Interview: Olivia Colman on "Tyrannosaur" and Mumsy Meryl Streep

British actress Olivia Colman speaks softly and with great modesty but perhaps that's wise. Her talent speaks loudly on its own behalf by way of ntroduction. Though British audiences have embraced her comic talent for years now, international audiences are just now getting to know her as a dramatic force. She's utterly devastating as a meek Christian shop owner in the violent drama Tyrannosaur. The film, directed by the actor Paddy Considine (In America), is gathering a small but very vocal fanbase who think Colman really ought to have a Best Actress nomination in her very near future. Later this month, she'll be onscreen again as Carol Thatcher daughter of The Iron Lady, but even if you exited the first movie only to immediately enter the latter, you'll scarcely recognize her from one film to the next.

We spoke briefly on the phone recently about her rising stardom, drama and comedy acting muscles, and having a living legend as a co-star.

Olivia Colman is a true believer in "Tyrannosaur"

Nathaniel: Have you been able to soak in all of this attention from Tyrannosaur? Your name being on the awards radar here in the US and such?

OLIVIA COLMAN: Not really. it's quite surreal. Because it's not my first job. I'm 37 and i've been working for a long time. So... [long pause]  This job means so much to me that I'm thrilled that people are liking it. That's the best thing about it, that other people are taking it to their hearts as much as we all did.

Nathaniel: Your involvement with Tyrannosaur goes way back. You were also in Paddy Considine's short film "Dog Altogether" about the same characters. Did this feel like a do-over? What was it like going back?

COLMAN: lt felt different. A lot of the scenes from the short were also in the feature and the reshooting of those scenes that we'd done years before were the hardest to film. It's weird because it's like an echo. You can hear yourself. You've already said it but years ago. It felt very different apart from that because we suddenly had a sense of a much longer journey. In the short I didn't know about Hannah's backstory at all. 

Nathaniel: This gave you a chance to dig deeper then?

COLMAN: Yes. It's lovely to get your teeth into it.

Nathaniel: In terms of Hannah's religiosity and her generous nature. How did you approach constructing her? A lot of religious characters in cinema aren't, well, sympathetic like this. 

COLMAN: It was so clear from the page. Paddy had written it so beautifully you just had to do what was written, really.  I knew who she was straightaway. Even if she hadn't been a Christian of good faith, she would still have been a good person. Her faith is sort of her protection and her armor but even without it, I would have known who she was.

Nathaniel: Paddy is such a brilliant actor but he's not in front of the camera for this one. So what it was like being directed by a fellow thespian?

COLMAN: Amazing! It made such a difference. I don't imagine all actors can direct at all. I think probably a lot of them would be terrible but he was so comfortable on that side of the camera. He knew how difficult he found it in front of the camera and he made sure we never felt like that. We always felt safe. He's an extraordinary creature. He would say exactly the right thing to get you to the right place. I've said this before but I think he could get a performance out of a log. He's amazing, just taps in. Everybody wanted to make him proud. And he's a great leader of people. A little thumbs up at the right moment would made someone feel 10 feet tall.

For those of us who don't act, we always assume that sets of intense brutal dramas like this one must be sober or difficult to be on. But maybe it's not like that exactly. 

The "jolly" Tyrannosaur team

[Olivia on working with Meryl Streep and Michelle Pfeiffer... AFTER THE JUMP.]

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Euro Film Award Winners

While American film critics circles orgs and associations prep their year end "best" reveals, let's hop overseas for a moment. The European Film Awards were held in Berlin, Germany yesterday. It was a very good day to be Danish.

Though Mads Mikkelsen (left) is often seen in American and British films he frequently headlines Danish films too and was honored with a world cinema tribute. Lars von Trier, the maddest prince of Denmark since Hamlet, won the top prize for Melancholia. Though von Trier lost Best Director, he lost it to fellow Dane Susanne Bier who recently also won the Oscar (Best Foreign Language Film, In A Better World.) All three were born within a nine year span in Copenhagen!

