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Tag: lily james

  • Himesh Patel Talks Chemistry With Joseph Gordon-Levitt, Reuniting With Lily James in ‘Greedy People’

    Himesh Patel Talks Chemistry With Joseph Gordon-Levitt, Reuniting With Lily James in ‘Greedy People’

    Himesh Patel admits the chance to team up with Joseph Gordon-Levitt and Lily James was a “huge pull” in his starring in Potsy Ponciroli’s latest comedy thriller.

    He and James are getting rather good at playing a couple (the pair previously headlined Danny Boyle‘s Yesterday). In Greedy People, releasing in theaters on Friday in the U.S., they feature as new-to-town expectant parents alongside a stellar lineup of Gordon-Levitt, Uzo Aduba, Tim Blake Nelson, Traci Lords, Joey Lauren Adams, Simon Rex and Jim Gaffigan.

    Will, played by Patel, begins work as a cop on a sleepy island town, but is soon forced to navigate an accidental murder and the discovery of a million dollars as a series of bad decisions are made by all involved.

    Gordon-Levitt is Will’s obnoxious partner, Terry, who — avoiding spoilers — does little to make things any less stressful for his colleague on the first day of the job. The comedic chemistry and riffing between the two are brilliant to watch as camaraderie swiftly descends into chaos; a rapport clearly established off-camera.

    “I think there’s a lot of people who, when they get to that level of being a film star, they can be very generous but it’s all part of a bigger ego show,” Patel tells The Hollywood Reporter. “Whereas with [Gordon-Levitt], he just genuinely is. He’s very collaborative. He’s aware of of everything that’s going on. He understands the whole set-up of everything, and he’s committed to his role. And he’s got such a specific role in this – I’d not seen him do anything like this before, so it was really exciting to be working with someone that you admire, but then seeing him do something completely different.”

    The two nailed the southern drawl required for their parts on the fictional island of Providence (originally the film’s title). But Patel, a Brit, had a little help from his American native co-star: “There were a couple of moments with the accent as well, where [Gordon-Levitt] was like, ‘I don’t think we’d say it like this. We’d say it like that,’” Patel continued. “I really appreciated that, to have someone looking out for you and wanting you to do your best work.”

    Himesh Patel said Joseph Gordon-Levitt was “genuinely generous” on set.

    Courtesy of Lionsgate

    It was also an opportunity to reunite with James after their time on set with Boyle for the musical comedy Yesterday (2019), which asked the question: What if The Beatles never existed? “I think we bounce off each other quite well,” Patel says of his and James’ relationship. “It’s just a funny thing when you get on with someone and just trust the other person. There’s this sort of thing going on, a dynamic that neither of us have ever intellectualized, but it worked once and I think it’s worked twice. I joked with her that we obviously have to do a third [film], to cap out the trilogy. And it’ll either be soon or it’ll be when we’re both in our 80s.”

    Greedy People, penned by Michael Vukadinovich, shows what indie films are capable of with a good script and talented cast. Is it an antidote, or at least an example of an antidote, to the notion that successful films require a big budget? “I’d say it’s maybe an example, but we’ll see how it does when it comes out,” Patel says. “The response to the trailer has been really heartening. I think people want to see movies like this. They want movies like this out there. That’s never not been the case, I think it’s just the access to it.”

    Patel says, for example, he’s still unsure of a U.K. release date for the film. “I’m really glad it’s getting a release in the U.S… I think [a lot of these films] are getting made, but have just been going straight to streaming.” (His team later confirmed a Sep. 23 release date in the U.K.)

    In an ideal world, for the actor, it would get a global release. “It’s always good for them to get as much of a theatrical window as possible, that’s how they can compete in that space,” he continues, citing projects like Greedy People. “The blockbusters seem to become the all-encompassing faces of cinemas, because they’re the only ones that can really hold on to space in theaters. Hopefully, things are changing. It ebbs and flows, but I like to be positive about it.”

    It’s a film that leaves you not quite sure who to blame — ultimately, everyone’s flaws contribute to the final product. But what drew Patel to the script as much as anything was “it really felt reminiscent to me of a lot of the Coen brothers‘ work, and how wonderful to have Tim Blake Nelson [a long-time collaborator of the Coen brothers’, such as in O Brother, Where Art Thou? and The Ballad of Buster Scruggs] really put that button on it. There’s quite a few of their films, it’s that thing where you get to the end and you’re like, ‘What? What?’”

