershon the Ava Gardner biopic in the 1990s? Who's with me?
JULIANNE MOORE: Why am I thriving in my fifties. It seems to go unnoticed.
NATHANIEL: Define thriving. I mean you keep making these video on demand movies. But yes you still look like a gazillion dollars. But it’s been a long time since you had a director worthy of your gift. Pitch something to Haynes or Anderson!
PJ: This may be my unique problem, but I always have difficulty telling Channing Tatum, Chris Evans & Chris Pine apart. Of course I can differentiate them eventually, what I meant was that at any immediate moment I saw their faces I always have to pause for 5 seconds and the three names flashed across my mind before I eventually call out the right name. It doesn't help that they are at similar age, have similar names (all start with C, two even named Chris) & similar film choices (leading a superhero / sci-fi franchise with some rom-com in between). Question: Do you have similar problem with any group of actors / actresses where you always mix them up and can't tell them apart immediately?
NATHANIEL: This is a horrible insult to Channing Tatum! It shall not stand. Especially not after Magic Mike. Though how great would it have been had Chris Evans joined him on the stage. (You can keep Chris Pine). But this used to happen to me with the Dylan/Dermot Mulroney/McDermott continuum. But only because of their D.M. 2 Syllable/3 Syllable names I think. It also happens to me with Alison Brie and Brie Larson but, again, only in terms of accidentally calling them the wrong names. They don't look alike to me. It's not something I experience often with movie actors but I’ll admit that I frequently find television shows bewildering as to who is who largely because of the unexplored unreported but quite obvious TV habit of filling entire casts with actors of the same age range, hair color, and hair style and then dressing them all alike to. (I still get confused about which guy was which on Veronica Mars and I'm sensing I might have that problem with Agents of SHIELD)
And that's a wrap for this week's column. As ever I'd love to hear your thoughts on these questions, too.
Reader Comments (55)
The answer to that first question is easy for me; Reese.
I often get Kyle Chandler and Ron Livingston mixed up. You'd think watching a couple of seasons of Friday Night Lights would cure my confusion, but no such luck.
Actress Filmographies:
Samatha Morton--would love to see more of her.
Foreign Language:
I think the problem here is lack of screens available. A complex will have 10 screens which used to be divided between 10 films with room for smaller, niche fare. Now 5 screens will have the latest blockbuster and the other four, last week's blockbuster. We don't even get foreign film in theaters and often on DVD where I live anymore. Thank God I travel for work.
Amy Adams:
I like her, but feel its mostly over earned adoration from the academy with the noms (especially last year).
Awards value: I think the public might put more emphasis on who won and who didn't, but within the industry, the nom carries just as much weight and can do wonders for a career, win or not. The future of the career depends on how the actor follows up (Mira Sorvino versus Amy Adams).
Ava Gardner: Wow. Love her. Blunt might be able to take it on or perhaps this is the Evan Rachel Woods project she needs.
J Moore: I miss the depth of BoogieNights, Far from Heaven and A Single Man. Shes feeling a bit phoned in right now.
CE, CT, CP==Damn those are fine photos. I've never had a problem recognizing Evans or Pine, but it took me a while to connect Tatum the model with Tatum the actor. I have more of a problem with Liam Hemsworth and Liam McIntyre (among others). Never recognize Hemsworth right off.
Ashley Judd would've been a perfect Ava not too long ago, but she's so out there now that I can't see it anymore. Plus, it looks like she did mess with her face despite her denials.
I agree though, I'm not sure anyone really comes close to looking like her today to pull it off. There were more options with 90s actresses. I guess her look was favored more in that decade. Now we're more into the blonde thing...or studios are anyway.
Great Acrtresses with subpar film roles:
Diane Lane
Angela Bassett
Sharon Stone
Elisabeth Shue
Lots of interesting questions!
