Interview: Phyllis Nagy on Patricia Highsmith, Sunset Blvd, and "Carol"

Phyllis Nagy in Palm Springs with Cate BlanchettMonday night through Tuesday evening was a special 24 hours in the lives of Team Experience. At the NYFCC awards gala, Alec Baldwin, presenting the Best Director prize to Todd Haynes (Carol), quoted a Film Comment piece by our dear friend and podcast mate Nick Davis. That same night Phyllis Nagy was honored for Best Screenplay by the Pulitzer winning playwright/screenwriter Tony Kushner (Angels in America, Lincoln) himself. Though I was not in attendance for the Carol-heavy NYFCC gala on Monday night where the film also took Best Cinematography and Best Film), I had the opportunity to congratulate Nagy the next evening on her fine work adapting the year's best film from the original 1952 Patricia Highsmith novel "The Price of Salt." The occassion was a cocktail event for the movie hosted by former and future Todd Haynes muse Julianne Moore (here are a few photos of that reunion.)

It was our second chat with the sharp and talented Phyllis Nagy, who up until Carol had been best known for her stage plays and the HBO film Mrs Harris (2006) which she wrote and directed.

Here's our original conversation which we hope you'll enjoy...

NATHANIEL: So Phyllis I started this  as kind of a joke to myself but then decided to commit to it and have literally asked every person I interviewed from Carol ... How come you're such a genius? 

PHYLLIS NAGY: Well, practice. [Laughs] In this case, yeah, practice, many years of it. Which ultimately aided it, it didn’t hurt it, it may have felt like that from time to time...

NATHANIEL: You mean the long gestation period?

PHYLLIS NAGY: Yeah, when no one wants to [make a film], it gives you the opportunity to obsessively go over it again and again on your own time, at least make it a document that you’re proud of. So, luckily...

[Patricia Highsmith's interiority, great actors, and tough rewrites after the jump...]

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WGA Nominations - Amy Schumer Twice Over and More...

Don't cry Sadness -- you weren't eligible. You can still dream of OscarOf the guild nominations each year the Writer's Guild, which should be the most fascinating to we writers, is often the least. That's no mark on their taste but on their guilds bizarre exclusionary practices. More than any other guild they eliminated many cherished films each year for "not a member" reasons. So it's worth noting that "snubs" are not ever snubs so much as "probably weren't eligible." situations. And when you really love a film that wasn't nominated you can just tell yourself that even if it isn't true. Why trouble yourself?

If you're just joining us, we previously interviewed Phyllis Nagy who is nominated today for her Patricia Highsmith adaptation Carol. We'll also be sharing an interview with the nominated screenwriter of Spotlight sometime soon. Amy Schumer is the big winner this year nominated for both TV and Film efforts. You can see the WGA nominees in 3 film categories, and 25 other categories (television/newmedia/radio) after the jump...

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Interview: Lucinda Coxon's 11 Years With "The Danish Girl"

One of this season's most talked about movies, The Danish Girl, set tongues wagging long before anyone had seen a single frame. Years before in fact. It wasn't just the subject matter, though the subject matter would have been enough. The Danish Girl tells the true story of married painters Gerda Wegener (Alicia Vikander) and Einar Wegener (Eddie Redmayne) who struggle to come to grips with Einar's true identity, Lili Elbe. Lili was one of the first trans women to ever undergo gender confirmation surgery which was then an experimental series of surgery. It's a difficult subject to dramatize, and a difficult subject to talk about particularly given how quickly the verbiage and discourse has changed across the decades. People didn't know how to talk about it in 1930 when the story was a very current sensation in Denmark and Germany and do people really know how to talk about it now? A quick perusal of any trans story around the internet will tell you the answer is still no. 

It's always a particular challenge for heavily buzzed pictures to get out into the marketplace and form their own identity outside of everyone's pre-screening perceptions of them. Oscar winner Tom Hooper's (The King's Speech) latest is definitely no exception. Even the casting, which wouldn't have been all that controversial even a handful of years ago other than in a rubber-necking kind of "Oscar bait" way, has been the subject of spirited debates along the lines of "shouldn't a trans actor be playing the part?" But films take a long time to make. Who could have known the happy development in the past few years in regards to trans visibility in Transparent, Tangerine, Orange is the New Black. 

The Danish Girl's complicated gestation period is where I began when i sat down with the woman who'd been with the project the longest, its screenwriter Lucinda Coxon. Our interview is after the jump... 

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THR's Screenwriter Roundtable

Chris here. I hope you're having a relaxing and safe holiday weekend!

Earlier this week, hiding among the constant updates on the reams of money The Force Awakens is floating in, we got this year's Screenwriters Roundtable! You'll remember from November that we had some feelings about this year's Actress Roundtable and I'll confess that I found this year's Actor Roundtable underwhelming in lineup and discussion. However, the Screenwriters edition is often the loosest and freshest each year - with its selected participants typically on point.

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Contrarian Corner: Mad Max Fury Road

Lynn Lee test-drives a new, potentially recurring feature wherein TFE members voice dissent on Oscar hopefuls and critical darlings.

If you’re on this site, it’s safe to assume you pay attention to movie critics. It’s also a fair bet you’re likely—or at least more likely than the average person—to agree with the critics when they coalesce around a particular movie. But if you’re like me, every once in a while a film comes along that generates a level of critical enthusiasm you just don’t get. You’d like to share or at least understand it, but instead find yourself feeling like the lone non-believer in a church full of the radiant converted.

That’s how it’s been for me and Mad Max: Fury Road, which met with rave reviews and solid box office when it hit theaters this summer. More recently, it’s picked up a raft of critics’ awards and nominations that have kept it in the Oscars conversation - not just in the technical categories but the majors, including picture and director. Any doubt about its chances stems from the fact that it’s a “genre” film, not its intrinsic merits, which most agree transcend its genre. [More...]

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