By now, you’d think that Oscar nominations would be all in a good night’s sleep for Amy Adams. After earning best supporting actress nods for “Junebug” (2005), “Doubt” (2008) and “The Fighter” (2010), Ms. Adams has received another shout-out, this time for Paul Thomas Anderson’s film “The Master,” playing Peggy Dodd, the submissive wife of a charismatic religious leader (Philip Seymour Hoffman) who eventually shows her husband who’s boss with a rather steely hand.

“It’s crazy!,” she exclaimed early Thursday morning as Aviana, her 2-year-old daughter, squealed in the background after rousing her mother prior to the announcements when she awoke from a nightmare.

Crazy — still?

“That’s what’s crazy,” Ms. Adams, 38, replied. “Honestly, I didn’t start working at this pace until I was 30, so to have four in this amount of time feels so surreal. I’d hate to think I have to maintain this. But you never know when you’re going to be invited out again, so I’m just going to enjoy myself this year.”

The enjoyment began on Thursday morning with a celebratory scooter push, courtesy of Aviana, who doesn’t yet comprehend her mother’s career much beyond her closet full of princess dresses. That, and an appreciation for Ms. Adams’s musical turn as the Baker’s Wife in the Public Theater’s revival of “Into the Woods,” at the Delacorte Theater in Central Park last summer.

“For her, that’s what she thinks Mommy does” — sing and dance — “which would be nice,” she said. “But it’s not the way it works.”

It’s a safe guess that Aviana won’t be watching her mother’s take on Peggy any time soon, a role Ms. Adams admitted she didn’t particularly warm to when she finally saw her on-screen.

“I loved playing her, enjoyed going toe-to-toe with challenge,” she said. “I’ve definitely had a lot of other characters where I can like them, but maybe I don’t want to hang out with them. But upon watching the film, Peggy scared me. She really left me feeling at odds.”

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As mentioned in a previous post, Amy Adams is featured inside the February issue of British In Style magazine (with the fantastic Jessica Chastain on the cover). We get to read a small interview where she talks about her body, fashion and why she admires Katy Perry. Two pages from the magazine have been added to our photo gallery. You can read bits from the interview below.

“I’m a strong believer that looking perfect is boring and, besides, I’m far from it. I think it’s nice when you can see a few imperfections, which is why I wear sheer rather than heavy foundations. I guess the one product I couldn’t live without is mascara.”

“I think it’s great when women make a real statement, but I’m a little self-conscious. I prefer to stay natural, as I hate drawing attention to myself (ironic I know as an actress). I really admire people like Lady Gaga and Katy Perry who have the freedom to wear such cool looks. I love people who take risks, but I also like to stay true to myself and that’s just not me.”

“When it comes to my body, sometimes, I feel in really good shape and other times, I feel like I’m letting it slide. I’m trying to get back to my pre-pregnancy body, but I don’t know if I ever will 100 per cent. I try to exercise every day, even if it’s only 15 or 20 minutes of yoga. Finding the energy can be tough, so I’ve recently gone from one coffee a day to two or three! When it comes to body advice, I always say it boils down to confidence. Accept the body you’ve been given and work with it.”

Amy Adams has ditched the ingenue roles for unforgettable turns in classy awards fodder from big-name directors – and now she has worked with Clint Eastwood in Trouble With the Curve

It’s an absolutely archetypal American face; you can read a multitude into it. Look long enough at Amy Adams’ pre-Raphaelite cascade of orange-red hair, her pale complexion – with its susceptibility, no doubt, to freckles and sunburn – the upturned chin, the tough-cookie set jaw, and the slender sloping nose, and soon enough you will discern the possibilities: Anne of Green Gables, Annie, if she was still young enough, or one of Willa Cather’s doughty Nebraska Plainswomen – Thea Kronberg, perhaps, from The Song of The Lark – Dorothea Lange’s Migrant Mother, eyes fixed for ever on the middle distance, or any number of western farmwives or lady-gunfighters. Take names from Henry James or Edith Wharton – Daisy Miller, Undine Spragg – and Adams can be imagined embodying them all with ease and subtlety. In her most recent movie, Trouble with the Curve, she’s the estranged daughter of another American icon, Clint Eastwood, no less, while in her most impressive – and unsettling – performance in several years, in Paul Thomas Anderson’s The Master, she is the womanly power behind the throne of yet another American archetype – Philip Seymour Hoffman’s avuncular, alcoholic religious fraud Lancaster Dodd.

I added to the gallery the pictures of the photoshoot, behind the scenes and interview of The Actress Roundtable promoted by THR. The video you can watch as well below:

Once again, Amy is one of the actresses at annual The Hollywood Reporter roundtable, sharing it with awards contenders Naomi Watts, Anne Hathaway, Marion Cotillard, Sally Field, Rachel Weisz and Ellen Hunt. Check the interview, which appears at the November 30 issue:

The Hollywood Reporter: What makes you afraid as an actress?

Anne Hathaway: You start with an easy one!