    In the pipeline for Patel is a myriad of exciting projects. HBO comedy The Franchise from Veep creator Armando Iannucci and director Sam Mendes depicts the issues faced by a production crew making a superhero film, in which Patel stars as Daniel, and premiering at the Toronto International Film Festival is The Assessment, an upcoming sci-fi thriller from Fleur Fortuné with Elizabeth Olson, Alicia Vikander, and Minnie Driver.

    It’s variation that Patel values most in his job, but laying out a road map for the next few years of his career isn’t as easy as it seems, he says. “I think it’s especially hard to do that as an actor of color,” he tells THR, “to kind of go, ‘Okay, this is what I want to do, and here’s the steps I’m going to take to get there.’ I don’t think it’s quite as simple.”

    With more to come from the star with an already impressive résumé, the future looks bright, and he’s open to it all. “I just want to make sure that whatever I do next is very different to what I’ve done before, and whether that’s with a very well-established writer and director, or it’s with someone very new, I’m easy as long as I feel that there’s a vision there and I really like what’s on the page.”

    Greedy People, a Limelight, Boies Schiller Entertainment, and Hideout Pictures production, premieres in U.S. theaters on Aug. 23 and in the U.K. on Sep. 23.

    Lily Ford

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  • How Lily James and Joe Keery Became Old Hollywood Icons in ‘Finally Dawn’

    How Lily James and Joe Keery Became Old Hollywood Icons in ‘Finally Dawn’

    “Weren’t you shocked?” Saverio Costanzo has a smile on his face as he asks me about Joe Keery’s suave, delicate performance in Finally Dawn, the epic Italian film which world premiered in Venice over the weekend before making its North American debut days later in Telluride. Writer-director Costanzo, fresh off the long trip from the Lido to the Rockies, admits to feeling a little jet-lag from a Mountain Village restaurant on Sunday afternoon, but still gets giddy when the Stranger Things star comes up in conversation. “He was always smiling, he had an allure,” Costanzo says of Keery. “Cary Grant—he reminded me of this kind of man.”

    Keery is one of the many unusually compelling ingredients in Finally Dawn, a portrait of ‘50s Rome that contains elements of everything from Costanzo’s My Brilliant Friend to last year’s Babylon to the work of Federico Fellini. It smashes together Italian ingénues with global stars, gigantic set-pieces with intimate character drama, a dark vision of a historical turning point with a rollicking, unyielding narrative of self-discovery. Among the more divisive titles in this year’s Venice Film Festival, Finally Dawn has a lot on its mind, unafraid of big swings or to soak in a little melodrama—or to cast a charming TV star untested in a film of this scope in a pivotal dramatic role.

    Costanzo cast Keery and Emmy nominee Lily James as imagined, glamorous Hollywood legends of the period who enter the orbit of our doomed heroine, Mimosa (newcomer Rebecca Antonaci), a sheltered young Italian woman primed for a small, safe, ordinary life—only for fate to intervene. Finally Dawn opens in familiar territory for Costanzo, a kind of naturalistic and fizzy account of two inseparably close girls taking on the world with a wide-eyed innocence. Mimosa and her older sister love movies, and decide to audition as extras in a swords-and-sandals epic going into production in their city. “I felt like, ‘Oh my God, am I doing My Brilliant Friend again?’” Costanzo cracks, referencing the beloved Elena Ferrante adaptation he’s helmed over multiple seasons. “I believe you have to start the next thing from where you were landed. It was a way to get from there to somewhere else.”

    And he certainly goes somewhere else here. Mimosa lands the extra job over her relatively poised sister, and is thrust into a dizzying and disturbing Hollywood machine. She is paralyzed by the presence of her idol, James’s Josephine Esperanto, a diva in the mold of Joan Crawford, and her onscreen crush, Keery’s Sean Lockwood, a kind of heartthrob in waiting. “Rome was an American kind of city at that time—Americans saved Italy from the Nazis and then from there they occupied Rome,” Costanzo says. “Americans were everything for Romans, for Italians. They were like Gods.”

