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Amy Adams Honored at American Cinematheque Awards

Amy Adams Honored at American Cinematheque Awards

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:

On tap to laud Adams were Tom Hanks, Kristen Stewart, Justin Timberlake, Jake Gyllenhaal, Chris Messina, Michael Shannon, Denis Villeneuve and Natalie Portman.

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.

Continue reading Amy Adams Honored at American Cinematheque Awards

Amy Adams Talks ‘Justice League,’ American Cinematheque Award

Amy Adams Talks ‘Justice League,’ American Cinematheque Award

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.

Meryl Streep Pens Amy Adams Tribute: “A Woman of Many Imaginative Gifts”

Meryl Streep Pens Amy Adams Tribute: “A Woman of Many Imaginative Gifts”

Meryl Streep penned to The Hollywood Reporter a guest column honoring Amy Adams.

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.

21st Annual Hollywood Film Awards

21st Annual Hollywood Film Awards

Amy Adams attended last night the Hollywood Film Awards, held at The Beverly Hilton Hotel in California. She presented her Nocturnal Animals co-star Jake Gyllenhaal with the Hollywood Actor Award for ‘Stronger’.

You can watch her introduction here below:


Our gallery was updated with several pictures of her on stage and backstage.

Amy Adams and Darren Le Gallo attends LACMA Gala

Amy Adams and Darren Le Gallo attends LACMA Gala

Amy and her husband Darren attended last night, in Los Angeles, the LACMA Gala honoring Mark Bradford And George Lucas. She was looking beautiful in a blue Gucci dress.

Our gallery was updated with the first images from the event.

Amy Adams Filming a Campaign Rally in “Backseat”

Amy Adams Filming a Campaign Rally in “Backseat”

Amy Adams was spot on set of Backseat yesterday (October 24) filming a campaign rally in Los Angeles. You will find now HQ images added in our gallery.

Amy Adams filming ‘Backseat’ in Alaska

Amy Adams filming ‘Backseat’ in Alaska

Amy was spot on set of Backseat on Monday (23) in Whittier, Alaska. Check the pictures added in our gallery.

More ‘Backseat’ On Set Pictures

More ‘Backseat’ On Set Pictures

Our gallery was updated with more pictures of Amy on set of Backseat. New pictures from a scene filmed last week, and also some pictures in which Amy, Christian and several cast members was filming a funeral scene in Sylmar, CA. Enjoy it!

Amy Adams on set of “Backseat” or “Dick Cheney Project”

Amy Adams on set of “Backseat” or “Dick Cheney Project”

Amy Adams was photographed on set of the Dick Cheney biopic last Monday (16) in Los Angeles, looking a bit different from the previous on set pictures we had added. Christian Bale was also shooting scenes as Dick himself. Check in our gallery:

Amy Adams covers T Magazine

Amy Adams covers T Magazine

Amy Adams is gracing one of the seven covers of T Magazine‘s The Greats issue, that will hit the stands next October 22. Photographed by Collier Schorr, Amy Adams gives also a great interview talking about the art of subtle and how she was first judged as a “late bloomer.”

They also featured a cute video, in which Amy tells a joke she learned from Aviana.

IN 2009, AFTER Amy Adams had been discovered and rediscovered, after she had been nominated for two Academy Awards and starred in an international hit, a very important paper self-importantly judged her a “late bloomer.”

“Cool,” Adams said recently. “At least I bloomed.” She laughed. How could she not? Being a movie star can be absurd. More than most roles, it can define a performer and brutally undermine her, affecting how she’s categorized, whether she’s forgiven or forgotten. If Adams has evaded the churn of celebrity culture, it’s partly because stardom came as it did. When “Enchanted” opened in 2007 she was 33, middle age in Hollywood years (especially for women). Wide-eyed and radiant, she looked like an ingénue, but in truth had been honing her craft and overcoming rejection for years. Stardom wasn’t a benediction, but something she had earned role by role.