It's so sad to see the decline of the foreign film earnings laid out like that. The industry seems to be more and more unwilling to push anything even slightly unfamiliar. I mean this week at my local cinema I have a choice between Iron Man 3, Iron Man 3 in 3D, Star Trek, Star Trek in 3D, The Great Gatsby, and The Great Gatsby in 3D. Do they think we have become more scared and stupid? Unwilling to see anything that we haven't seen x1000 before? Well, I suppose that explains why
A PrincessJohn Carterof Marsand Hansel and Gretel Witch Hunters in 3D did so well.What I'm trying to say is that they should have released A Separation in 3D.
Nathaniel, you didn't like Winslet in Mildred Pierce? I thought it was her best work since ESOTM... Also, have you heard that Todd Haynes is directing Wasikowska and Blanchett in an adaptation of Patricia Highsmith's novel The Price of Salt?
La Blunt is supposedly scheduled to lead Into the Woods, again opposite Streep. Quality wise it worked out for her with Devil Wears Prada, and hers is actually the role that's won awards onstage rather than Streep's so maybe she won't be overshadowed.
On the subject of Emily, I do think she's had bad luck. She was supposed to have ScarJo's role in the Marvel series, but I think another studio she was tied up with wouldn't allow it with scheduling. That would've at least helped.
Rachel McAdams made her own bad luck by turning down so many choice roles at the height of her power.
Nat what's Winslet given us an award worthy supporting turn in Carnage,a Mildred Pierce very very different from it's 40's incarnation and a stock role infused with nuance in Contagion plus no desire to take stock roles in silly unworthy roles a la Aniston,Barrymore,Blunt and she roots out gr8 directors too Soderberg,Polanski,Haynes,Reitman the last 4.
Rachel McAdams turned down Anne Hathaway's roles in The Devil Wears Prad and Get Smart, Gwyneth Paltrow's role in Iron Man and Eva Green's role in Casino Royale. Her career would be completely different today if she hadn't turned down those (great) parts...
What's difficult about casting Ava is the eyes. Dear Lord of Mercy, those unique, spellbinding eyes of hers. The shape, the shimmer, the glory of those orbs. The casting would be impossible. It would have to be an unknown from the stage.
Damian -- i thought she was fine in Mildred Pierce. But not, for me, revelatory. I did appreciate that it was so different than the Joan Crawford take, though.
Mark -- i did not find anyone in Carnage to be award worthy, just serviceable.
Bia -- ugh. i hate thinking about that. I like ScarJo a lot but Emily Blunt would have been SO perfect as Black Widow.
j -- actually the interesting thing about INTO THE WOODS is that which role is deemed "awards worthy" tends to shift with the productions and who is playing which part... but yeah the Baker's Wife is one of the good roles (along with Cinderella & The Witch) though I am a little bit surprised that they didn't cast AMY ADAMS who gets cast in everything and sings well and recently played the role onstage.
Going back to the 80s, it's Cher for me. Her work in Silkwood, Mask, Moonstruck, and even Mermaids was sublime. I guess being "Cher" got in the way of her acting career, particularly in dramatic roles. Maybe it was also her personal life, though Hollywood is eager and willing to overlook shit when it suits them and the money guys. (Robert Downey jr is laughing all the way to the billion dollar bank ...). I still love the scene in Suspect when she sticks it to Frazier's dad.
I feel like if Emily Blunt's role in Looper happened after coming onto the scene with The Devil Wears Prada she'd have a different career path. That was a good role, a different role, but people jumped off her bandwagon long ago.
I do not confuse Channing or Chris Evans at all. Chris Pine, however, just seems like stock dreamboat actor.
Her (Spike Jonze!) and American Hustle (second movie with DOR has to count as being under an auteur, right?) seems like a good direction for Adams to go. Actually Lois Lane is an interesting career choice because I was certain she'd be taken mother roles at this point. And now I'm sad realizing that happened to Diane Lane in the same movie.