Naomi Watts: I’m not happy unless I’ve got a little bit of fear going. I’m always trying to pull out. I’m always calling the director and saying, “I don’t know if I can do it.” With Mulholland Drive, I was completely terrified working with David Lynch. I was going on years and years of auditions and being told I was too this, too that, not enough of this, not enough of that, to the point where I was so afraid and diluting myself into absolutely nothing — and then he just looked me in the eye and saw something. He just spoke to me and unveiled all those locked masks.

THR: Do you still have those masks?

Watts: Yeah, I keep them in reserve. (Laughter.)

Amy Adams: I was 30 when I got Junebug, so I had the same thing. Whoever was getting the job, I tried to figure out what they did and do the same thing. I remember hearing about Naomi’s experience. That gave me a lot of faith in times where I was going to quit.

THR: How close did you get to quitting acting?

Adams: Pretty close. Not quitting in the sense that I wasn’t going to be an actress, but maybe move to New York, move back to a smaller market. I just wasn’t happy. If I wasn’t going to be happy, then it wasn’t worth it.

THR: Are you happy now?

Adams: Yeah. (Laughter.)

Amy Adams arrives at the Beverly Hills Hotel’s patio doing what she calls her “zombie limp,” the result of a broken pinky toe. Her hair is up, her guard is down and she’s showing off an adorable photo of her 2-year-old daughter, Aviana, dressed up as a purple butterfly for her first Halloween.

It’s a deceptively relaxed moment. In the last 18 months, Adams, 38, has worked with Paul Thomas Anderson (“The Master”), Clint Eastwood (“Trouble With the Curve”) and Spike Jonze (the upcoming sci-fi romance “Her”), played Lois Lane for next year’s “Superman” reboot and starred in the Public Theater’s Shakespeare in the Park production of “Into the Woods.” Next up: A reunion with her “Fighter” director, David O. Russell.

But, for now, let’s focus on Peggy Dodd, the strong, steely woman pulling the puppet strings in “The Master” as the wife of cult leader Lancaster Dodd. It’s a role that has put the three-time Oscar nominee back into the awards-season conversation.

NEW YORK — At times, Amy Adams feels as if she’s two very distinct people.

There’s the foxy Oscar nominee who shimmies down red carpets in stunning Giambattista Valli and Lanvin gowns. And then there’s the mom of Aviana, 2, who arrives for an interview in jeans and Converse sneakers, her auburn hair pulled back in a messy knot.

“I love that balance,” Adams says. “I had a talk-show blitz yesterday. I had three hours down, so I raced home, changed out of my nice clothes and we walked to Central Park and did the merry-go-round because I promised her we’d do it before we went back. And she remembers. And then we walked back.”

Adams, 38, took a year off to have her baby. Now she’s back, in three decidedly dissimilar films. In Paul Thomas Anderson’s The Master, she’s the scarily pitiless wife of a captivating, blustering quack-religious leader (Philip Seymour Hoffman). In Trouble with the Curve, she’s Clint Eastwood’s estranged daughter. In December’s On the Road, she’s Viggo Mortensen’s kooky, unstable common-law poet wife, playing a character based on Joan Vollmer. And next summer, she enters the superhero canon in Man of Steel as Lois Lane opposite Henry Cavill’s Clark Kent.

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You could say Amy Adams is a Jill of all acting trades.

She earned her first Oscar nomination playing a talkative pregnant young adult in Junebug. Her second nod arrived with her portrayal of a sweet nun in Doubt and she picked up her third for her performance as a brawling bartender in The Fighter.

Next year, we can see Adams reinventing Lois Lane in Zack Snyder’s Superman reboot, Man of Steel, set for theatres in June 2013.

For more immediate examples of her range, check out The Master and Trouble With the Curve, both opening Sept. 21.

In The Master, she defines the manipulative wife of a 1950s cult leader (played by Philip Seymour Hoffman). Trouble With the Curve features her take on a modern woman coping with her laconic dad (played by Clint Eastwood).

Even Adams conceded that the roles are strikingly different.

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Here’s another great interview by DP/30, shot in Toronto during “The Master” Press Conference:

Last Saturday, just after the Venice Film Festival crowned “The Master” with two major awards, I shuffled toward the Park Hyatt Toronto suite where Amy Adams leaned against the door frame, singing and laughing with her reps who were seated in the hallway. She looked nothing like the prim, pregnant Peggy Dodd, whom she plays onscreen. In the movie, Peggy and her cult-leader husband, Lancaster Dodd (Philip Seymour Hoffman), attempt to redeem Joaquin Phoenix’s postwar lost soul, Freddie Quell — without losing their own souls in the process. In person, the petite star is cheery and barefoot — her super-high heels wait like lap dogs at the foot of her chair, where she joins me after finishing another chorus of “Callate la boca.”

Amy Adams: I was singing “Callate la boca” — I was teaching my daughter to sing it. We say it to the dog: “Callate la boca.”

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