IT’S MID-AUGUST when Adams and I meet, in a clubby, low-key restaurant on the Sunset Strip in West Hollywood. Although she has crammed in almost 40 movies over the past two decades, Adams has just one opening this year, “Justice League,” where for the third time she will lend humanity to this DC Comics superhero conflagration in her role as Lois Lane. Further down the calendar is the HBO limited series “Sharp Objects,” based on a novel by Gillian Flynn, the best-selling author of “Gone Girl.” Notably, Adams isn’t appearing in a movie that might bring her another Oscar nomination. This year, at least.

She has been nominated five times before but conspicuously did not receive a nod for her starring part in the widely acclaimed 2016 science-fiction drama “Arrival.” In the film, she is unequivocally superb as a linguist, Louise, who is recruited by the military to find a way to communicate with extraterrestrials that have landed on Earth. But Adams is also unassumingly superb. Louise carries a terrible personal burden, a tragedy that’s revealed incrementally and which Adams expresses as if from the inside out, holding the character’s pain so closely that it becomes a near-imperceptible shadow across her face. Even when Louise first encounters the aliens — turning her gaze up at the marvelous octopus-like creatures towering above her — Adams conveys awe without letting go of sorrow.

Part of Adams’s greatness as an actor is that she gives herself over to her roles so completely. She doesn’t showboat, calling attention to her technique with histrionics and self-flattering moments, but instead surrenders herself to her characters. She builds histories for them, working on details and finding triggers instead of opening a vein like some performers do. “I don’t need to relive trauma to empathize with it,” Adams told me. Instead, she convinces herself that she is somebody else, that she is living somebody else’s experience so that the character can ring true to her. Sometimes she finds her inspiration close by, which was the case when she was rehearsing with the director Tom Ford for last year’s “Nocturnal Animals.” Adams was still finding her character, Susan, a high-powered gallerist, when she realized the key was in front of her: “There’s Susan. Susan is Tom.” Adams borrowed Ford’s grace and precision, the way he moved his hands, sat on a couch: “He gave me that physicality.”

A pointillist, she creates pinpricks of emotion, but can easily go bigger than life, as she did to play Sydney, a con artist in the lollapalooza “American Hustle” (2013), a loose take on the Abscam scandal of the late 1970s and early 1980s. Slipping in and out of accents as well as plunging necklines, Adams — a virtuoso of complicated, seemingly contradictory moods — takes this shiny, flashy character and turns her into the most electric person in the movie. Adams studied acting for years and can cry at the drop of a dime, as she’s proved on more than one talk show. She has learned how to play the celebrity game: She knows how to chat up Jimmy Fallon, smile on the red carpet and keep cool when the paparazzi pounce. Significantly, she doesn’t give the gossip websites much material, even if she made a guest appearance in them this summer. “Fans freak that she’s pregnant after she wears flowy sundress,” one item exclaimed (erroneously). Adams seemed amused by the speculation. Stardom for women involves constant surveillance; shaking off these intrusions is crucial to maintaining and defending a private self.

A PARADOX OF stardom is that it depends on the appearance of an ordinary life. Some of this is about relatability, but it’s also about how actors fill performances up with their own humanity. In person, Adams seems nice, thoughtful, a touch vulnerable, which is how she sometimes appears on camera. (Big eyes help.) She also conveys appealing resilience. When she arrived for our interview she wasn’t accompanied by anxious handlers; when she left, she drove herself. She seems of our earth, not one of those exotic creatures whose celebrity becomes so otherworldly that it edges into camp. Yet like all stars, this palpable humanity comes with an ineluctable facility for both holding the screen and your attention. Adams seemed reluctant to see this in herself. When I mentioned Charlize Theron in passing, she lit up. “She can just sit on the couch, and you’re like, ‘That! That thing, what is it?’ That’s not me.”