Ugh. Gina as Ava would have been incredible casting and given that there were 2 Ava in supporting roles in two different Sinatra-driven TV movies (Marcia Gay Harden in a straight-up Sinatra biopic and Deborah Kara Unger in a Rat Pack biopic) in the 90s, it is surprising it never happened. And speaking of The Aviator, I would have watched an Errol Flynn biopic with Jude Law as the wicked man.
Winslet really just went for broke with the Oscar-bait roles around the time after Eternal Sunshine. My hope this does not happen to actresses I really like who have been nominated and almost pre-ordained future winners from taking riskier, more interesting roles (Hello, Jessica Chastain!).
I remember either Joe or Nick mentioned on one of the recent TFE podcasts that Naomi Watts and Emily Watson's performances post-breakout aren't up to snuff with their performances in Mulholland Drive and Breaking the Waves. Do you think the same could be said about Winslet and Eternal Sunshine of the Spotless Mind?
Didn't you like Blunt in LOOPER? I thought she was amazing in it.
I've always thought Charlize Theron would make a perfect Ava Gardner, they share a sensual and carnal beauty so difficult to grasp/mimic artificially. Plus they both also share the more intelligent than what you'd expect persona. Beckinsale as Gardner must've been one of the biggest miscastings ever.
A question to the air. Shouldn't movie stars get much lower (realistic) wages if we really want to keep them interested in their craft (making movies)? If you get a million dollars every two years, why would you bother doing more challenging work? I think they become millionaires way too soon (the same applies for pop stars or other so called stars) and so get comfortable too soon.
Gustavo -- i did really like her in it. But one good role/performance in a good movie --to go with decent performance in okay movie or very good performance in bad movies --- i just thought there'd be more to discuss with her by now. I realize not everyone can have Anne Hathaway or Carey Mulligan's career but still...
Pam -- so agree on Cher. She was a better actress than rock star (which is not the norm for musicians who become famous)
I don't think Winslet in ESOTM is really a breakout,it maybe a breakout of the corset she had tightened herself in post titanic but she showed for 10 years since her debut what she could do,i just think people/bloggers have made her an easy target now she has her oscar cos people are bitter about her having it for the wrong role but it happens all the time,i'm sure she'll be knocking it out of the park come labor day.
In response to 3rtful's question, I think that "layer of tragedy" seems particularly applicable when it comes to actresses of color. More than a year later and I still occasionally find myself stewing about the Viola upset, not only because I personally feel she gave the better performance, but more so because I think it could have potentially opened an entire new field of casting opportunities for someone as extraordinarily gifted yet annoyingly sidelined as Viola so often is, even post-Help. Similarly, as indisputably amazing as Holly Hunter is in The Piano, a part of me still sort of wishes that Angela Bassett could have won that year, if only because the downward trajectory her career has taken in the years since is, in my eyes, nothing short of tragic. This isn't to say that Oscar is the ultimate solution to Hollywood's issue with black actresses; I mean, more than a decade later, and it's hard to surmise what, if any, favors that Oscar win did for Halle Berry. But it goes without saying that winning an Oscar provides performers with a sense of unparalleled, if not fleeting, recognition, one that the careers of Davis, Bassett, Gabourey Sidibe, Alfre Woodard, and even, going back, the titanically talented Cicely Tyson could have surely benefited from.
Ending on a positive note though, god bless Michael Mann for giving Viola that lead in his upcoming cyber thriller. I am actively anticipating it, if only to see Viola get the spotlight she so richly deserves.
Also, everyone who can should see Cicely Tyson give the most astonishing performance of the season in Trip to Bountiful! The production's iffy, as is the play itself admittedly, but she is nothing short of a revelation. Such a gorgeous, vivid performance.
Evan Rachel Wood was great in "Mildred Pierce." And there was a time when I thought that Emily Blunt could be nominated for "The Young Victoria." With a bit more focus and steeliness, I think she could have pulled it off. I ABSOLUTELY thought that she was Oscarworthy in "Devil Wears Prada." Criminal that she was snubbed and has been floundering ever since. I can't help but picture Kristen Wiig acting like she'd seen "Salmon Fishing in the Yemen" at the Globes. :-)) "When the salmon come out . . . and you're in Yemmmmen." So funny.