FILM Melancholia (Lars von Trier)
DOCUMENTARY Pina (Wim Wenders)
ANIMATED FEATURE Chico & Rita (Tono Erranda, Javier Mariscal & Fernando Trueba)
EUROPEAN ACHIEVEMENT WORLD CINEMA Mads Mikkelsen
LIFETIME ACHIEVEMENT Stephen Frears
DIRECTOR Susanne Bier, A Better World
ACTRESS Tilda Swinton, We Need To Talk About Kevin
ACTOR Colin Firth, The King's Speech
SCREENWRITER Jean-Pierre and Luc Dardenne, The Kid With The Bike 
EDITOR Tariq Anwar, The King's Speech
PRODUCTION DESIGNER Jette Lehmann, Melancholia
CINEMATOGRAPHER Manuel Albert Caro, Melancholia
COMPOSER Ludovic Bource, The Artist
PEOPLE'S CHOICE The King's Speech
SHORT FILM AWARD The Wholly Family (Terry Gilliam)
EUROPEAN DISCOVERY  Oxygen (Hans Van Nuffel)

Stars at the EFA Awards from left to right: Sibel Kekilli & Elyas M'Barek, Ludivine Sagnier, Terry Gilliam, (second row) Moritz Bleibtreu, Sam Riley & Alexandra Maria Lara and Maria De Medeiros

Congratulations to the winners!

Another prize for Tilda, eh? If Best Actress weren't so jam-packed this year -- I'll update the two week old charts tomorrow -- I'd be starting to believe that a second Oscar nomination could follow. But whether or not Oscar traction happens, there's definitely a Swintonian Love Wave happening.  Such is the power of momentum. Three consecutive critically lauded star turns in acclaimed challenging films (Julia + I Am Love + We Need To Talk About Kevin) will do that to a girl.

"Young Adult" Chat: Diablo, Charlize, Patton... and Candace?

This Friday night at the DGA Theater in Manhattan, director Jason Reitman and writer Diablo Cody's post-Juno reunion was unveiled for guild members. The second time was also a charm so I hope they keep working together. For such a dark and discomfiting comedy (many of the best laughs come while cringing reflexively), I thought the screening went very well with no walkouts and much laughter but my guest was more skeptical. He felt like the laughter was coming from very specific pockets of the theater which may well be true since it's a movie that some people will "get" (i.e. respond to) and others will probably leave in disgust since it keeps defying expectations, driving drunkenly up to traditional beats / redemptive arcs, only to turn its nose up at them and swerve off that well-paved road again.  We weren't allowed to take pictures, so I was playing court reporter and sketching the panel which included...

From left: Moderator Candace Bushnell, actress Charlize Theron, screenwriter Diablo Cody, actor Patton Oswalt and actress Elizabeth Reiser.

I kept altering the Candace drawing, sketching beer bottles strewn about her, adding bubbles in the air, because the real life "Carrie Bradshaw" was a MESS, all slurry, mealy mouthed, self absorbed and just not pulling it together. At one point after several repeated interludes wherein she managed to go on and on about the movie or her feelings about without asking a question, she began to compare Charlize's character "Mavis Gray" with Kim Cattrall's "Samantha Jones" in Sex & The City, which proved to be too much for the already patience-tested audience.

JUST ASK A QUESTION!!!"

...one man shouted from somewhere in the middle of the theater.

But through her haze of something, Candace touched on and was maybe even a living embodiment of the point she was attempting to make: certain types of behavior and some very famous characters that we enjoy onscreen would be absolutely insufferable in real life settings. Young Adult lays this down with nuanced flair.

Despite the problematic "Q" half of the Q&A session, the "A" was terrific. Diablo Cody was clever (no surprise), Patton Oswalt was just hilarious (apparently this is not a surprise if you're familiar though I wasn't having only seen him in The United States of Tara) and Charlize and Elizabeth managed to wring laughs from the crowd, too. It's kind of disgusting that Charlize, in addition to being one of the most beautiful women in the world is also one of the most talented and has a great sense of humor. Abundance of riches, that, and the movie wouldn't have worked at all without someone of her caliber headlining.

