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Tag: paul dano

  • ‘Spaceman’ gives Adam Sandler another meaty role, but without a script to match

    ‘Spaceman’ gives Adam Sandler another meaty role, but without a script to match

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    Jon Pack/Netflix

    Adam Sandler as Jakub in Spaceman.

    Nearly 30 years after Billy Madison, an early Adam Sandler vehicle that bravely explored the complicated relationship between man and gargantuan penguin, the comedian-turned-actor once again finds himself facing a colossal creature that just won’t leave him alone. Sure, Spaceman swaps the man-child sent back to K-12 schooling for a lonely astronaut journeying into deep space, subs the enormous flightless bird for a gigantic alien spider, and reduces the number of bits to near-zero, but the fact remains: Even accounting for his recent run of serious roles, the Sandman can still find ways to surprise us with a performance.

    It’s been six months since the Czech Republic’s first independent astronaut Jakub Prochazka (Sandler) was launched into the outer reaches of our solar system. Ever-advancing toward an ominous purple mass of intergalactic dust known as the Chopra Cloud in a ship that appears to have seen better days, Jakub’s mission is relatively simple: collect a sample from the Chopra and bring it back to Earth. The hard part is actually getting there — especially when all the baggage left behind on his home planet is pulling at him like an increasingly taut bungee cord.

    Jakub is in frequent communication with his terrestrial technician Peter (Kunal Nayyar), but the person he really wants to talk to is his pregnant wife Lenka (Carey Mulligan). It’s been a while since he’s heard from her, and it’s been even longer since he’s gotten anything encouraging about the status of their crumbling marriage. Combined with trouble sleeping, intense loneliness and those degrading (yet contractually obligated) sponsorship plugs he has to dispatch back to the boss, Commissioner Tuma (Isabella Rossellini), it’s possible he may reach his breaking point before he makes it to his destination.

    Truth be told, his brain might already be broken. (And not in the way you’d expect from the lead of your typical Happy Madison production, either.) See, Jakob isn’t as solitary as he thought he was. Accompanying him on board is Hanuš (Paul Dano), a horrifyingly huge anthropomorphic spider with an even bigger sense of curiosity and an even larger heart. Together, this unlikely pair is going to sort through everything on Jakob’s mind: The problems with Lenka, the suppressed childhood trauma, and, if there’s time, maybe even unpack the very origins of life itself.

    Even broadly speaking, Spaceman is unlike anything Sandler has done in his 35 years of film. The reason for that is twofold: a straight-laced script from debut screenwriter Colby Day and low-energy direction from Chernobyl Emmy-winner Johan Renck. Combined, Sandler ends up seeming a little out of his element. It’s not the sort of tailor-made screenplay he’s accustomed to, and as a result, I found it a little hard to acclimate to the film at first.

    Alas, it also does Spaceman no favors to constantly evoke other (unfortunately, better) science fiction movies from the genre’s Jupiter-sized canon. Its restrained, melancholic feel is very Solaris — Andrei Tarkovsky’s 1972 version or Steven Soderbergh’s 2002 version, take your pick. Its “man vs. disarmingly calm foil with a threatening aura” setup is textbook 2001: A Space Odyssey. Even the Sad Space Husband thing is straight out of Damien Chazelle’s First Man. Looking beyond sci-fi, certain moments between Jakob and Hanuš recall similar dynamics between Tom Hanks and his volleyball buddy Wilson in Robert Zemeckis’s Cast Away (2000). Déjà vu, indeed.

    As a recurrent Sandler apologist, it pains me to admit that I wasn’t immediately hooked by Spaceman (one solid gag early on involving an ad for nausea medicine aside). From initial critical darlings such as Punch-Drunk Love to the ongoing string of hits from The Meyerowitz Stories (New and Selected) to Uncut Gems to Hustle, every one of the much-ballyhooed standup’s breakout hits was unquestionably built around him and his strengths. Spaceman doesn’t feel that way, however. Even with the opportunity to flex a new silly voice, the role lacks that signature Sandman essence it so desperately needs to rank alongside his best work.