Finn -- i agree that ERW was great in Mildred Pierce but the problem for her is that excelling in Very Bad Sexual Rage-Filled Girl is extremely expected of her. She needs to surprise people again to regain some heat.
For the first question: Rachel Weisz-My heart breaks still that she wasn't nominated for Deep Blue Sea last year, I still think she gave the best performance of any actress last year. But most of her films are small and under the radar and often beneath her. I just saw Dream House last night and I know she met Daniel Craig on it, fell in love and married him so she'll have happy memories of it but I won't! It was a terrible piece of junk.
Also Rosamund Pike-She gets some high profile supporting roles but nothing that pushes her forward. The silver lining is that they are both British so will work forever. Fame in leading roles doesn't seem to mean as much as a consistent career to the English, so their chance may come later as it did for Judi Dench and Helen Mirren
Q2-I'm not a big foreign film goer but as you say everything goes through the theatre so quickly that even if you want to see something in the theatre it might be gone before you have the chance, there are only so many hours in a day.
Q3-I think it's appalling that Amy Adams has four nominations already. I thought she was the best thing in Junebug, but I hated, hated that movie so that wasn't tough, otherwise she's an adequate performer who doesn't deserve to be in the same league as Agnes Moorehead, Geraldine Page, Maggie Smith, Lee Grant, Ethel Barrymore or Maureen Stapleton! I mean come on, aside from the fact that she came across as entitled, disinterested and offputting in those roundtables, no way does the quality of her work measure up.
Q4-I don't think it adds a layer of tragedy as much as one of frustration. It does show how the award body has favorites, Luise Rainer has two Oscars, Garbo zero. Ida Lupino always reliably excellent no nominations, Amy Adams a default four. Craziness. Time is the ultimate judge of a career but those acknowledgements are nice.
As far as an Ava Gardner bio goes I also thought of Gina Gershon when I read the question, there isn't anyone right now who would approximate "the world's most beautiful animal" as she was tagged. I agree that Kate Beckinsale was all wrong as Gardner in The Aviator she would have made much more sense as Linda Darnell, who also had a checkered history with Hughes.
Helena Bonham Carter's recent career has been disappointing to me. She was so brilliant as Kate in 'The Wings of the Dove', giving one of the best performances of the 90s. She's been good since ('Fight Club,' 'Sweeney Todd,' 'Conversations with Other Women,' 'The King's Speech') but hasn't had the opportunities that her talent warrants. I would have loved to see her in, say, Cate Blanchett's role in 'Notes on a Scandal.'
Please! Emily is doing fine! If you ignore 'Irresistible', 'Wind Chill', 'The Wolfman' and 'Gulliver's Travels', she has a very fascinating filmography (yes, I've seen them all)! Her television work was exquisite! That's something that no one seems to mention... Does she need Oscar nominations right now? Not really... But she deserved a few ('My Summer of Love', 'The Devil Wears Prada', 'The Young Victoria' and 'Looper'), in my opinion. But good things come to those who wait! And is Anne her main competition?
Pan's Labyrinth did well because there was a huge marketing push behind it. Thrillers like Mother could have easily done similar box office if any effort was put into opening the film to a wider audience.
I mean, The Raid: Redemption took in a 1/4 million its opening weekend in the US when they only aired trailers starting the week of the release. That's HUGE. If they actually ramped up the marketing campaign, it could've broken $20 million, easy. Instead, they pulled the trailers and let it linger to a $4million total just under 4 months later.
Wow, a sudden Moore backlash? By "keep making these on demand movies", you mean the shitty The English Teacher? Yes, but this year she is also getting great reviews for the well-reviewed What Maisie Knew and her wonderful performance in Gordon-Levitt's Don Jon, has two big budget studio leading roles coming out (Carrie and Seventh Son), and is working with freaking DAVID CRONENBERG next.