    The energy of Finally Dawn shifts in line with Mimosa’s evolution, from aspirational to unsettling. Her story is based on Wilma Montesi, a 21-year-old who was found murdered in Rome, leading to sensational news coverage, in 1953. The crime was never solved but is believed to have touched powerful entities, show business included. “Fellini used to say that it was the end of innocence for Italy because from that moment, everything changed,” Costanzo says. Appropriately, then, Finally Dawn takes on that emotional arc, and ostensibly references Fellini in structure—particularly La Dolce Vita and Nights of Cabiria—while evolving into its own kind of unique, hedonistic elegy, imagining what may have been the wild last day in this woman’s life.

    “The greatness of this film lies, as far as I’m concerned, in renewing the invitation to desire even when it’s not worth it,” says Oscar-winning filmmaker Paolo Sorrentino (The Great Beauty). “One cannot help but imagine the future, the beautiful life, as a mythical illustration. Therefore, Costanzo’s work ceases to be a film about a bygone era and becomes a necessary hymn to the life of all of us and, above all, of the young people. Hoping, imagining, desiring, crossing a night to see the sunrise is still what one cannot do without.”

    Mimosa’s night goes off the rails when James’s mercurial Josephine takes an obsessive interest in her. During filming on their brilliantly cheesy Cleopatra-esque spectacle—captured in one gonzo-comic setpiece by Costanzo—the leading lady keeps requesting that Mimosa be moved more to the foreground of a given scene, before having a dress bought for her and compelling Mimosa to spend the night with her, Keery’s Sean, and Willem Dafoe’s genteel driver.

    While Keery leans into his natural charm in a new context, James is magnetically transformative. Costanzo offered her the part after watching Pam & Tommy, impressed by her take on Pamela Anderson. He liked that she brought both edge and toughness, qualities that he saw in stars of the 50s. When James signed on, they worked hard to mold her into an Old Hollywood actress as thoroughly as possible. Costanzo pitched her as a mix of Crawford and Bette Davis, and they discovered a long Crawford interview through which James could master an old-fashioned, mid-Atlantic accent. James nails the illusion that a woman of that profile, at that time, had to sell—before a startling final scene unveils the person underneath the performance.

    “Lily is not aware of what she’s doing 100%, I believe, and this is the nice thing about her because she’s not intellectual—she’s just instinctual,” Costanzo says. “You see even her leg is acting in character, even the fingernail. She’s possessed by something.”

    David Canfield

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  • Pamela Anderson Is Telling Her Own Story

    Pamela Anderson Is Telling Her Own Story

    For years it seems we’ve heard the story of Pamela Anderson. Blonde bombshell hair. Thorn arm cuff tattoo. Red bathing suit. Sex tape with Tommy Lee.


    After incessant labeling of Pamela as a sex symbol and clamoring to see private videos that were sold online as blackmail, maybe the public got it wrong. With the recent release of Hulu’s Pam & Tommy – starring Lily James and Sebastian Stan – we see a Pamela who worked hard to be taken seriously as an actress when everyone kept sexualizing her. But the focus of the Hulu series still seems to be the release of the sex tape.



    Now, Anderson has decided to tell her story for the first time ever in her documentary Pamela, a love story – on none other than Hulu’s rival streaming platform, Netflix.

    “I blocked that stolen tape out of my life in order to survive, and now that it’s all coming up again, I feel sick. I want to take control of the narrative, for the first time,” she says in the preview.

    Anderson may be a victim of being Woman’d, but that’s not stopping her from taking back her power – nice revenge for the Hulu series re-airing of her dirty laundry. In this new docu, the audience will see Pamela through new eyes, in her own words – something I’m sure no one’s seen before.

    “I had to make a career out of the pieces left. But I’m not the damsel in distress. I put myself in crazy situations… and survived them. You have to be brave and you’ve gotta use what you got.”

    Pamela, a love story premieres on Netflix January 31.

    Jai Phillips

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  • The 11 Best Beauty Looks From the 2023 Golden Globes

    The 11 Best Beauty Looks From the 2023 Golden Globes

    On Jan. 10, celebrities from film and television gathered in Los Angeles for the 2023 Golden Globe Awards. But the occasion wasn’t merely an opportunity for actors to receive awards — it was also a chance for them to don some memorable fashion and beauty looks.

    Shoulder-skimming hairstyles were a dominant beauty trend of the night: Jenna Ortega’s shaggy crop is sure to rocket straight to the top of the list of most-requested salon looks for 2023, while Lily James and Angela Bassett both wore vintage-y bobs for a touch of Old Hollywood glam. 

    Stephanie Saltzman

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