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Tag: reunited

  • Rose Byrne and Kristen Wiig Toast to ‘Bridesmaids’, Friendship, and Launching Themselves Into Space

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    For If I Had Legs I’d Kick You and Palm Royale, you both have created such singular characters. How different are they each from you in real life?

    Wiig: She’s a little more delusional than I am. She’s much more ambitious than I am, also. I feel like we’re pretty different. I will say a similarity: I do have a belief that everything works out, and it is supposed to work out the way it’s supposed to work out. She doesn’t take no for an answer—and I do! Obviously, she’s just a little more scheming in a way, but she’s well intentioned, which I guess I am.

    Byrne: I am pretty different. She’s very, very different from me. The character is incredibly hostile, Linda, and she comes from a place of hostility throughout the film, because she’s under such stress and trauma. Whereas my default is not hostility if I’m under stress or trauma. It is a different thing. I go overboard in another way, but not like that. So that was hard, because it’s not my natural default. It was challenging to constantly capture that hostility that she has, fighting everybody and cutting everybody off. But fun too.

    Wiig: Knowing you and seeing her, I was like, “Who is this person?” Because it’s so heartbreaking. And you’re waiting the whole movie for her to just, like, run over somebody in a car. It was truly one of the most amazing performances that I’ve seen.

    Byrne: I feel like it is just an opportunity. It’s a gift to see a woman act like that and lose it like that.

    Wiig: Did you have moments—because this has happened to me—before you shot this where you were like, I don’t know if I can do this?

    Byrne: Every day! I didn’t want to mess it up. I would be calling [writer-director] Mary Bronstein, “Did we get this?” The character’s very paranoid, and I’m not a Method person. But you do become a little bit consumed with your subject, whether you like it or not. You try to have faith, but I’m constantly wondering if this is going to come together. And particularly before you start. Once you’re in, it’s better because you’re just in it. But the anticipation before—I have that every time. It’s kind of boring. Bobby [Cannavale, Byrne’s partner] is like, “Can we be done?”

    Wiig: But I think it’s good too, because then when you’re done, you’re like, Oh my gosh, I did it.

    Byrne: I think if you’re not a little bit scared, then maybe reexamine what you’re doing.

    Kristen, you’re always a great presenter at awards shows, like at the Globes with Will Ferrell and another year with Steve Carell. What’s your approach to doing that?

    Wiig: With both of those in particular, we just met before and we’re like, “What do we want to do?” And both times it was a little like, “Well, they may either not like this or think it’s too long, but let’s just push for it.” And then they just kind of let us do it. But you never know. I remember specifically with the last one that I did with Will, it was later in the show. We were at the same table, and we would just look at each other like, “What are we doing?” I think we did a rehearsal and people were just like, “What is this?” So I think the long answer is, doing something that you think is funny while still acknowledging how great it is for the nominees and everything—not taking anything away from them, and talking about the category, and just having fun with it.

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    Rebecca Ford

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  • Ben Affleck & Jennifer Lopez ‘Not Getting Back Together BUT…’ – Perez Hilton

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    Sorry, y’all! Whatever hopes you might have been harboring about Bennifer 2.0 (er, 3.0?) should be officially dashed, because it is off the menu. But don’t go thinking the show is over just yet! While technically they’re dunzo in the romance department, these two Hollywood heavyweights are serving up some seriously friendly vibes that have tongues wagging!

    So, wait, let’s go back a bit: the whole world knows that Jennifer Lopez and Ben Affleck rekindled their early 2000s magic by tying the knot in 2022. It was glam, glossy, and giving true love part deux. But fast forward to August of last year when the Waiting For Tonight singer filed for divorce, officially moving to forever close the chapter on their love. Sad face, right? Well, maybe not so fast…

    Related: Jennifer Lopez Complains She Isn’t Taken Seriously As An Actress!

    Just when we thought it was all courtroom drama and icy silences, the two turned up *together* on the red carpet for the Monday night premiere of J.Lo’s new film Kiss of the Spider Woman! And guys, they looked friendly AF! Like, really friendly. We’re talking shared laughs, cozy smiles, and red carpet posing like it’s 2002 again.

    But don’t go planning a reunion tour yet! A source spoke to Us Weekly about the pair’s shocking red carpet closeness this week, and slammed the door HARD on any reconciliation possibilities:

    “They are not getting back together but are in a great place and are able to communicate better and have a friendship.”