My recorder mysteriously contains only silence for 25 minutes  --wtf? -- so I can't share the highlights I intended to (wah-wah) but [SPOILER] the funniest moment came when Patton Oswalt was discussing his nude scene with Charlize and an audience member asked if he worked out from nerves beforehand. He said that going to the gym for his body would be like building a nice awning over a pile of rubble... and nothing would have ever helped being on camera with Charlize. Why couldn't he have done a nude scene with, like, Michael Moore instead? [/SPOILER]. Another good bit was Charlize talking about how unpopular she was in high school followed by a self-deprecating 'I'm sure you all feel very sorry for me.'

Here's the Q&A guests at another event that same night. (They didn't change clothes so I assume they were back-to-back events)

Oscar Nominations?
While the whole cast of Young Adult is sharp about how to play the tricky tone, particularly Collette Wolfe in a crucial role as Patton Oswalt's sister, most of them have very small roles (it's Theron & Oswalt's party...and they do throw one.) Charlize is a deserving contender for Best Actress but given how traditionally strong her competition is (what with easy Oscar gets like biopic mimicry and career narratives like "long gestating dream role" in the mix) she's no lock. That said she nails a complicated character who is in every scene and requires both finely honed comedic skill and a nuanced dramatic undertow. Patton Oswalt has both an easier role (audience voice / surrogate... to an extent) and an easier shot at Supporting Actor. I suspect the film is far too distinctive, tightly focused and resistant to catharsis for wider Oscar play so it's all about the writer's branch.

The Original Screenplay category this year is a fascinating beast. Six of the hottest tickets in this category (Young Adult, Beginners, Bridesmaids, Midnight in Paris, The Artist, Win Win) are either straight up comedies or dramas with very pronounced comedic sensibilities... so will they go there? Good news for Young Adult: Original Screenplay is a bit kinder to dramedies and comedies than other categories tend to be. You don't have to look back too far for a year that tilts comedic (the 2008 lineup includes Happy Go Lucky, Wall•E and In Bruges) though many of the years are as heavy on angsty drama as the lead acting categories tend to be. 

Naked Gold Man: Roles For Which Meryl Streep Was Not Nominated

For this week's gold man column, we're skipping the general overview and getting really specific. Who doesn't enjoy a good zoom in on Meryl Streep? The Iron Lady, her Margaret Thatcher biopic performances, begins screening very soon -- they moved the release date back but not the screenings. So we need to discuss this before it does and the focus shifts from groundless speculation to case evidence.

Every time I've floated the notion that Meryl Streep cannot be an Iron Lock for a Best Actress nomination since her film has not been seen, people object. "But Meryl is ALWAYS nominated," sayeth everyone. Not so, not so. While it's true that The World's Greatest Actress™ seems as much a can't miss prospect in Best Actress as she did in the 80s what with nominations for Prada, Doubt and Julia fresh in our minds, she has missed the shortlist. Yes, even THE MOST NOMINATED is not always nominated. Some of those roles even looked good on paper and in some of them she was marvelous onscreen. If there'd been Oscar blogs back in in the 80s and 90s, for example, pundits would've leaned on her whilst predicting each and every year with as much lazy force as voters do when balloting. There is no such thing as someone who is Oscar-nominated for everything they've ever done -- unless they only made one film or their name is Stephen Daldry (three-for-three thus far in Best Director). Even James Dean, who famously received two post-humous Oscar nominations, was only nominated for 66% of his three iconic film roles...

...yeah, yeah. true, true. okay, okay...

You can't be nominated in the same acting category twice in one year so theoretically Dean could have been nominated for Rebel Without a Cause if it hadn't been for East of Eden. This is an important point which we will discuss in the following "snub" list. 