Also, she was brilliant in HBO's Game Change, storming the awards circuit winning every trophy in sight, she was in the hit Crazy Stupid Love and had two major successes with The Kids Are All Right and A Single Man, two of the most acclaimed films of their respective years, with Moore collecting nominations for Golden Globes, BAFTA and Critics Choice.
Yes, a lot could go better as she should get more meaty parts in high-calibre / Oscar projects à la Blanchett, but compared to other actresses in their 50s or her age group (Pfeiffer, for instance), she is well off. The last director *really* worthy of her talent was probably Meirelles, but I also think that her beautiful performance in A Single Man was overlooked on here (while Kidman is getting labeled as "genius" every time she puts on a wig or moves her face).
Considering that their chances of winning one are slim, wouldn't it be great to see Close, Winger, Weaver, Pfeiffer and Turner getting their honorary Oscar at the same ceremony? Honestly, I could die right after that.
Re: the tragic fates of Oscar-less actresses -- I believe this is only a consideration in the case that a win has the potential to catapult a deserving actress, who would otherwise not have the opportunities of her colleagues, into the stratosphere. For instance, Sandra Bullock's win did nothing but prove that her peers really like her; however, who knows what a victory for Gabourey Sidibe could have done for her film career?
Re: Amy Adams -- My hunch is if she doesn't win within the next couple of nominations, provided there are any more, then she will never win.
"Winslet really just went for broke with the Oscar-bait roles around the time after Eternal Sunshine. My hope this does not happen to actresses I really like who have been nominated and almost pre-ordained future winners from taking riskier, more interesting roles (Hello, Jessica Chastain!)."
I have this fear too, but more with Michelle Williams. Her next project after Oz is Suite Francaise (based on the book) about a young French woman caught up in WWII. I guess Michelle wants that Oscar and she's realized that starring in provocative and challenging auteur fare like Wendy & Lucy and Blue Valentine is just not going to cut it (for Oscar at least).
You killed me with those two Barbara Stanwyck gifs.
And then I was brought to life again with the idea of Gina Gershon in an Ava Gardner biopic circa mid-to-late 90s.
I also love that you gave Our Julianne some real-time girl-talk. She needs auteurs to guide her like the rest of us humans need air to breathe!
BRB cutting together some scenes of Judi Dench yelling at HBC and pretending this movie happened and they both got dual Best Actress nominations. I'm gonna sit in this dark corner now and silently weep for this beyond amazing casting choice that never was. The Earth is evil~
Cienphile agreed on Moore in A Single Man and abot the lack of love esp Nat who used to adore her,loved the clothes,the laugh,the dirty joke,the desperation,the chemistry,the backstory and her spot on accent.
I love Emily, so I agree. I also want to add Kirsten Dunst, I know her career is getting back on track, but I want more roles for her.
I forgot to write this about Emily. How can you say she isn't really challenged by her roles? She gives so much. She's isn't just acting brilliantly: she's improvising ('My Summer of Love', 'Your Sister's Sister'), she's playing the cello ('My Summer of Love', 'The Strange Case of Sherlock Holmes and Arthur Conan Doyle'), she's doing ballet ('The Adjustment Bureau') she's doing martial arts ('All You Need Is Kill') or she's singing (Gideon's Daughter', 'Into the Woods')... Come on!
And if people think a blockbuster will change things for her, 'All You Need Is Kill' will be released next year. And it might be great since it has a Black List script! But I believe she hates big studio films! She had a bad time with 'The Wolfman' and 'Gulliver's Travels', I can tell. Too many fingers in those pies.
I will take Chris Pine if you don't want him Nathaniel, thanks :)
It's really hard to confused the charming Mr Tatum with anyone except with Mike Trout- the hunky baseball player who could be his twin. Gershon would have been a fine Ava.