    Hmmm… That “but” is doing a lot of heavy lifting! LOLz!!

    TBH, tho, it’s giving amicable exes with history and not passionate rekindling. Which makes sense, because apparently getting to this chill zone wasn’t exactly easy-breezy. The source added:

    “It took a lot of time for them to get to this place.”

    Welp, sounds like through all the divorce difficulties of the recent past, at least now the vibes are good enough for Ben to show up at Jenny’s big night!

    So why was Mr. Batman there, anyways? Nostalgia? A cryptic message to the world? Nope! Another source added:

    “There is nothing going on between them. He went because he’s a producer.”

    Duh! That’s right! Ben’s company Artist’s Equity (co-founded with his bestie Matt Damon, obvi), produced the film. So technically it was a work thing, as you might say. But that didn’t stop social media from losing their minds over seeing the exes share a laugh.

    And they were so sweet, so respectful, and juuust close enough on that red carpet to keep us all on the edge of our seats. Sooo, y’all better stay tuned! Because with these two, you just never know…

    [Image via MEGA/WENN]

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    Perez Hilton

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  • Drone helps locate missing family dog in New Jersey woods

    Drone helps locate missing family dog in New Jersey woods

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    SOUTH AMBOY, New Jersey (WABC) — A family in New Jersey has been reunited with their dog, who is lucky to be alive

    On Friday, both one of the two dogs, Guinness made a run for it and then got hit by a car before going missing in some nearby woods.

    “I stopped breathing. I couldn’t sleep, knowing he was out there,” said Mary Van Sant.

    Fighting against the frightening ordeal, friends and family searched — but Guiness was gone.

    Help soon arrived after the owners contacted a nonprofit, called U.A.A.R. Drone Team, which specializes in finding missing people and pets, among other things.

    “I had to find the dog for them,” said Michael Parziale, founder of the U.S.A.R. Drone Team. “We covered literally a mile.”

    Thanks to drone technology, after two days missing, Guinness was found.

    As a result of having gone missing, Guinness rushed to the vet with injuries, which requires surgery.

    But he’s going to be okay.

    ———-

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    WABC

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  • Greta Gerwig and Natalie Portman on the “Cosmic” Connection That Still Links Them

    Greta Gerwig and Natalie Portman on the “Cosmic” Connection That Still Links Them

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    Portman: I feel like it’s what I’m drawn to—heightened expression, yeah. But I feel like getting to spend time with you on both those sets, I’ve never met anyone—it’s hard to say with you here— who’s so smart, and interesting, and cool, and not intimidating at all. Just having the openness and loving and putting-you-at-ease sense at the same time as having the most interesting story, and listening to the coolest music, and knowing all the interesting stuff, but not in an intimidating way at all. And it was so clear that you were going to create magic. Because I feel like you directed Lady Bird soon after that.

    Gerwig: I think I had the script, actually.

    Portman: I remember you talking about that you were going to direct your first film, and that you had just worked with Rebecca Miller and you had just worked with Mia Hansen-Løve, and that you were geared up for it. And I was like, Oh, this is going to be great. And then I remember seeing it at Telluride and I was like, Oh, my God, this is just the greatest. It had your spirit and generosity. That’s the thing, your films are so good and they’re so generous of spirit. It’s a joyful experience.

    Gerwig: It’s like that funny moment when you have a script—it’s like your secret. I remember reading about Martin McDonagh—when he wrote Beauty Queen of Leenane, he wrote it when he was on the dole in Ireland. He said he went to the pub and he’d written it and he thought it was good. And he looked around and he saw all these people with their girlfriends, and he’s like, They have girlfriends, but I have The Beauty Queen. It was this feeling inside, and it is that sort of—you’re like, I have a secret world now. And it’s the best feeling.

    Greta, you were just at the Palm Springs gala and you said, “It took me a long time to say out loud that I wanted to be a director.” When was that moment that you realized you did want to say that out loud?

    Gerwig: For a while it didn’t occur to me, in a way. For a while it didn’t occur to me to write, because when I went to college, I loved playwrights, but I didn’t know very many lady playwrights. I just knew Wendy Wasserstein, but all of the other playwrights I worshipped were men. And I remember actively thinking, like, Oh, it’s too bad I’m not a man. I can’t really do it. But it wasn’t sad, it was just like, That’s just not open to me. And then I had a great playwriting teacher, Ellen McLaughlin, who’s an actor and a writer, and she gave me a stack of plays written by women. And it was like, You’re wrong. Look at all this. Look at Caryl Churchill. What are you talking about?