25 Streep Roles That Weren't Oscar Nominated

Meryl's entrance into the cinema she would soon reign. Julia (1977)

1977 Julia
"Anne Marie" is really just a cameo (two scenes) but it's magically fitting that this then unknown actress's first screen role was opposite two acting legends: Jane Fonda & Vanessa Redgrave (a probable Best Supporting Actress this year as she is quite sensational in Coriolanus). For most people the only way is down from there but for Meryl she's all, like, 'hey shove over. I'm here!' If she felt intimidated it doesn't remotely show in her haughty, funny, scene-stealing bit. But only important actors get nominated for cameos, even cameos this juicy, and Meryl was not yet a star. [More on Meryl's debut]

1978 The Deer Hunter -1st nomination

1979 The Seduction of Joe Tynan and Manhattan
This was the year of Kramer vs Kramer (her first win, following her first nom for The Deer Hunter in '78) so Academy voters couldn't have nominated her politico's mistress "Karen Traynor" or her angry lesbian ex-wife "Jill" in Woody Allen's other 70s masterpiece. Though these roles undoubtedly helped her win (note that the critics awards she won that year include all three) they wouldn't have won her nominations in a theoretical Kramer absence given the Oscar reception of Tynan (zero noms) and her internal competition in Manhattan. [More on this her year of actressy ascendance]

1979 Kramer vs. Kramer -2nd nom/1st win
1981 The French Lieutenant's Woman - 3rd nom

1982 Still of the Night  
This noirish femme fatale role arrived two weeks before the Sophie's Choice juggernaut (her second Oscar win) so technically she couldn't have been nominated for it unless they demoted her to "supporting" which they didn't. (The actress who got the 'demotion so we can double dip' you was Jessica Lange for Tootsie, who went on to win supporting while losing lead to Meryl.)  Though this noir may have added to surface cries of "Meryl can do anything!" Meryl herself didn't think so; according to some reports she wasn't particularly thrilled with her own work in it.

1982 Sophie's Choice -4th nom/2nd win
1983 Silkwood -5th nom

1984 Falling in Love
Meryl's work as "Molly Gilmore" a married woman who falls for a fellow commuter (her Deer Hunter co-star DeNiro) is actually rather touching. But it arrived fast on the heels of five shape-shifting legend-making iconic roles. This normal contemporary woman probably felt underwhelming to voters. Something "Magic Meryl" could probably do in her sleep and why not take a wee break from the exhaustingly perfect new legend? Trivia Note: We can't prove it but we believe any American actress not playing a farm wife that year was disqualified in a special one-year-only AMPAS ruling.  That's the only feasible explanation for the psychotic snubbing of Katheen Turner in Romancing the Stone.

1985-2009 including the 3 most interesting case studies in When Meryl is Not Nominated AFTER THE JUMP.

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Kiera vs. Dakota: Who Will Make the Greater Artist's Muse?

With all the projects in development in the world drawn from an infinite number of topics, it's always curious to note how many of them inexplicably arise simultaneously on the same topics. Thompson in Hollywood reports that Keira Knightley is considering the lead role in Untouched (2013?) which is a romantic triangle biopic on the artist muse Effie Gray and her relationship to two men, the art critic John Ruskin and his protégé the painter Everett Millais. She married them both during her lifetime, though only the second marriage was consummated. 

But get this... Dakota Fanning is also playing this role in a competing feature called simply Effie (2012?) written by everyone's favorite Acting/Screenwriting Double Oscar Winner Emma Thompson. While we'd love to see more movies written by Thompson as well as meatier roles for Dakota Fanning (especially since Elle Fanning fever threatens to consume Hollywood), Keira has actual experience as an artist's muse. She's currently filming Anna Karenina, her third feature as Joe Wright's muse (He's only made four features prior to this so by the time Anna Karenina arrives, Keira will have starred in 60% of his filmography; they be tight.)

Effie (2012). Costumes by two time Oscar nominee Ruth Myers<-- Here is Dakota Fanning in costume as Effie. That's Greg Wise (Emma Thompson's real life man and Kate Winslet's heart-breaker in Sense & Sensibility) as her first husband, the art critic John Ruskin. Their marriage was famously unconsummated before she left him for his protege Millais (Tom Sturridge) which caused all sort of social drama in Victorian England.

Millais painted both Effie and her sister Sophie and other family members frequently. There's no word on IMDb about who plays "Sophie" or even if she's in the film but is it too much to ask for Elle Fanning in a surprise uncredited appearance?

Keira or Dakota?
Make your case in the comments.

Or did your eyes glaze over at "Emma Thompson"? Yes yes, we know. We were just saying. She's really all that matters in most movie conversations that involve her. Happily she also acts in Effie. Yay!