I think actresses partnering with an auteur is only a good idea if it's good material and there is some chance for decent execution. People will avoid repellant or poorly made films (Nicole). Viola has opportunities now that she can deliver on, or not. That is not a tragedy. Julianne is at least exploring and engaged. Emily Blunt needs to focus but seems hungry. Kate is still relatively young. Amy Adams is not defined. Anne has been plucky and lucky. Isn't it all drive and luck?
I think that the increased push for DVD and On Demand dollars has contributed to the downturn in relatively high-grossing foreign films as much as anything else. There are plenty of distributors who are acquiring foreign-language titles, but even most of the higher-profile ones (Magnolia, IFC/Sundance Selects, etc.) are largely focused on giving them cursory theatrical releases before making them available for home viewing shortly thereafter. I'm sure there are plenty of people watching the higher-profile titles at home, whether they buy the discs, do the on-demand thing, or wait until it streams on Netflix. It's just that it's more difficult to measure how many people actually watch it than it is to simply tally up the box office dollars.
Besides, with every blockbuster opening on 4-5 screens at the local multiplex there's hardly room for the smaller-scale releases, so maybe the off-Hollywood distributors figure it's easier to avoid the hassle and the additionally marketing cost and bypass the old business model altogether. As much as it costs to promote a movie, I can't say I blame them.
A lot of people say Sherilyn Fenn should have played Ava instead of Liz back in the 90s. Interesting choice in Gina Gershon! Liv Tyler resembles Ava, but I'm not sure she has the carnality or the charisma to pull her off. Recently, I've been thinking Eva Green for Ava.
This advice column should be more regular like monthly or bi-weekly. Great questions and great answers!!!
"provided that they really wanted one... which I suspect at least two of them truly did"
close and turner, amirite?
I thought it was Close and Winger who really wanted an Oscar.
Mark the First ,
Who is BRB cutting scenes together?
Cher studied acting. She wanted to be an actress never a musician. She sort of fell into the latter and because of her unique voice instantly became a star. Cher's the only female musician whose Oscar nominations are for non-musical roles.
Nathaniel (on Cher): "She was a better actress than rock star (which is not the norm for musicians who become famous)"
I think this apply so much to Courtney Love. Besides the obvious mention of "The people vs. Larry Flynt", have you checked her in "Julie Johnson" (with, I shall mention, my favorite actress, Lili Taylor)? Also, if you've seen her in the really awful "Trapped" notice she steals the show and gives the best performance of the whole movie in a very supporting role (and that movie includes Charlize Theron, Kevin Bacon and Dakota Fanning, when she was good). And she has "Basquiat" and "Man on the Moon" in her résumé.
Mike M (on Helena Bohnah Carter): "I would have loved to see her in, say, Cate Blanchett's role in 'Notes on a Scandal.'"
I don't care that much for her, but wow, kick ass idea. It would've been great to see her instead of Cate Blanchett (whom I thought was amazing).
Matthew Eng:
Racism is an emotionally exhausting topic for me -- especially at this time. Easier to focus on the miscarriages of justice against women not named Meryl.
That gif is the greatest thing I've ever seen.
Disappointing actresses ...
Christina Ricci, LeeLee Sobieski, Reese Witherspoon, Drew Barrymore (seriously, after Grey Gardens, I really wanted to see her career take a different direction), Scarlett Johansson. Halle Berry. I would say Kirsten Dunst but she's my favorite; it's not really her that has disappointed me, more how everyone treats her and no one seems to appreciate her talent.
3rtful - That's how Bette Midler was; her aim was always to be an actress and taken seriously as one, but the music thing sustained her when an acting gig fell through and that's how she broke through. It would've been nice if she had been nominated for a performance in which she wasn't singing, she definitely had the talent.
Matthew Eng ... everything you said, yes.
Not sure if Amy Adams will join the six-timers club, but I do see her getting a fifth and she won't win. She should be very happy with four nominations and her career, honestly.