Earlier today Amy Adams attended alongside Jean-Marc Valle, Eliza Scanion, Gillian Flynn, Chris Messina, Patricia Clarkson and Marti Noxon the HBO Summer TCA 2018 at The Beverly Hilton Hotel, to chat about Sharp Objects. I have some pictures uploaded in our gallery.
Category: News & Gossip
Few actors are as unshowy, or unshakable. With “Sharp Objects,” in which she plays a self-destructive journalist, the five-time Oscar nominee keeps evolving.
Interview by Reggie Ugwu to New York Times
Amy Adams reached into her fanny pack and fished out a stick of sunscreen. “I’m such a mom-nerd,” she apologized, as if sensing the pretense of Hollywood Glamour melt with each dab to her flush, freckled cheeks. It was a late morning in June and the sun was high; there was nothing to apologize for. But she is congenitally polite and, as she stared up at the storied Art Deco observatory in Griffith Park here, on an 1,100-foot summit of Mount Hollywood, maybe a tiny bit self-conscious.
The hike had been her idea. A brisk climb punctuated by postcard views of Los Angeles landmarks: the Hollywood sign, the Santa Monica Mountains, the gauzy downtown skyline. Growing up in Colorado as one of seven children, hiking had been a family ritual — her parents’ way of getting her and her siblings to burn off energy without busting through the walls or the budget.
But because of an unlikely chain of recent events that, she explained, began with a run-in with her childhood ballet teacher and ended with an overeager return to the horizontal bar, she had suffered an “old lady injury.” Which meant that she hadn’t exercised in a while. Which meant that, even a few dozen yards into a hike with someone whom she just met, she’d already felt herself running short of breath.
Between the panting and the fanny pack, Ms. Adams, already a five-time Oscar-nominated actress at 43, had begun to wonder what she must look like.
“I feel like I always … I don’t know if disappoint is the right word,” she said, zipping away the sunscreen. She was wearing dark, printed leggings, a black gift-shop ball cap with her signature strawberry tresses pulled through it and a black T-shirt that read, in big cutesy letters, “Better in real life.” “But whenever people meet me they’re always like ‘Really? That’s who you are?’”
She stopped for a moment, then deadpanned the answer that she always thinks but never says: “Yes. It is.”
Earlier today Amy Adams stopped by at the GMA studios and revealed why it was “freeing” to play her character in the HBO murder-mystery miniseries “Sharp Objects” along with details of a possible Enchanted sequel. Check out the clip below!
Check in our gallery some pictures of her arrival, plus screen captures of the appearance.
During the infamous 2014 Sony Pictures hack, lots of confidential information got released to the public, including salaries of actors working on American Hustle. The company’s PR nightmare turned into a widely discussed social issue regarding Hollywood’s gender pay gap. It was revealed that female stars Amy Adams and Jennifer Lawrence were paid less than their male co-stars Christian Bale, Bradley Cooper, and Jeremy Renner.
At the time, this sparked debate and outrage all over social media and Hollywood. Jennifer Lawrence even wrote a lengthy piece about her thoughts and posted it publicly, which deserved much applause. Amy Adams kept silent at first, but the Sharp Objects actress and American Cinematheque awardee eventually spoke up about the issue as well. She made a fair point by saying that the tough questions about gender pay gap should be directed to Hollywood producers. They provide the numbers and attach prices to actors that will best fit their budget, so they should be on the hot seat. Bustle commended Adams for her insightful statement, because most of the time, the media focuses on women as if they hold the answer to the entire dilemma.
Adams also voice her opinions in Allure‘s April 2016 issue. Glamour quoted her revealing statements as she confessed, “I negotiated, and I tried to get paid as much [as Jeremy Renner and Bradley Cooper]. But I felt like if I kept pushing, I wouldn’t have had the opportunity,” she said. “So that’s on me.”
Her statement brought forth what a lot of other women around the world are not comfortable doing: negotiating pay and benefits. Adams is a talented actress who is frequently invited to awards shows and takes home plenty of recognition. She has already received her star on the Hollywood Walk of Fame, and her craft has continually improved over the years. It begs the question as to why was she was not considered of the same value as her male co-stars in American Hustle.