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    Rebecca Ford

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  • Colman Domingo and Ava DuVernay on the Madness, Missteps, and Money of Awards Season

    Colman Domingo and Ava DuVernay on the Madness, Missteps, and Money of Awards Season

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    One thing I noticed is you both, early on, dabbled in journalism in your careers. And I’m curious how you think that interest appears in your work now in film?

    Domingo: In every single way. I think I have a journalistic heart. That’s the way I’ve always approached all the work, especially coming from the theater. My friend, Candace Allen, who’s a beautiful writer, says, “Oh, Colman, you’re an archivist.” And I was like, “What?” She says, “Everything you’ve been doing, you’ve been trying to archive who we are right now and really hold a mirror up to who exactly we are right now, the things we love about ourselves, hated culturally, all that stuff.”

    And I said, “Wow.” And I had to admit she was right. I think it’s because back in high school, I was on the school newspaper, and that’s where I found my joy. I love writing about things. I watch humanity. It’s funny, I’ve become less shy and I’m sort of, like Ava said, in the center of the party, but I also love to be an observer as well.

    DuVernay: You do?

    Domingo: Raul [Domingo’s husband] will tell you that when I’m at home, he calls me “the cat” because I’m in my office with my books and I’m reading and I’m looking and I’m laying on the floor. And also, I’m very quiet at home. What about you, Ms. Ava DuVernay, your journalistic heart?

    DuVernay: I just think it’s been tough for me to make movies that are not about something real. I can do it, but I don’t enjoy it as much as the ones that require research, the ones that require investigation, the ones that require interviewing, whether it’s When They See Us or 13th or Selma or even Middle of Nowhere, which was just so many interviews to uncover the real women’s stories for that, and certainly, Origin. I love doing DMZ and Wrinkle and those things, but there’s something that beyond a love for just the filmmaking, a deep sense of purpose and meaning in taking more journalistic approach to the filmmaking and the architecture of the story that just really, it’s my thing.

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    Rebecca Ford

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  • Jason Schwartzman and Gael García Bernal on the Many Masks of Acting

    Jason Schwartzman and Gael García Bernal on the Many Masks of Acting

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    In Reunited, Awards Insider hosts a conversation between two Oscar contenders who have collaborated on a previous project. Today, we speak with Jason Schwartzman, who stars in Asteroid City, and Gael García Bernal, who stars in Cassandro. They previously worked together on Mozart in the Jungle, which starred García Bernal and was produced and cocreated by Schwartzman.

    The minute Jason Schwartzman hops on the Zoom call with Gael García Bernal for this Reunited conversation, he tells García Bernal that he watched Cassandro—in which Bernal stars as a barrier-breaking gay Mexican wrestler—twice in one day. “What a character that you play,” he says. “He smiles so much. And he’s rarely sulking, which is almost more intense for me.”

    In his 2023 film, Wes Anderson’s Asteroid City, Schwartzman’s character, Augie, does sulk a bit. A recently widowed war photojournalist, the character couldn’t seem more different from García Bernal’s. But as the pair of former collaborators soon learn, the work they put into exploring each of these characters will turn out to be surprisingly similar. Both stories play with the idea of performance within a performance, and both required the use of masks (of some sort, anyway)—a theme that weaves its way through acting in many ways for both of them.

    García Bernal and Schwartzman first worked together on Amazon’s TV series Mozart in the Jungle, in which García Bernal played an eccentric music conductor and Schwartzman served as a cocreator, writer, and executive producer. The charming series, which lasted for four seasons, left a strong impression on both of them, as Schwartzman’s first experience in a major creator role and García Bernal’s first major lead role on an American TV series. Now, the pair reunite to look back on the joy of playing an uncensored genius on TV, and dive-deep into the tools and tricks they used to explore their characters in Asteroid City and Cassandro.

    Vanity Fair: What do you remember about the first time you met?

    Gael García Bernal: Maybe we had talked on the phone, but I think my first impression was you in a room with many, many people and you always with your smile and just charisma, I don’t know, you came up to me and you were the first one I said hello to in Mozart in the Jungle. I always had a feeling that we were from the same kind of postal code, even though we definitely didn’t grow up in the same cities or anything, but there was something that we have – when you look at someone performing and you see through the character, you see that person and you see that vitality and that losing of control as well, which is wonderful. And watching you, I was like, we could be friends. We could talk the same language.