    Though I see this as a weakness, it may bode well for those who might not be so quick to roll out (or, in this case, being a Netflix Original, log on) for the latest Sandler project. And, to his credit, Sandler doesn’t do a bad job as Jakob — not by any means. It’s just that he dissolves into the character more so than he has in just about anything else in recent memory. Personally, it’s a bummer to see such squandered potential to swing for the fences during this current Sandlerssance. I imagine any fellow Sandler defender will echo my sentiments.

    With Sandler’s disappearing act at the center, Carey Mulligan as the neglected wife on the fringe, and Paul Dano keeping it continually interesting as… well, Paul Dano in arachnid form, you’ve got all the makings of a mellow, moody movie night geared toward the indie crowd. Why not make it a double feature with last year’s Maestro, where Mulligan can be seen similarly sidelined?

    Sure, Spaceman can’t compare to the gonzo heights of some of Sandler’s triumphs, but maybe that’s the key. Perhaps Sandler’s intention in playing Jakob was to have an excuse to beef up the portfolio with something more reserved than anything we’ve gotten from him before. If that’s the case, it’s a job well done: another previously unknown facet of this actor who, for my money, proves to be one of the most enigmatic and unpredictable A-listers of our time.

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    Kayla McCulloch

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  • What to Watch on Streaming This Week: March 1-7

    What to Watch on Streaming This Week: March 1-7

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    Kate Winslet stars in The Regime. Photograph by Miya Mizuno/HBO

    From Oscar-nominated dramas to delightfully funny new series, streaming is overflowing with quality content this week. Whether you want to see Adam Sandler play introspective, Kate Winslet do her most absurd work or Joaquin Phoenix star in a historical epic, your A-list options are covered.

    What to watch on Netflix

    Spaceman 

    Adam Sandler stars in this sci-fi drama from the award-winning director of HBO’s Chernobyl. Spaceman sees Sandler play Jakub, an astronaut off on a solo mission that sees him exploring the furthest regions of our solar system. While he’s there, he realizes that he may never be able to return to the life he left back on Earth. How does he reconcile with this difficult emotional realization? Well, he talks to a strange spidery creature from the beginning of time (voiced by Paul Dano) that has taken up residence on his ship. Spaceman premieres Friday, March 1st.

    The Gentlemen

    Guy Ritchie has made a career out of snappy British crime movies, and now he’s bringing that talent to television. The Gentlemen stands as a spin-off of his film of the same name, with warring drug lords and mob bosses holding all of the power. Theo James stars as Eddie, a man who stands to inherit a massive estate from his father. However, that land belongs to one of the country’s biggest weed-growing operations, and it turns out it’s much sought-after by other members of the criminal underground. Kaya Scodelario, Daniel Ings, Joely Richardson, and Giancarlo Esposito also star. The Gentlemen premieres Thursday, March 7th.

    What to watch on Hulu

    The Favourite

    While Poor Things is on the road to racking up a few Academy Awards, it isn’t the first time that the likes of Yorgos Lanthimos, Emma Stone, and Tony McNamara have worked together to create cinematic greatness. That would be The Favourite, a deliciously dark period dramedy that revolves around the strange reign of Queen Anne. Olivia Colman stars as the monarch, a troubled and insecure woman who relies on the attention of her woman in waiting, Lady Sarah (Rachel Weisz). But when Sarah’s troubled cousin Abigail (Stone) enters the fray, it becomes a twisted love triangle for the ages. The Favourite streams starting Friday, March 1st.

    What to watch on Amazon Prime

    Ricky Stanicky

    The newest movie from comedy whiz Peter Farrelly, Ricky Stanicky revolves around a trio of best friends (Zac Efron, Jermaine Fowler, and Andrew Santino) who have come to rely on their imaginary friend Ricky well into their adulthood. Whenever something goes wrong and they need to explain it, well, it’s Ricky’s fault. But when these guys’ partners and families ask if they can actually meet the fabled friend, the men decide to hire a middling actor (John Cena) to take on the role. Naturally, the guy decides to go a bit method, meaning that Efron and co. get much more than they paid for. Ricky Stanicky premieres Thursday, March 7th.

    What to watch on Max

    The Regime

    A cutting political satire featuring an all-time great performance from Kate Winslet, The Regime is a devious and delightful new miniseries. Winslet stars as Chancellor Elena Vernham, the autocratic leader of an unnamed, vaguely Central European nation. She rules her country according to her own fleeting whims, until a strapping (and slightly unstable) former soldier comes into her life. Herbert (a hulking Matthias Schoenaerts) wins Elena and her policies over with his, er, rural charm, kicking off a political comedy of errors. Winslet is far and away the highlight of the show, serving up a fascinatingly funny performance. The Regime premieres Sunday, March 3rd. Read Observer’s review.

    What to watch on Apple TV+

    Napoleon 

    A historical drama of epic proportions, Napoleon goes big on everything. Ridley Scott boldly directs this dubiously accurate chronicle of the French ruler’s life, and it’s overflowing with action, horses and period details (it’s nominated for costume and production design at this year’s Oscars, after all). Joaquin Phoenix stars as Napoleon Bonaparte, imbuing the little corporal with his unique brand of moodiness. Vanessa Kirby plays Josephine, Napoleon’s all-but-doomed first wife who was there for his ascent to power. It’s a big, bombastic film with more than a few surprises up its sleeve. Napoleon premieres Friday, March 1st. Read Observer’s review.

    The Completely Made-Up Adventures of Dick Turpin

    British comedian Noel Fielding may be better known for his Bake Off hosting these days, but he returns to his oddball roots with The Completely Made-Up Adventures of Dick Turpin. The historical comedy series presents a fictional take on the life and times of infamous highway robber Dick Turpin. It’s sure to have the same wit and silliness as genre predecessors Blackadder and Monty Python, with good ol’ Dickie becoming the leader of a gang of outlaws despite being the least-skilled rogue of the bunch. The Completely Made-Up Adventures of Dick Turpin premieres Friday, March 1st.


    What to Watch is a regular endorsement of movies and TV worth your streaming time.

    What to Watch on Streaming This Week: March 1-7

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    Laura Babiak

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  • When the Plebes Had Diamond Hands: Dumb Money

    When the Plebes Had Diamond Hands: Dumb Money

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    Toward the end of 2020, the only thing more pervasive than COVID-19 was “WAP” by Cardi B and Megan Thee Stallion. A song whose prowess carried over into early 2021, just as coronavirus did. At that time, TikTok was also blowing up more than ever. In large part thanks to “at-home culture” “thriving.” When corona first hit at the beginning of 2020, Megan Thee Stallion was having a moment all her own thanks to the “Savage” challenge that went viral on the app. A detail that also comes into play during Dumb Money, when a GameStop employee named Marcos Barcia (Anthony Ramos) trolls his boss, Brad (Dane DeHaan), after the latter tells him that while he can’t give him an advance on his paycheck, he can compete to win “ten labor hours” (presumably, that means ten hours’ worth of wages) by participating in a TikTok lip sync contest. 

    This, of course, happens after “WAP” soundtracks the intro to Dumb Money, as Gabe Plotkin (Seth Rogen) frantically runs through his multimillion dollar property upon being told to “dial in” by fellow hedge fund CEO Steve Cohen (played by an ever-mutating Vincent D’Onofrio). It is Cohen who informs Plotkin that, “They’re holding” (in other words, they’ve got “diamond hands”). The “they” in this scenario being the proverbial “little guy.” The David to Wall Street’s Goliath. And the representative for all the Davids of the U.S. at large is Keith Gill (Paul Dano) a.k.a. Roaring Kitty a.k.a. Deep Fucking Value. Although a financial analyst at MassMutual by day, Keith’s real passion appears to be his post-work life as a “recreational YouTuber.” And it’s one he ostensibly disappears deeper into after the death of his sister, Sara (the cause of which we’re made to assume was from Covid).

    This is what the viewer sees when the film cuts to six months earlier, smack-dab in the middle of 2020. Meeting with his friend and financial colleague, Briggsy (Deniz Akdeniz), Keith tells him about his decision to double down on investing in GameStop stock. Which Briggsy bills as “penny stocks” (but hey, those were good enough to make Jordan Belfort a rich man, n’est-ce pas?). Keith insists 1) GameStop is not that and 2) it’s highly undervalued. The obvious metaphor tying into how the “average joe” is consistently undervalued, too. And what business could be more tailored toward such a demographic than GameStop (apart from, say, Home Depot)? He then lays into Briggsy about how “Wall Street gets it wrong all the time. Look at ‘08. These guys, they have all the money, and the fancy degrees, and the political juice in the world and they get it wrong all the time.” Briggsy still warns, “You never bet against Wall Street.” Wall Street, too, is well-aware of its rigged system. The one that everybody on the inside benefits from, including men like Plotkin, Cohen and Ken Griffin (played to perfection by Nick Offerman), the eerily stoic (like, Dick Cheney-level) CEO of Citadel. 

    These are the men who refer to people like Keith as “dumb money” (the asterisk given with said title card of the movie being: “*individual investors often derided as ‘dumb money’ by Wall Street”). But Keith, at six months into 2020, is about to show these fucks just who, exactly, is the dumb one. Rallying his ever-burgeoning Reddit following, co-screenwriters Lauren Schuker Blum and Rebecca Angelo easily render Gill into a modern-day Robin Hood (and, to be sure, the app of the same name plays heavily into the narrative), taking money from the rich prematurely offloading their GameStop stocks (i.e., “shorting”) and putting it into the “pockets” of the everyman. Including essential health care workers like Jenny (America Ferrera, who is having her best year ever in the mainstream thanks to Barbie and this film, to boot). Among others like Marcos and college students Riri (​​Myha’la Herrold) and Harmony (Talia Ryder), these are the “subreddits” of the movie that thread together a larger point/theme. A point/theme that should be fairly overt to everyone by now, especially the rich (*cough cough* Wall Street finance bros). Then again, denial isn’t just a river in a hedge fund manager’s backyard. 

    And yet, although ignoring the contempt of the poor (read: everyone except the rich at this juncture) was relatively easy to do before 2020, this was a year when the internet became an echo chamber of unprecedented rage (markedly propelled by the filmed murder of George Floyd in late May—itself given a nod to in Dumb Money when Marcos passes a wall of graffiti that reads, “Fuck the Cops,” “Black Lives Matter” and “I Can’t Breathe”). A platform for expressing the extreme dissatisfaction that has been percolating for decades vis-à-vis capitalism and the lie it continues to sell about “everyone” having an “equal” chance to “get ahead” (this, of course, alluding to amassing as much money as possible, because that’s all we’ve been conditioned to believe really matters—and yes, people like Cardi B and Megan Thee Stallion only perpetuate that message with their money-worshiping lyrics).

    Never had it been made more patently clear that that simply wasn’t the case when coronavirus came to roost, and the accompanying lockdowns that classified the lowest-paid workers as essential compared to the richest “workers” who were told to “stay home, stay safe” made it laughably apparent just how unfair this whole game has been. While the fat cats were allowed to safely shelter in place in their posh homes, those paid in peanuts and balcony applause to risk their lives were made to suffer more than ever. And all without any promise of higher pay. So what is being “essential” really worth to he who controls the market? Because, in the end, no matter what, the Goliaths will be able to get what they want out of the Davids of the world, somehow managing to push them into submission one way or the other. In Gill and his acolytes’ case, that came in the form of shutting off access to the r/WallStreetBets forum under the guise of espousing “hateful and discriminatory content” that “violated Reddit’s code of conduct.” Ha! So it’s okay for the rich to make an entire affluent existence out of discriminating and being hateful toward the have-nots, but when the latter group tries to take a stand only then can it be called what it is? Oh hell no. 

    And when Keith commences his “thesis” on GameStop, he’s right to say, “The value is overlooked. Wall Street just doesn’t see it. Why?… The hedge funds are overlooking the value of the company just like they overlook the people who shop there.” The same kind of people who will continue to be overlooked now that the GameStop “fiasco” is “over.” And, in effect, it is. For the consequences, as usual, did not fit the crime (the SEC made no charges, not even against Ken Griffin). And people like Marcos, although slightly vindicated, continued to get the fuzzy end of the lollipop. Just as he does in having to ride the bus to work during the pandemic (GameStop found a loophole for staying open by declaring itself a purveyor of “essential products” to keep people connected while “working from home” [read: playing video games]). And when he finally gets off the bus to enter a deserted Detroit mall that houses, among other shops, a GameStop, the viewer can then see the ad on the side of the bus that reads: “Money burning a hole in your pocket? We’ll get you some more.” It’s only too appropriate when applied to the stock market as an American casino. Not to mention the way Americans in general are “incentivized” to operate on credit, to incur a negative balance that will keep them constantly on some lender’s hook. This ceaseless, propagandizing encouragement in the U.S. to borrow money and effectively gamble on yourself (knowing full well the system doesn’t want you to be a winner) is what’s at play in Dumb Money as well. Except the hedge fund fucks “in charge” were never banking on the everyman’s “deluded” self-confidence to actually pay off. 

    Never seeing the short squeeze on the horizon at all, despite how clear it was becoming throughout 2020. And yes, those reminded of The Big Short by the term “short squeeze” wouldn’t be wrong to make the correlation. After all, said 2015 movie also relates to rigged market fuckery and is based on a book: Michael Lewis’ The Big Short: Inside the Doomsday Machine. Just as Dumb Money is based on Ben Mezrich’s 2021 tome (that’s right, the book came out the same year as the “incident” itself), The Antisocial Network: The GameStop Short Squeeze and the Ragtag Group of Amateur Traders That Brought Wall Street to Its Knees. While The Big Short was released almost a full decade after the debacle it addresses, Dumb Money is yet another prime example not just of the possibilities when “the plebes” are united in a cause, but also of the collective’s more recent obsession with looking back on the immediate past as though enough time has gone by to truly grasp the impact of what happened. 

    In the directorial care of Craig Gillespie (of Cruella and I, Tonya repute), that “grasp” becomes automatically comedic…even if it isn’t able to fully comprehend, so soon after it happened, the full weight of what occurred. The same goes for coronavirus itself, which most people have opted to sweep under the rug in terms of not wanting to remember “that time.” Preferring, instead, to pretend it never existed. In many respects, the attitude taken is tantamount to the cliche of everyone masturbating on a plane as they think it’s about to crash, only to realize the aircraft has righted itself and life will continue on for the time being. Afterward, everyone pretends that no one whipped it out in what they thought would be their final moments. That’s what coronavirus and its lockdown behavior mirrored.

    As 2020 came to a close and corona continued to rage on, the sequestering required of people created an unprecedented online environment. A cauldron, if you will, for something like the subreddit of Wall Street Bets to brew into an entire movement. One that was, needless to say, a movement geared toward taking down the rich. Who had only gotten richer during the pandemic while the rest of the working-class “schmucks” lost their already paltry livelihood. 

    Perhaps what’s most striking of all about Dumb Money (even more than the hubris of the rich) is how it forces viewers to remember that “period” not so long ago. Capturing a moment when complacency had subsided, in large part, thanks to having so much “free time” to actually rail against the oppressor. And the last thing an oppressor wants is for his serfs to have too much free time to think about what a fucked system this is (glorified feudalism, in case you couldn’t guess). Hence, the urgency with which the masses were ferried back to “normal.” With nobody seeming all that concerned about acknowledging the shellshock of what transpired. Just as no one is with acknowledging the (enduring) lack of fairness in the stock market (“fair market” being an especial oxymoron here). No matter what kind of “movement” Keith may have started.

    Per the film’s title card epilogue, that movement is summed up as follows: “Because of the GameStop rally, 85% of hedge funds now scour the internet to see where retail traders are investing. Fearing another short squeeze, funds have dramatically reduced their short positions. Wall Street will never be able to ignore the so-called ‘dumb money’ again.” Though that remains debatable. 

    And then there is the matter of refusing to acknowledge that what actually needs to change isn’t “leveling the playing field” so that broke asses can become just as cunty as richies, but blowing up the entire system, including its major capitalist trappings. I.e., the stock market.

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    Genna Rivieccio

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  • Paul Dano and Carey Mulligan Seriously Open Up

    Paul Dano and Carey Mulligan Seriously Open Up

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    Mulligan: In those brief moments, what’s the alternate?

    Dano: Oh, you know, those things that are never going to happen, which I’m really not cut out for, like I’ll go live on a farm. I would like to spend more time writing. I really want to make another film. 

    How is the point you’re both at now in your careers, and since you both now have families, influencing your career choices?

    Dano: First of all, becoming a parent has changed everything. The Fabelmans, frankly, was the first time that I’ve really used so much of my present life, so to speak. It was about marriage. It was about being a father. When I do The Batman, that part of me is not coming to work in the same way. So, it felt transitional almost. I was like I’m stepping into my adult self even further somehow through this character and through this film. In a weird way, it makes it harder. It’s harder to go away. It’s harder to ask your family to go away on location. It’s harder to prepare. It’s harder to come home after work, but I also think that I feel like my priorities just keep becoming clearer. 

    Mulligan: I think it also changes as they get older. It’s different now. When they’re tiny, they are sort of portable. Now mine are getting a bit older, it will become clearer what is and isn’t possible for us. But I think in terms of the work, I feel a lot more relaxed. It’s that old cliché—the acting you do for free and everything else is what you get paid for. I’m so lucky, we’re both so lucky that at the moment we get to do jobs because we want to do them, not because we have to. And that’s such a luxury in life and in the world to be able to do that. I think it’s sort of very obvious when it’s the right time to do something and not, whereas I think I probably debated more in the past. I feel very cut and dry.

    Since you’re friends in real life, can you share something surprising about each other?

    Mulligan: For a long time Zoe and I would hang a lot and it was not like the three of us. Like even at my wedding, Zoe was there all week and you came for the weekend. I think for a while I was so intimidated by you as an actor, from There Will Be Blood. It was so otherworldly and incredible. I think for a while I was like, “Ugh, he’s a proper one.” And, and then after a while I was like, “oh, he’s so goofy.” I don’t know if that’s the perception of serious actors, and I think you are perceived as a serious actor. 

    Dano: But I’m just like a silly person. Yeah, I don’t know why. It’s hard, this part of what we do is weird, right? I do think that I have to save some part of myself for me in my real life, so to speak. Because I think it’s important to separate them actually. When you’re there for work, I do think the character is guiding you. And then when we come to do this, I have to have some sense of separation. I don’t know why. 

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    Rebecca Ford

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  • With ‘The Fabelmans,’ Julia Butters Reaches New Hollywood Heights

    With ‘The Fabelmans,’ Julia Butters Reaches New Hollywood Heights

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    She has yet to reach high school, but 13-year-old Julia Butters is already building the career of any actor’s dreams. At the age of 10, she stole scenes opposite Leonardo DiCaprio in Quentin Tarantino’s Once Upon a Time…in Hollywood. It was on that set where Butters would first meet Steven Spielberg, who cast her as a proxy for his eldest sister in his memoir film, The Fablemans

    “I saw Steven walking around the valet [at Universal Studios]. I waved to him through the window, he waved to me, and I was freaking out,” Butters tells Vanity Fair during a recent Zoom. “That was my only interaction with Steven Spielberg ever, and I thought, ‘Oh, my God, that’s the closest I’m ever going to get to him.’” 

    Her prediction didn’t age well. Just a handful of years later, Spielberg and Tony Kushner’s script, emblazoned with the Amblin Entertainment logo, came her way. “I was so excited,” Butters says. “I remember just being like, ‘Don’t blow it. You gotta try your best. You gotta try your hardest. We have to make this worth it.’ And it turned out to be worth it.”

    After securing the role of Reggie, inspired by Spielberg’s real-life sister Anne, Butters had just one question: “Is there a monkey in this movie?” The actor had watched Spielberg, a 2017 HBO documentary about the legendary filmmaker, which recounts the time his mother spontaneously brought a pet monkey home. “I had this joke on set where that was what made me want to do the movie,” she says. “That was the deal—if there was a monkey, I would work on it.” And how was it sharing the screen with an orangutan? Says Butters, “Crystal was such an incredible actress.”

    Spielberg’s love of his sister is clear throughout The Fabelmans, shown through details and observations too specific to be made up—from her likening the family’s Northern California move to being “parachuted into the land of the giant sequoia people” to asking when “Sammy” plans on making movies with roles for girls. Although often in the periphery, Reggie’s protectiveness over her mother, Mitzi (played by Michelle Williams), breaks through. During a camping trip, she shields her inebriated mother, dancing by the fire in a transparent nightgown, from prying eyes. And after learning of her parents’ split, she observes that it must be difficult for their mother to be “loved by someone who worships” her as their father does. 

    “She feels a responsibility to be kind of the mother of the family while her mom is out playing and dancing and having fun and living life,” Butters tells me of Reggie. “Her mother has such a way about her—this innocence, it’s like a breath of fresh air. She feels youthful and young and happy. She just radiates such a glow. Reggie really wants to protect that and keep that fire lit.”

    Butters, who plays Reggie from ages 13 to 16, grew similarly attached to her onscreen Fabelmans family—Williams as free-spirited mother Mitzi, Paul Dano as by-the-numbers father Arnold, fellow sisters Natalie (Keeley Karsten) and Lisa (Sophia Kopera), and Gabriel LaBelle, who plays the Spielberg-inspired character of Sammy. “We all built a safe space where you can say what’s on your mind if you’re feeling anxious or sad or happy,” Butters says. “And I think that was really important with such an intense set,” adding of her younger costars, “We were all geeking out over the fact that we had made our dreams come true, working with Steven.”

    When I ask Butters if she had jitters about meeting the real-life Anne, who would, after the period depicted in the movie, go on to cowrite and produce Big, starring Tom Hanks, she pauses. “I get nervous about everything, so that’s kind of a funny question.” Butters, who played a kid with obsessive-compulsive disorder on the ABC sitcom American Housewife, says she struggles with her own anxieties, which made their own appearance on the set of The Fabelmans.

    One day, a scene involving Reggie and Sammy quickly bantering while washing dishes was placed in front of Butters, who was in the thick of schoolwork, just 30 minutes before it was meant to be filmed. “I was having trouble getting it out on set,” she remembers. “I got super anxious because I was on a Steven Spielberg set and I really wanted to do the best I could. So of course when I couldn’t get it, I got frustrated with myself. And I beat myself up to the point of shaking.”

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    Savannah Walsh

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