Since the incident, more stars in Hollywood have contributed their two cents on the issue. Well and Good recently reported about Benedict Cumberbatch’s noble stand on refusing to accept a role if his female co-star is not paid the same amount. This takes some power away from producers’ hands and shows an act of solidarity among actors.
Other actresses are becoming increasingly outspoken as well. The Hollywood Reporter talked to Ellen Pompeo about fighting for a salary that she deserves. The Grey’s Anatomy star openly discussed figures to the media in the hopes of inspiring other women to do the same. The Time’s Up movement could help end gender pay gap as well by forging 300-strong women actors to fight against sexual harassment and discrimination in Hollywood. Time’s Up is the organization that received Mark Wahlberg’s $1.5-million dollar donation after netizens called him out for passively agreeing to a huge pay gap. That amount was his purported compensation for the reshoots of All the Money in the World, while his co-star, Michelle Williams, reportedly got only $1,000.
Evidently, women are slowly but surely making changes to an industry plagued with politics and inequality. Along with the initiative of Amy Adams and other influential actors, this gap may hopefully be closed for good sooner rather than later.
Last month HBO launched the promotional tour for Sharp Objects with an interview to The Wall Street Journal magazine given by Gillian Flynn, Amy Adams and Patricia Clarkson.
“Don’t they look related?” says author Gillian Flynn, glancing at Amy Adams and Patricia Clarkson, who raise their eyebrows quizzically. The pair play mother and daughter in Sharp Objects, the much-anticipated HBO adaptation of Flynn’s 2006 debut novel, but the suggestion that they resemble their characters makes the actresses understandably uneasy.
Even for those who know Adams’s dramatic range, her portrayal of Camille Preaker is a departure. The darkest, most complex character in a career that has earned Adams, 43, five Oscar nominations, Camille is a newspaper reporter who has written her own story on her body, carving words into her skin. Since being institutionalized, she’s tried to drown her cutting addiction with alcohol. Meanwhile, as Camille’s mother, Adora, Clarkson, 58, relishes withholding affection from her firstborn even as she smothers Camille’s teenage half-sister, Amma, with attention.
When Camille returns to her hometown of Wind Gap, Missouri, to investigate the murder of a young girl, she is forced to confront her past and her grief over the death years before of her younger sister, Marian. She and Adora, who presides over the town with emotionless elegance, share a sense of loss, but little else.
The withering mother-daughter dynamic is the brainchild of Flynn. The 47-year-old author—who penned the screenplay for David Fincher’s 2014 adaptation of her novel Gone Girl—wrote this eight-episode series, which airs starting in July. She and Adams also served on the project as executive producers, a first for each of them. The project was spearheaded by women, including Marti Noxon, a Mad Men veteran who co-wrote and was showrunner; and Jessica Rhoades, then a television executive at Blumhouse (the production company that also released Whiplash and Get Out). Jean-Marc Vallée, fresh off the success of HBO’s Big Little Lies, directed the five-month shoot, with long days on set in Northern California, Los Angeles and the 100-degree heat of Georgia—especially grueling for Adams, who was covered with prosthetic scars from the neck down.
Amy Adams was honoured last night at the American Cinematheque Awards in Los Angeles. Accompanied by husband Darren LeGallo and her family, she was looking stunning in a Andrew Gn Spring 2018 gown.
“Sometimes, I question being an actress,” she said as she picked up the 31st American Cinematheque Award at the Beverly Hilton tonight, “Am I doing enough?”
“What do you get out of movies?
This time, I asked my seven-year old daughter, ‘What do movies mean to you?’ She told me, ‘I like movies because they allow my imagination to grow and make me feel like I’m dreaming even though I’m awake.
So I want to thank all off you for allowing me to live my dream even though I’m awake.
Watch her speech below:
Villeneuve said during his speech about the actress, “You’re suppose to roast at these events. I don’t know how to do that, but you don’t roast angels.”