    Jason Schwartzman: I have the same feeling really. I just remember seeing you and feeling so honored that we were going to do this together. And I think also just excited because you are going to be the captain of this ship that we were going to be going out on. And your smile and who you were, I just felt like this is going to be a wonderful trip if this is who’s guiding us.

    But not to make you uncomfortable, but there’s one time that we didn’t really meet before, but we were near each other. At the Toronto Film Festival, I was there with this movie called I Heart Huckabees and I don’t know what you were there with, but I was having dinner with David O. Russell and this group of people. You came in with, I forget who, and sat down across the table and started talking. And I remember thinking, I know you shouldn’t look at your career like this, but I was thinking this is a good sign for my career. Now, if he’s coming to the table and sitting with us, I’m on some kind of right track.

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    Rebecca Ford

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  • Michael Mann and Eric Roth Love the “Adventure” of Research

    Michael Mann and Eric Roth Love the “Adventure” of Research

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    In Reunited, Awards Insider hosts a conversation between two Oscar contenders who have collaborated on a previous project. Today, we speak with Michael Mann, who directed Ferrari, and Eric Roth, who cowrote Killers of the Flower Moon. The longtime collaborators previously worked together on The Insider, Ali, and the TV series Luck.

    Eric Roth wasn’t sure he was the right guy to write The Insider; Michael Mann, the director, was confident he was. It was the first time the writer of Forrest Gump and the director of Heat had met each other, but as Roth remembers that meeting, “some kind of kinship” was born. “We both come from tough backgrounds, and we just figured we could battle this out together.”

    1999’s The Insider, the compelling thriller about a whistleblower in the tobacco industry starring Al Pacino and Russell Crowe, would go on to be nominated for seven Oscars. For Mann and Roth, it was the foundation of their creative friendship that would continue on with 2001’s Ali, starring Will Smith, and the HBO series Luck. They would both go on to do plenty of projects without the other—Roth’s many credits include Munich, The Curious Case of Benjamin Button, A Star Is Born, and Dune, while Mann helmed Collateral and Public Enemies. But they remain friends, and their desire to collaborate together again has never waned. “We both have the same sense of humor, I think, a skepticism and cynical humor,” says Mann.

    With their current projects—Roth cowrote with Martin Scorsese the epic Killers of the Flower Moon, and Roth directed Ferrari, starring Adam Driver—they both use their passion for delving into true stories to bring to life captivating films about unique characters in history. In this wide-ranging conversation, the pair reminisce about being heavy smokers while making The Insider, reveal why they love the research part of their job, and the reason their artistic partnership is so unique. “Look, it’s a collaborative medium, but the truth is, at the end of the day, the director’s boss, and so you need to find some common ground,” says Roth. “And Michael’s just a unique bird. He’s annoying, but he’s unique.”

    Vanity Fair: What is your strongest memory of working on The Insider together?

    Michael Mann: When we were doing Insider, we would write every morning at the Broadway Deli. And the reason was that we’re both heavy smokers and they had just started anti-smoking legislation in restaurants, but you could still smoke in bars. So the Broadway Deli happened to have a bar in the morning, so we’d be sitting there in the morning for three hours smoking and all this stuff. And then about three or four weeks before we started shooting, I said, ‘I’ve really got to stop, because what I’ll do is, once I start shooting I’ll get up to three packs a day.” So we both decided that we would stop.

    Eric Roth: Well, the only thing I disagree with is, this is kind of after the movie, because we were during the movie smoking in the biggest anti-tobacco lawyers’ offices in America.

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    Rebecca Ford

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  • Juno Temple and Riley Keough on Growing Up But Remaining “Rising Stars”

    Juno Temple and Riley Keough on Growing Up But Remaining “Rising Stars”

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    In Reunited, Awards Insider hosts a conversation between two Emmy contenders who have collaborated on a previous project. Today, we speak with Riley Keough, who stars in Daisy Jones & the Six, and Juno Temple, who appears in Ted Lasso. They previously worked together on the 2012 indie horror film Jack & Diane.

    “Do you remember the phone in the toilet and the rice, the whole thing?” Juno Temple asks Riley Keough with a smile moments after we sign on to a Zoom.

    “Oh, my God, didn’t we put it in quinoa?” Keough replies, with a laugh.