I insisted that Adams was wrong, because while her appeal is different from Theron’s — Adams draws you to her, Theron keeps you at a distance — each makes you want to watch her and only her for as long as she’s on screen. Adams waved off the compliment. In someone else this might have read as false modesty, but she came across as someone who knows better than to trust other people’s admiration. It’s skepticism that feels grounded in experience. Adams found a manager soon after moving to Los Angeles in 1999 from Minnesota, where she had been working in dinner theater and dancing in regional musicals like “Brigadoon.” She was 24, with one movie credit (the 1999 beauty pageant satire “Drop Dead Gorgeous”), but she was also just another pretty young hopeful on a very crowded assembly line.

“I would go into auditions and it would be me and three model versions of me,” she said, “and I would never get the job.” It was the era of “Dawson’s Creek” and Katie Holmes. Adams did a lot of television (“I guest-starred on every WB show that was ever made”), but stripping down to a bikini to win a part wasn’t working for her. “I always thought it’s an ‘it’ factor and I just don’t have ‘it,’ ” she said. She credited her manager with helping her overcome self-doubt. “You get to decide what you want to be,” Adams recalled her manager telling her. “You get to decide that, Amy.”

She was still figuring it out when she landed the delectable role of an early 1960s candy striper in Steven Spielberg’s “Catch Me if You Can,” a 2002 biographical caper starring Leonardo DiCaprio as the con artist Frank Abagnale Jr. As Brenda, Adams weeps through much of her first scene with DiCaprio, her eyes red and watery, a hand hovering over her mouth as her character tries to hide her metal braces. DiCaprio is playing the seducer, and Adams is a stand-in for us, the soon-to-be seduced. Later, after Brenda’s braces come off and she clambers into Frank’s lap, Adams complicates the character’s innocence with heat, letting you see the clumsy girl and desiring woman at once.

Critics singled out Adams’s performance, but she was a supporting player in a Leonardo DiCaprio vehicle and, as she put it, the girl in braces: “It’s not like I had a beautiful gown with him walking down the steps of the Titanic.” The role brought her different kinds of auditions, but it was more a break than a breakthrough. When a writer friend pitched Adams to a studio for another project, the limits of Spielberg’s largess became conspicuous. The studio’s response, as Adams described it to me, was: “Oh, the homely girl from ‘Catch Me if You Can.’ ” That’s preposterous and offensive, and typical of the industry’s sexism. Adams, however, didn’t frame it that way: “I can’t blame anything other than I did not do my best at that point. I don’t think I inspired confidence.”

Confidence is a thread that wends through many stories about successful women who need to overcome not only their own insecurities but also a world that greets female achievement with ambivalence at best. When we spoke, Adams largely narrated her history in personal terms, but it was clear that the industry played its part. “I was getting ready to turn 30,” she said of the period that followed “Catch Me if You Can.” “I was tired of being unhappy and tired of chasing something that might not belong to me, like a career in film and television.” She was ready to let go of what she thought “being an actress was, or this idea of being a movie star, this idea of being ‘it,’ of being The Girl.” She was thinking of moving to New York to focus on her craft and start over. And then “Junebug” happened.

Adams’s role as a pregnant innocent, Ashley, in this little-seen 2005 independent movie was part of what became a slow-moving career trifecta. If “Catch Me if You Can” indicated that she was a fresh talent, “Junebug” suggested the richness of her range, showing her gift for moving from emotional lightness to darkness and back again. With crystalline sensitivity, Adams makes you care deeply about Ashley, whose virtue carries great narrative weight; even for those who didn’t respond to “Junebug” and its contrived hokum, the performance was a reminder of how a single actor can nearly redeem a movie. (It led to her first Oscar nomination.) Adams’s next leap forward came with the Disney hit “Enchanted,” which depends entirely on her to transform a high concept — a cartoon princess becomes human — into a delightful fairy story. Adams, who studied dance, sweeps into the movie with grace, tremulous feeling and fluttering hands, delivering an extraordinary performance that established that she had arrived at last.

SINCE THEN THERE have been juicier roles and steady acclaim and, of course, more Oscar nominations. In 2015, Adams married her longtime boyfriend, Darren Le Gallo, an artist she met in acting class, with whom she has a daughter, Aviana, named after Aviano, the Italian city where Adams, a military brat, was born. (Adams is one of seven children in a family that was Mormon until her parents’ divorce.) Having Aviana led Adams to again rethink her relationship to work. “I had to learn how to shut the door when I walk off the set. It’s hard and it doesn’t always work, but more often than not it does now,” she says. Long hours and location shoots can be tough on families, but having a husband who is willing to pack up with Adams helps. “We’ve realized we can be happy in an apartment in Detroit or a house in Hollywood or a hotel room,” she said. “It’s a good feeling, but I’m protective of it — very protective.”

It can be tricky shutting that door on a project like “Sharp Objects,” where she plays a reporter chasing a grisly story and where, for the first time, she has an executive producer credit. “What was exciting for me was being part of the creative development,” Adams said, “getting to feel comfortable speaking, feeling like that was my role now. Like, oh wait, I have an opinion and I’m going to share it!” She enjoyed it, but is unsure how much more producing she wants to do. “I can multitask,” she said, “it’s just an intense experience. And especially when you’re working every day of production, all day every day, in a dark character, and then trying to manage the other stuff — for me it was challenging.”

Those challenges extended to the set, including one day when, for a tricky single take, she had to crawl on a bathroom floor while weeping and drinking fake vomit she then had to spit up. As she was crawling and weeping and vomiting, a male crew member kept whispering the location of a prop until she finally barked, “I’ve got it, I’ve got it!” She apologized, explaining that she’d been staying in character. “He was trying to be helpful,” she told me. It’s the kind of response that I’d expected from Adams — but I had misunderstood her. I thought she was illustrating how she had gone to a psychologically dark place, but the point was that she knew she was right to call this man out. “I feel partially responsible for the tone that’s on set,” Adams said. “I’m sorry for how he felt, but I knew why I was doing that.”

Adams was standing up for herself, which is what we demand of women. What we sometimes forget, however, is that not every woman is going to speak up on her own behalf — or for other women — in exactly the same way or necessarily as a political declaration, and that she shouldn’t have to, either. What happened after Sony Pictures Entertainment was hacked in 2014 offers a good feminist case in point. Among all the ugly, embarrassing information that the hack revealed was that both Adams and Jennifer Lawrence had been paid less than their male co-stars in “American Hustle.” Lawrence went public with her feelings about the wage gap and was by turns praised and condemned for doing so. Adams said she was proud of Lawrence but made it repeatedly clear she didn’t want to discuss it in detail, if at all.

“I don’t want to talk about my own experience because I fight my own fight and I feel comfortable doing that,” Adams said when I mentioned the hack. And, as she admitted, “There’s not a lot of empathy out there for celebrities.” But the disparity that the Sony hack revealed made her curious. Years earlier, to prepare for some of her period movies, she had started reading books like “The Feminine Mystique.” (“I didn’t go to college. I didn’t do women’s studies. I had no idea.”) After the hack, she dug in again. “I spent a lot more time educating myself about what women executives get paid.” She read about C.E.O.s and teachers, the sociology and cultural conditioning.

“It’s important to talk about inequality,” Adams said. “But for me, where I feel most empowered is in educating myself and being, hopefully, a mentor for younger women. That’s more important. I offer any young actress I work with my phone number. I’ll tell them on set, ‘You don’t have to do that. You can say no.’ ” It seems like a modest gesture, but less so when you consider that the movie industry has long profited from female submission, from women acquiescing because their only choice is exploitation or unemployment. This is what makes women saying no powerful, and why it’s heartening that many are speaking up. Adams speaks up when she wants, how she wants, and she is saying yes — and no — on her own terms. These days, instead of telling her daughter “Don’t be bossy,” Adams asks her little girl who she is the boss of. “And she says, ‘Me.’ And I say, ‘That’s right. And you get to choose who you are.’ ”