Julie and Julia and HBO’s Sharp Objects co-star Chris Messina called Adams a “Babe Ruth” of actors “able to see something that no one else could see” just like the ballplayer when he stepped up to the plate.” He regaled the crowd with an experience over the summer when they were shooting a scene for Sharp Objects in a 100-degree diner in the valley. The steamy atmosphere was ideal for the fight scene they had to perform. However, after a few takes, Adams went to the monitor, studied her performance, and “pointed at the monitor. She wanted to do another take. It reminded me of when Babe Ruth would point to the bleachers,” said Messina. Adams called “Messy” Messina “Family. Working with you brought out the most genuine part of my spirit.”
Her Nocturnal Animals co-star Jake Gyllenhaal also delivered heartfelt praises earlier in the night, that her canon “is a mind-bending study in versatility” with roles such as a “bio-hazard single mother, a bad ass bar maid, a neurotic blogger, a starlet and a nun.”
“People sometimes presume that when someone is at the top of their game, that they’re a total nightmare. Amy is the opposite, instead she’s a wonderful person,” said Gyllenhaal, “In short, we’re honoring a unicorn, a virtuoso talent with serious chops.”
For Justin Timberlake who worked with Adams in Clint Eastwood’s Trouble With the Curve, she is a “karaoke monster” who “bullied me into singing ‘A Whole New World’ from Aladdin” while hey were shooting the film in Atlanta, GA. “Quite frankly, I will sing with you anytime. But next time, I’m choosing the god damn song. I have a history with Disney, there’s a whole PTSD,” joked Timberlake. Adams said that Timberlake equally is also a karaoke beast. Recalling their experience, Adams said “There may have been a dance. The tequila part (of the story) was true.” She extolled Timberlake for his excellent work ethic.
Portman never worked with Adams, but is still waiting for “the perfect buddy comedy” to come along for them. Portman said that she “traveled with Amy on the campaign trail” meaning the awards season track. “During these interviews that get repetitive, Amy said something that it was difficult to be an actress because you have to have a thick skin because of all things people say about you, but you have to have a thin skin and be vulnerable when you’re working. She maintains that incredible vulnerability when I see her,” said the Black Swan Oscar winner who balled throughout Arrival when she was five months pregnant last year. It was through Mike Nichols that the duo became acquainted with each other.
Hanks, who worked with Adams on Steven Spielberg’s Catch Me If You Can and Nichol’s Charlie Wilson’s War, said that when Adams first appeared as Brenda Strong in Spielberg’s caper, “The local 50 guys asked who is that woman playing Brenda Strong? Where did she come from? What food did they feed her as a child to become Brenda Strong? She’s a vision. She’s a plane so stellar that telescopes are needed.” Hanks recounted Adams’ path from dinner theater, to landing her first film role in 1999’s Drop Dead Gorgeous which encouraged the actress to move to Los Angeles to pursue a professional acting career.
Adams in her speech remembered how she never wanted to mess up a line in front of Hanks because he was a role model. During production on Charlie Wilson’s War, the sound production assistant had to move Adams’ mic, “because my heart was pounding so loud” said the actress; she was that nervous about potentially flubbing up in front of Hanks.
And while Stewart and Adams shared a small scene in a country house in Walter Salles’ On the Road, it was akin to a little-big sister relationship for the Twilight actress. But for Adams, “I was lactating through my dress. She was cool, just smoking and I’m trying to be cool with the young girls while I’m lactating” joked the actress.
You can find in our gallery several pictures from the event. And below, a moment with the tweets (videos included) made during the live ceremony.
Variety – Amy Adams can rise to any challenge: sparkle as a princess, brawl like a Boston barmaid, dance with Muppets, kiss Superman, earn five Oscar nominations and hold her own against Meryl Streep — twice. Still, on Nov. 10, the deeply private, craft-driven actress will face a new test when Tom Hanks, Jake Gyllenhaal, Natalie Portman, Kristen Stewart, Chris Messina and Denis Villeneuve take the stage of the Beverly Hilton Hotel to praise her talents as the 31st recipient of the American Cinematheque Award.
Being lauded for her entire body of work is “a little overwhelming,” says Adams. “I tend to look at things piece by piece.”
As for the prospect of watching a montage of her entire filmography, Adams falls silent. “Yup,” she eventually says with the well-mannered equanimity of an actress who spent years doing dinner theater in Minnesota. Then she giggle-exhales.