    Drunkenly dropping your phone into a toilet at a bar and then hoping the grain gods can save it from an early death was just one of the many rites of passage the two actors shared when they lived together in New York when they were in their early 20s. At the time, they were filming the 2012 indie horror film Jack & Diane, in which they play, as Keough puts it, “lesbian werewolves,” or two women who fall into an obsessive love with each other.

    More than 10 years later, they’ve both grown up, and their careers have grown as well. Temple has just wrapped up her third and most likely final season of Ted Lasso, playing scrappy publicist Keeley Jones, while Keough transformed into a ’70s rock star for the breakout hit limited series Daisy Jones & The Six.

    Both currently in Los Angeles for a bit—though Temple says she’s “very transient right now” and will soon be back in the UK—the pair of good friends reflect on their transformative shows, what it’s like to let go of a part, and why they’re finally looking for grown-up roles.

    Vanity Fair: When did you first meet?

    Riley Keough: Was it in our apartment? We were living together for the film we were doing in an apartment. I feel like I just met you there.

    Juno Temple: I think you just had your hair cut and dyed.

    Keough: It was the first time I’d ever cut my hair in that way because my hair is really important to me, and so it was a real crazy thing. I think we just met in the apartment — which is crazy, to put two people in an apartment to live together who’ve never met.

    Temple: You walked me through my first panic attack. Literally, I thought I was dying and you were like, “No, you’re not. It’s okay. I know what this is.”

    Keough: I’m like, “I get this every day.”

    How would you two describe where you were in your acting careers at that point?

    Keough: Well, Juno was much more established than I was at the time. I think this was the third movie I’d ever done.

    Temple: I remember that you had just booked Mad Max: Fury Road before coming out there, and you were supposed to go do it straight after and then it kept getting pushed, right?

    Keough: Yes. I’d maybe done a couple jobs before this movie. And Juno was a proper established indie queen, I think.

    Temple: I don’t remember that, but I definitely had said yes to anything and everything and wanted to work all the time, which I still I do. I love work so much.

    This was around the time you started landing on “Rising Star” lists, wasn’t it Juno?

    Temple: That was after Killer Joe. That, for me, was really a gamechanger in how people saw me as an actress. And that Rising Star Award, kind of coincided with that — which again, is a decade ago — [I’m] still rising. [Laughs]

    Keough: I know. I think that all the time when I’m like, “I’ve been hearing this for fucking 15 years.”

    Temple: Even one when Ted Lasso came out. Someone emailed me something saying a link to IMDB’s top people to watch. I was like, “I’m in my thirties.”

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    Rebecca Ford

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  • Molly Shannon and Jesse Plemons Talk Fame, Bravo, and Evil Queens

    Molly Shannon and Jesse Plemons Talk Fame, Bravo, and Evil Queens

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    Shannon: That was really interesting. I found the whole story of your character so interesting too, in the end, when they say what happened and how he remarried and his kids were taken care of by the grandparents. I really liked that [Elizabeth Olsen’s Candy] was like, “I really want to have an affair with you.” And he’s more passive. You played it so well, Jesse. I had not read the book, so for somebody like me, I was like, “Oh my God, this is so interesting.” My daughter and I loved it. We watched it really fast. 

    Then [Candy] kept taking those pills. As a matter of fact, this is so funny—I watch Vanderpump Rules. There was a cheating scandal, and I think Andy Cohen said he thinks one of the girls in the cheating scandal might have taken something to make herself calm for the reunion. And so it reminded me of Love & Death because people were wondering why she wasn’t very reactive.

    Plemons: Should I watch this show, Vanderpump Rules?

    Shannon: Jesse! I think you should watch it with Kirsten. Just watch this season because as far as reality goes, it delivers times 100, and it’s not hard to just catch up. I would say just watch this last season and you will not be disappointed.

    Plemons: I got pretty obsessed with Below Deck.

    Shannon: People really like that show. Don’t they pay people to go on the boat? You can bring your friends or whatever, right?

    Plemons: They must.

    Shannon: It’s something like that where they get a fee, almost like reality actors, and they can get their friends. I don’t know. I thought it was something like that, but what do I know?

    Molly, this season on The Other Two, your character has had to navigate fame in a particularly intense way. Did you relate to that story line at all? Curious for both of you how you’ve handled being in the public eye, even since the movie you made together.

    Shannon: Yes. When I was shooting The Other Two, I fly back and forth all the time, so I know all the airline stewardesses and they’re always like “Ah!” And they’ll sit down and talk to me. Sometimes I have to work and memorize my lines. I’ll be like, Oh my gosh, thank you. Okay, I got to work now.” I try to be friendly. Pat, my character, of course, has alien-level fame, like Oprah-level. But I think that when you go out in public, you have to be the mayor. “Hello!” I happen to be an extrovert, so I don’t mind talking to strangers. But if you’re more of an introvert, which a lot of actors are, it’s interesting, because people really come up to you a lot. 

    You learn a lot about people and behaviors. It’s almost like a social study. I had a woman come up to me at a party. She came over and I had a glazed over look of—I thought she was a fan. She was like, “You don’t remember me.” That was her intro. And I was like, “Oh God, I’m sorry.” And then it was actually somebody I knew, but I hadn’t seen them for 25 years. I don’t know if you’ve experienced this, Jesse, but people will be like, “I went to school with Jesse. Jesse’s my good friend. Remember me?” And you find out it was like 20 years ago and you might be bigger in their head. 

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    David Canfield

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  • Tony Kushner Was a “Really Demented Jeremy Strong Fan” Before They Ever Met

    Tony Kushner Was a “Really Demented Jeremy Strong Fan” Before They Ever Met

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    In Reunited, Awards Insider hosts a conversation between two Oscar contenders who have collaborated on a previous project. Today, we speak with Armageddon Time star Jeremy Strong and Tony Kushner, the cowriter of The Fabelmans. They previously worked together on 2012’s Lincoln.

    If you get together two men who were brought up in the theater and remain fervent fans of it still today, be warned: There will be an endless stream of theater references in their conversation. Tony Kushner will reminisce about seeing Brian Cox playing the title role in Titus Andronicus or casually reference A Midsummer Night’s Dream. Jeremy Strong will quote directly from Kusher’s Pulitzer Prize–winning Angels in America more than once. And they’ll both express how vulnerable it can be to work in theater, and what the audience gains from that. “We watch to see someone’s suffering so that we don’t have to suffer,” says Kushner at one point.

    This year, both Strong and Kusher witnessed that sort of personal vulnerability bleed over into their work in film, each of them collaborating with directors to tell stories from their childhoods, centered on uneasy family dynamics. Strong starred in James Gray’s Armageddon Time, playing a character inspired by Gray’s father; Kushner cowrote the script for Steven Spielberg’s The Fabelmans, which chronicles the director’s parent’s divorce and his coming-of-age as a filmmaker. 

    Longtime fans of each other, the pair first worked together on Lincoln, which Kushner wrote and Strong, who had previously worked as Daniel Day Lewis’s assistant, played the role of John Nicolay, a secretary to the US president. They spoke with Vanity Fair about the power and responsibility of art, their awkwardness at receiving compliments, and what they envy about each other’s profession. 

    Vanity Fair: What do you remember about the first time you met?

    Jeremy Strong: Tony, you probably don’t remember this. But the first time I met you, we had dinner. I was with Michelle [Williams] and Linda Emond and we had dinner in Williamstown, when Linda was doing the Cherry Orchard in 2004.

    Tony Kushner: We just came to Williamstown to see that production because Linda’s one of my oldest and dearest friends. But my chronology must be screwed up—was the first time that we actually spoke after The Great God Pan?… I think I had seen you in a couple of things before that and I just hadn’t talked to you…. I sort of have this memory that we met out in the lobby.

    Strong: It was the lobby of Playwrights Horizons.

    Kushner: And I sometimes get scary and scarily intense when I see an actor that I think is really astounding. At that point I had become a really demented Jeremy Strong fan. So I think I came up to you, and you’re one of those people who you look somewhat stricken when people compliment you. It’s like on some level you feel like, “Oh, I’m hurting, I’m inflicting pain.” I know a lot of people who are like that. I mean it’s difficult to have somebody gush at you. But I loved your work in that so much. 

    How much did you two get to spend time together on Lincoln?

    Strong: In a way, I already felt quite connected to you, Tony, coming from the theater myself. It made the whole environment feel safer to me. I hadn’t met Steven [Spielberg] until the first day. I knew Daniel a bit from having worked for him. Joe Cross and I, who played John Hay and John Nicolay, we would take trips to Washington D.C. to go to the Library of Congress or to visit the White House and do research and be texting with Tony. And Tony was a treasure trove of knowledge about everything. So I remember when you wrote 20-page dossiers for every single person in the House of Representatives for their backstory — that whole experience was completely thrilling for me.

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    Rebecca Ford

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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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