Category: Articles

2021 Apr 28

Amy Adams on Anxiety, Finding Contentment and Her New Netflix Thriller, The Woman in the Window

Amy Adams on Anxiety, Finding Contentment and Her New Netflix Thriller, The Woman in the Window

Amy Adams never planned to take on so many dark, gritty roles. After all, she first became known for playing sweet and innocent characters in movies such as JunebugEnchanted and Doubt. “I intend to do something light, but I keep being offered these beautifully complex roles,” says the actress, 46, whose later performances include well-reviewed turns in The MasterNocturnal Animals and Sharp Objects. “I don’t know what it says about me, that I’m really attracted to the psychology of [people’s] damage,” she told Parade during a recent COVID-safe Zoom from her home in Los Angeles, where she’s been isolating with her husband, artist Darren Le Gallo, and their daughter, Aviana, 10.

Enter her next tense psychological thriller, The Woman in the Window (May 14 on Netflix). She’ll star as Anna Fox, a woman questioning her own reality as she struggles with her mental health and agoraphobia, with an intense fear of being outside her New York City brownstone apartment. When Anna thinks she witnesses a murder while watching her new neighbors from her window, she is forced to confront the traumas of her own life. The film takes on new significance since nearly everyone has spent the previous year in some kind of state of quarantine, peering out of windows themselves. “Given how isolated we’ve all been, I’m curious to see people’s response to the film,” she says. “If it’s more triggering, or if they have more empathy.”

The Woman in the Window, based on the New York Times bestselling novel by A.J. Finn (the pen name of writer Daniel Malloy), also stars Julianne MooreJennifer Jason Leigh and Gary Oldman. It was directed by Joe Wright, who is so consumed by detail, he had Adams run up and down the stairs more than 25 times while hyperventilating. Wright “wanted it to feel like a fever dream of anxiety, and that’s what it felt like,” she says.

But making the movie wasn’t all dark and heavy. “Any time you work with me, there’s a blooper reel,” Adams says, adding that her mistakes usually involve her cursing like a sailor when she messes up. When she had forgotten her daughter was on set one day and she messed up a lot, well, that was the day “we started a swear jar,” she says with a laugh.

Read the full interview/article in our press library

2020 Nov 25

Amy Adams on her singular career and her latest role, in Ron Howard’s Hillbilly Elegy

Amy Adams on her singular career and her latest role, in Ron Howard’s Hillbilly Elegy

Netflix Queue released an interview and new shots with Amy Adams. I encourage you to go and read it on their site and admire the beautiful outtakes.

Few actors can stand shoulder to shoulder with Amy Adams. The six-time Academy Award nominee has delivered many extraordinary performances over the course of her career, from her breakout in the 2005 indie sensation Junebug, to her portrayal of Lynne Cheney in Adam McKay’s 2018 political biopic Vice. She’s captivated critics and audiences in Enchanted, Doubt, The Fighter, The Master, American Hustle, and Arrival — not to mention her striking turn in the Southern Gothic miniseries Sharp Objects, which she also produced.

Yet Adams remains grounded. She’s confident, committed to doing the work, but not necessarily Method. “I think sometimes the character comes with me a little bit more than I intend it to,” she says. “It seeps into my being a bit.”

It’s true that she seems to effortlessly inhabit the roles she chooses, including her latest, starring opposite Glenn Close in Ron Howard’s Appalachia-set drama Hillbilly Elegy. The film is based on the best-selling memoir by J.D. Vance, and is adapted for the screen by Vanessa Taylor (The Shape of Water). Adams plays Vance’s mother, Bev, a career nurse and single parent struggling with substance abuse and the scars of extreme trauma.

Her approach was shaped by time spent on set with the real-life Bev (who is now in recovery). “She’s very energetic and colorful and a big personality, ” Adams says. “I think her true desire was to be the best mother she could be, the best nurse she could be. And life got in the way.”

You can also finish reading this interview/article in our press library.

2020 Oct 29

Amy Adams, Glenn Close talk their major Hillbilly Elegy transformations

Amy Adams, Glenn Close talk their major Hillbilly Elegy transformations

When the trailer for Hillbilly Elegy hit the internet last week it made waves in part because of the major transformations of its lead actresses. (The other part probably has something to do with it being another potential awards vehicle for both stars, who are long overdue for an Oscar.)

Glenn Close and Amy Adams dished on these transformations and their juicy roles in a post-screening Q&A of the forthcoming Netflix film alongside director Ron Howard.

In the film, which is based off of J.D. Vance’s bestselling memoir of the same name, Adams plays Bev, a woman struggling to raise her two kids while battling addiction, and Close plays her mother, Mamaw, who is resilient and whip-smart but who’s had a rough life of her own. The past and present are interwoven as J.D. (played by Gabriel Basso as an adult and Owen Asztalos as a child) — now a Yale Law student — returns to his hometown amid a family emergency and must come to terms with his own history, Appalachian values, and the American dream.

Close and Adams are nearly unrecognizable in their parts, something they both credit the makeup and hair departments for. Close is certainly no stranger to major transformations. “I played numerous characters where you really are in character when you’re in full drag,” she admitted, citing her 101 Dalmatians and Albert Nobbs roles as examples.

As Mamaw, she said she specifically didn’t want to see her own face in the mirror. “I wanted to change my face a little, mainly for me as an actress, because I did not want to be distracted knowing that it was Glenn Close’s face.”

In addition to the makeup, Adams also wore a wig, which she remembered fondly. “I always name my wigs, and that wig was ‘Beaverly’ because it was so hot it was like wearing a beaver hat on my head,” she joked.

For both Close and Adams, it was important to get not just the looks, but also the mannerisms and heart and soul of their characters right. They both got to speak to Vance’s family, and in Adams’ case, she got to speak with Bev herself.

“I think when I’m playing somebody who you know is out there that is going to see this, I’m glad that you can see deeper than just the mistakes that she’s made because that was something that was really important to me,” Adams said. She also shared how important it was to her personally to get Bev’s struggles with addiction right. “There’s been several people that have been really important to me that have been touched by addiction. It’s a story of a whole bunch of people who’ve really struggled and it was really important to me to find the humanity in that struggle,” she said.

The weight of that “terrified” her, she said, but at the end of the day, she was thankful she took on the role. “As hard as it was embodying the character, it was an uplifting experience,” she said.

The feeling was mutual for Close. “You are defining for yourself a whole landscape of psychology and emotion, and as an actor I don’t want to repeat myself, and this I went into it slowly step by step. It was one of the great experiences that I’ve had in my career,” she said.

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2018 Nov 23

Amy Adams – The journey from big to small screen

Amy Adams – The journey from big to small screen

American psycho-thriller TV series ‘Sharp Objects’ is based on the life of Camille Preaker, an alcoholic journalist, who revisited her hometown in Missouri when she had to report the frightful murder of one preteen girl and the missing of another. As she got home, she had to face her past and the disastrous situation that first pushed her away.

The challenging role of Camille in this eight-episode series was played by Amy Adams. The Hollywood superstar and perpetual Oscar nominee moved from the silver screen to small screen with this role. Amy believes this transition to be an ‘intense experience’.

Early Career

Amy did not have an easy start. She struggled to balance between the roles she played and her real life. Initially, her husband suffered, she suffered, and when her daughter was a young girl, she had some extremely challenging experiences. She never wanted to be the mother who came home but was not present. So, she had to figure something to work it out.

Coping with the Struggles

Amy learned her way through. Today, she gets time to relax, does a lot of meditation and breathing, and sometimes takes moments to just lay down on the set for a while.

Amy also takes assistance from well-known acting coach Warner Loughlin. Warner Loughlin has helped Amy gear up for complicated roles. Amy works with the acting coach before she starts a project. She does not do so for all projects but for the ones that seem to be quite complicated – like Camille or Louise in Arrival.

Amy’s On-Screen Cults
Hollywood has been a preferred target for the cult leaders and staying away for long is not that easy for any superstar. Amy starred in The Master – a Paul Thomas Anderson film centered on a cult known as The Cause, wherein the role of the leader is played by Philip Seymour Hoffman.

Even the cult of Cruel Intentions made a significant impact on the generation of teenagers. It is popularly recognized for marking the first starring role given to Amy.

Amy does not cry easily
In several interviews, Amy has been reported to share that it is very difficult to make her cry. If she is upset, she gets mad. If someone makes her feel sad, she shuts down. Her nature to get upset but not cry has earned her the nickname of Angry Adams. She tends to get extremely precise and angry.

Playing Camille
Sharp Objects required Amy to put on and lose weight. In certain scenes, she had to be completely naked on the screen and also be involved in some sensitive and delicate scenes. Amy dealt with situations with the media in the past, like the Arrival premiere wardrobe malfunction fiasco and she knows how to embrace it all.
In a few scenes, the actress needs to show some vulnerability because of sexual experiences. Amy admits that to carry them off, she would have a sip or two of whiskey just like that of her on-screen character.

2018 Jun 28

Amy Adams and Jean-Marc Vallée talk family dysfunction and rock to Led Zeppelin

Amy Adams and Jean-Marc Vallée talk family dysfunction and rock to Led Zeppelin

Amy Adams and Jean-Marc Vallée talked to LA Times about Sharp Objects. Check below the interview:

Get actress Amy Adams and director Jean-Marc Vallée into a room together and at some point Led Zeppelin might start blaring through the puny speakers of an iPhone, with Adams doing a subtle sing-along midway.

“We could keep this going,” Adams warns, as she bobs her head in time along with Vallée to the iconic band’s “What Is and What Should Never Be” inside a Beverly Hills hotel on a recent afternoon.

The musical moment is enough to make you wonder what could have been. The two were set to team up on a biopic of Janis Joplin, with Adams, a multi Oscar-nominee whose acclaimed work in films such as “Arrival,” “American Hustle,” “Nocturnal Animals” and “The Master” propelled her to the top ranks of Hollywood actresses, set to play the legendary ’60s rock singer.

That project was ultimately shelved. But music, ever so slightly, has finally united them in a different endeavor: HBO’s“Sharp Objects.”

Continue reading Amy Adams and Jean-Marc Vallée talk family dysfunction and rock to Led Zeppelin

2018 Jun 21

(Article) – Gillian Flynn, Amy Adams and Patricia Clarkson Aren’t Afraid to Tackle Big Topics

(Article) – Gillian Flynn, Amy Adams and Patricia Clarkson Aren’t Afraid to Tackle Big Topics

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.

Continue reading (Article) – Gillian Flynn, Amy Adams and Patricia Clarkson Aren’t Afraid to Tackle Big Topics

2017 Nov 10

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.