“I wasn’t even comfortable at my wedding having my family say things that were nice,” admits Adams, who married actor and artist Darren Le Gallo in 2015 after 14 years of dating. “I’m like, ‘OK, let’s move on.’”
Adams started her career as a dancer-waitress who high-kicked her way through “A Chorus Line” while serving the audience plates of prime rib. She wore nothing but a gold-embroidered jacket, nude hose and a hat — more costume than her earlier job at Hooters, at least — but the gig got her a better dinner theater engagement, and then the motivation to audition for, and win, the role of an oversexed beauty pageant bimbo in 1999’s “Drop Dead Gorgeous,” who does naughty things to a model of the Washington Monument. Adams was ninth-billed, but she took it as seriously as if she were the lead. In that first role, her comedy gifts already seem fully formed, the big eyes, bigger grin, deadpan innocence, and sugar-dipped voice that lets her get away with the craziest lines. Co-star Kirstie Alley encouraged Adams to move to Los Angeles, assuring the then-25-year-old, “You’re young. You’re funny. You’ll work.”
So she did. Within a week, she had a manager, Stacy O’Neil, and her first part as a manipulative prep-school heiress in a soon-canceled “Cruel Intentions” spinoff show that was re-edited into the movie 2000’s “Cruel Intentions 2.”
From there, Adams played the villain in “Psycho Beach Party,” which released that same year, did a ton of TV, and scored a plum role as the pig-tailed Southern nurse who steals conman Leonardo DiCaprio’s heart in 2002’s “Catch Me if You Can.” Its director, Steven Spielberg, loved her. Adams hoped she’d finally managed to find her breakout part. But after “Catch Me if You Can,” she didn’t work for a year.
Adams was nearing 30 and running low on hope — the one thing her characters almost always have in unlimited supply. Finally, she landed 2005’s “Junebug” and claimed her first Academy Award nomination. From there Adams launched into the spotlight with four more nominations in five years starting with 2008’s “Doubt,” “The Fighter,” “The Master” and “American Hustle.” It feels like the main reason Adams hasn’t yet won an Oscar is her filmography has been so consistently strong that voters feel safe putting her off another year (and another, and another).
O’Neil remains Adams’ manager today. “She’s been not just a manager, but a mentor,” says Adams. “It’s really important for women in our industry to have mentors, people you can really trust who can advise you towards a future that you really want.”
Her manager, agent and publicist are all women and, like her, all mothers. On the morning we spoke, Adams was helping her daughter Aviana prepare for her own awards ceremony: a taekwondo test.
“I work with really lovely, respectful men, as well,” Adams says, but her all-female trifecta has proven especially empowering. “They really understand what my priorities are and they understand who I crave to be, even if I’m not always her.”
People focus on the awards roles, but every film has pushed Adams closer to being the actress she’s still striving to become. Not Streep, of course — “There is no next Meryl Streep” — but her own kind of chameleon, the all-American sweetheart you don’t dare cross.
“Sunshine Cleaning,” in 2008, with Emily Blunt gave her a chance to appreciate the powerful support of forging a strong female bond on the set. “It’s not always the case that us actresses get to work with each other,” notes Adams.
“The Muppets” (2011) pushed her to think about how to honor the spirit of childhood and connect with younger audiences the way she once she fell in love with Fozzie Bear.
Mention 2006’s “Talladega Nights: The Ballad of Ricky Bobby,” in which Adams’ wallflower goes from zero-to-60 when she seduces Will Ferrell on a bar table, and she lights up.
“I love it!” she says. “To witness that particular brand of genius, of improv and thinking on your feet and creating situations and creating dialogue. It’s not my greatest talent, but it was so much fun to get to be a part of it and get to play and learn from these masters.”
No wonder she recently signed up to work with “Talledega Nights” director Adam McKay again on his Dick Cheney biopic “Backseat,” in which Adams plays the former vice president’s wife, Lynne.
The American Cinematheque award is unusual in that it celebrates actors at the mid-points of their career. That suits Adams quite well. “I still sort of have that dream that my best work is in front of me,” she says. “There’s a lot to be done.”
She’s just started to discover herself as a producer on the HBO crime thriller “Sharp Objects,” based on the novel by “Gone Girl” author Gillian Flynn. Adams also stars in the series, and the dual roles behind and before the camera have given her a deeper respect for the labor, and hours, of putting together a show. She hopes to use that knowledge to be able to create work for other actresses, becoming the mentor she was grateful to have, someone who would advise that “Psycho Beach Party” starlet: “Keep your head up, don’t be so discouraged. Work hard. Enjoy your downtime.”
First, though, she’s got to get through all those compliments at the Beverly Hilton — and that montage. “I liked my Amelia Earhart wig,” the one from “Night at the Museum: Battle of the Smithsonian,” she concedes. “My husband’s always encouraging me that I should maybe try to cut my hair like that.” Like the phenomenally empathetic actress she is, Adams’ goal for the night is to let herself get carried away by the emotions.
“Hopefully I’ll be able to take it in and not shut down,” laughs Adam. “These moments are rare.”
The toughest act in show business is how to maintain your core central living self while submitting yourself to not only the (sometimes) alien persona of a fictional character but to the relentless forensics that is modern showbiz promotional flogging.
Amy has cannily managed this better than most, partly because of her unflagging, good-natured work ethic, but mostly because of a level-headed, uninflated sense of herself, her priorities and what is real and what is bullshit. She has a geiger counter of a bullshit meter, and for such a polite person is not afraid to hold it up to the bloated face of this business and let us all hear the ticking as loud as she does. She won’t perform what is not real, and she won’t say what is not true.
I have seen her hold back so as not to hurt feelings, and I have seen her curtail her tongue when it could (should?) give a lashing, but she makes her point as much with what she doesn’t as what she does say.
She is a sturdy girl, and a woman of many imaginative gifts: The combo should take her to as long, long, long a career as she can stand to give us.
The full article is on the current THR issue.
Amy attended today the Giffoni Festival in which she received the Giffoni Experience Award. Below, the translated article right from the festival website:
Amy Adams won the jury of Giffoni Film Festival with small-great gestures, like heart-closed hands, and succeeded in the incredible mission of silencing the room, all concentrated in an ecstatic silence.
To a girl who asked her for advice on the world of the show, she said, “I’ve never been a good at making spectacles, but I understand that you never have to take it on the staff or rewrite it, but turn on the page, start over again Zero, never stop studying and believing. And you tell him that a young man was shy … actually he is still there.” While trying to keep responding, she excites, and with her glossy eyes adds: “Sorry, my daughter is in the front row and is trying to make me laugh at all costs. Incidentally, I called Aviana in honor of your beautiful country where I was born and where I still feel at home. Here people open the doors of your home and invite you to dinner even if you know them just and you do not feel uncomfortable to accept. That’s why I could not wait to come to Giffoni and come back very soon.”
A swearwoman has asked her with what criterion he chooses roles: “Now that I am aging, it is important for me to choose stories that can help people, something that leaves the mark.” Among the roles that hit her most in the foreground, she reserves it to the latest work, Arrival, where he talks with aliens as an expert semiologist and a boy in the room thanked her for this movie, that helped him to choose his profession. And she, said getting the Giffoni Experience Award, could not be more proud of it.
“The message of this work – she later added – is the promotion of the sense of unity among the peoples at a time when one can only talk about war. I know, I’m an idealist but I really hope we often realize that conflicts are not taking us anywhere and that we need to find a way to communicate. I say this for you, for the new generations who look to life and see you here at Giffoni, all together, it seems to me an excellent first step in this direction, in you I have all my hopes.” And about desires and dreams for the future, at least one would like to make it, or two: “I would like to try again in a musical and I would still work with Patty Jenkins (director of the acclaimed Wonder Woman with Gal Gadot, ndr.), One of the first directors with whom I collaborated in my career, a very talented woman.” The link with the worlds of superheroes is not lacking, as at the end of the year she will be back as Lois Lane reporter alongside her Superman / Henry Cavill in Justice League sums of all the most famous DC Comics characters, Batman included.
Check in our gallery pictures from the evening: