Charlie Kaufman is known for his mind-bending script work on projects like “Adaptation” and “Eternal Sunshine of the Spotless Mind.” But his next project will be entirely more genial – an original DreamWorks Animation feature called “Orion and the Dark,” coming to Netflix in 2024. The announcement was made at the Annecy International Animation Film Festival, as part of a larger DreamWorks panel.
Based on the book by Emma Yarlett, the project stars Jacob Tremblay as Orion, a scaredy-cat indoor kid (described in the official synopsis as “a ball of adolescent anxiety”) and Paul Walter Hauser as Dark, the living embodiment of the night and the thing Orion is most scared of. Director Sean Charmatz, a DreamWorks veteran of the “Trolls Holiday Special,” stressed that, even though it’s a DreamWorks movie on Netflix it “has all of the Charlie Kaufman stuff in it.” (Kaufman previously worked on “Kung Fu Panda 2” for the studio.
Based on the book by Emma Yarlett, the project stars Jacob Tremblay as Orion, a scaredy-cat indoor kid (described in the official synopsis as “a ball of adolescent anxiety”) and Paul Walter Hauser as Dark, the living embodiment of the night and the thing Orion is most scared of. Director Sean Charmatz, a DreamWorks veteran of the “Trolls Holiday Special,” stressed that, even though it’s a DreamWorks movie on Netflix it “has all of the Charlie Kaufman stuff in it.” (Kaufman previously worked on “Kung Fu Panda 2” for the studio.
- 6/13/2023
- by Drew Taylor
- The Wrap
Laura Linney pours the breath of life into Broadway’s My Name Is Lucy Barton, based on the novel by Olive Kitteridge author Elizabeth Strout. Arriving in New York following an acclaimed London production, this poignant, 90-minute solo play, directed by Richard Eyre and opening tonight at Manhattan Theatre Club’s Samuel J. Friedman Theatre, conjures up an entire life – or two or three – through the sometimes fuzzy, always penetrating memories of a middle-aged woman still coming to terms with a childhood few would wish to recall.
Adapted by Rona Munro from Strout’s bestseller, Lucy Barton is set entirely in the hospital room – or, as all else here, the remembered hospital room – inhabited for nine long-ago weeks by the title character. When a routine operation goes awry, Lucy, missing her husband and two young daughters, is surprised to find her estranged mother holding vigil at her bedside.
Linney portrays both women,...
Adapted by Rona Munro from Strout’s bestseller, Lucy Barton is set entirely in the hospital room – or, as all else here, the remembered hospital room – inhabited for nine long-ago weeks by the title character. When a routine operation goes awry, Lucy, missing her husband and two young daughters, is surprised to find her estranged mother holding vigil at her bedside.
Linney portrays both women,...
- 1/16/2020
- by Greg Evans
- Deadline Film + TV
Lee Pace has one of those dream acting careers where he gets to be painted blue or dons elf ears to play Ronan (Guardians of the Galaxy) or Thranduil (The Hobbit films), sparking the imagination of countless fans around the world, and then he hits the Broadway stage and knocks ‘em dead as Joe Pitt in Angels in America. I ask him if he takes stock of that aspect of his career, and we talk about a curious note Barry Sonnenfeld gave him while making Pushing Daisies that he still uses to this day. Plus why he’s not bothered by […]...
- 8/27/2019
- by Peter Rinaldi
- Filmmaker Magazine - Blog
Lee Pace has one of those dream acting careers where he gets to be painted blue or dons elf ears to play Ronan (Guardians of the Galaxy) or Thranduil (The Hobbit films), sparking the imagination of countless fans around the world, and then he hits the Broadway stage and knocks ‘em dead as Joe Pitt in Angels in America. I ask him if he takes stock of that aspect of his career, and we talk about a curious note Barry Sonnenfeld gave him while making Pushing Daisies that he still uses to this day. Plus why he’s not bothered by […]...
- 8/27/2019
- by Peter Rinaldi
- Filmmaker Magazine-Director Interviews
Lee Pace didn’t know much about John DeLorean when he signed on to play the late automobile mogul in the new biopic “Driven.” He was aware of the DeLorean car that was immortalized in “Back to the Future” and, he says, “I had a sense of a scandal.”
That scandal was DeLorean’s downfall in the 1980s when he was charged by the FBI with brokering a deal, with the help of friend-turned-informant Jim Hoffman (played by Jason Sudeikis), to distribute $24 million worth of cocaine to try and save his flailing DeLorean Motor Company. Despite being acquitted after his legal team argued he was illegally entrapped by FBI and Hoffman, he never regained his footing.
“Who knows actually what really happened?” Pace said. “Whoever knows what actually happens in these things? You understand the version that is agreed upon at the end of it, but who knows what happens...
That scandal was DeLorean’s downfall in the 1980s when he was charged by the FBI with brokering a deal, with the help of friend-turned-informant Jim Hoffman (played by Jason Sudeikis), to distribute $24 million worth of cocaine to try and save his flailing DeLorean Motor Company. Despite being acquitted after his legal team argued he was illegally entrapped by FBI and Hoffman, he never regained his footing.
“Who knows actually what really happened?” Pace said. “Whoever knows what actually happens in these things? You understand the version that is agreed upon at the end of it, but who knows what happens...
- 8/2/2019
- by Marc Malkin
- Variety Film + TV
It was only a couple of months ago that it was announced that Gravity Falls: The Complete Series would be released on Blu-ray and DVD in July, and now the bonus features have been revealed! Fans can look forward to a new retrospective looking back on all 40 episodes with Alex Hirsch and the cast of the show, a behind-the-scenes finale special, deleted scenes, and so much more.
From Shout! Factory: "Bonus features for Gravity Falls revealed! Plus get a lithograph when you order the Blu-ray from us! Plus 100 pre-orders will be randomly selected to get a litho signed by series creator Alex Hirsch! So much good stuff going on, order yours at http://ow.ly/tU1Z30jbDn4
- New Audio Commentaries On All 40 Episodes With Creator Alex Hirsch And Members Of The Cast And Crew
- New "One Crazy Summer" – A Look Back At Gravity Falls Featuring Interviews With Alex Hirsch,...
From Shout! Factory: "Bonus features for Gravity Falls revealed! Plus get a lithograph when you order the Blu-ray from us! Plus 100 pre-orders will be randomly selected to get a litho signed by series creator Alex Hirsch! So much good stuff going on, order yours at http://ow.ly/tU1Z30jbDn4
- New Audio Commentaries On All 40 Episodes With Creator Alex Hirsch And Members Of The Cast And Crew
- New "One Crazy Summer" – A Look Back At Gravity Falls Featuring Interviews With Alex Hirsch,...
- 6/21/2018
- by Tamika Jones
- DailyDead
Irish actress Denise Gough won her first Olivier Award in 2016 for the starring role as a recovering addict in Duncan Macmillan’s play People, Places and Things, and her second earlier this year for her turn as Harper Pitt in Marianne Elliot’s London revival of Tony Kushner’s Angels in America. Last week, Gough – along with co-stars Andrew Garfield, Nathan Lane and Susan Brown – earned the Broadway transfer of Angels a record-setting 11 Tony Award nominations with her spot in one of the season’s most competitive categories: She’ll vie for Best Featured Actress in a Play, alongside her Angels co-star Brown, Noma Dumezweni (Harry Potter and the Cursed Child), Deborah Findlay (The Children) and Laurie Metcalf (Three Tall Women).
Though better known in the U.K., Gough has hit New York and hit it hard, reprising both her Angels performance and, prior to that, People, Places & Things at Off Broadway’s St. Ann’s Warehouse (she’s up for a Drama Desk Award for that one).
She’ll soon get an even wider audience with her role as Mathilde de Morny in Colette, the 2018 Sundance Fest biopic starring Keira Knightley as the French novelist, set for a September release by Bleecker Street.
Deadline spoke with Gough just days before her Tony nomination. Reflecting on her breakthrough London successes and Broadway audiences, Roy Cohn and Donald Trump, and Tony Kushner’s famous note-giving, Gough also took a deep dive into Angels’ Harper Pitt, the hallucinating “jack Mormon,” Valium-taking wife of the closeted gay Republican lawyer Joe Pitt. Harper is one of the great roles of the contemporary stage, a magnificent character in a magnificent play, and Denise Gough brings her to life on stage and, here, in this conversation.
This interview has been edited and condensed for clarity and length.
Deadline: I’m wondering if you had to recalibrate your performance in any way for a New York audience, after London?
Gough: Not really. I mean, I had to change everything because I have a new partner [Lee Pace plays Joe Pitt on Broadway; Russell Tovey played the character in London], so you’re reacting to an entirely different human being. I kind of feel like I’ve got to play two quite different Harpers, which is great.
But I feel like New York just owns this play, so there’s a real sense of it being at home, which I thought would be kind of intimidating but actually it’s really lovely. Like, people know Harper here. The very first night it just felt like everybody knew who she was. There was a tiny bit of that in London, as well that this was the first play I was doing after People, Places, & Things, and I had become something of a…I was everywhere. So it felt a bit like, “This is what Denise Gough does next in London,” and here I just don’t have any of that at all. I’m just playing Harper, with no baggage at all.
Deadline: Are you aware of what other actresses have done with this role?
Gough: I’ve never seen or watched [Angels in America]. I’ve never. And also I just don’t believe in an actor owning a part, you know? I believe that every actress who played Harper, played it for the time they were supposed to play it and they were exactly the right person that was needed to play it at that time. I’m exactly the right person at this time, otherwise I wouldn’t be doing it.
Deadline: And in the earlier productions, there were many different Harpers, whereas the Angel was so associated with Ellen McLaughlin, and Stephen Spinella was always Prior Walter.
Gough: And I’ve been playing Harper for a long time now. And this time around [on Broadway] I realized just how abusive her relationship with Joe is, you know? He gaslights her, tells her she’s crazy, acts like the problem is her taking drugs.
And then you have to ask the question, where is she getting the drugs? Like, she hasn’t left the apartment in four years and he keeps talking to her about taking pills, but if he really didn’t want her to take the pills he could take them away from her. He could stop her from taking them but he doesn’t. Joe has this line in the bar scene with Roy Cohn (Lane) where he says, What I’m afraid of is that what I love about her is the part that’s farthest from the light, farthest from God’s love, and that I’m keeping that alive for something. And I always hear that line and I think, That motherf*cker knows what he’s doing. He’s keeping her doped up in the apartment because it’s easier for him. I’m not saying that he does it consciously, but an abusive relationship doesn’t necessarily have to be somebody battering somebody.
Harper is an incredibly emotionally intelligent woman who was born into a fundamentalist religion that told her that her only role is to be a wife and mother, and she never fit that role. Tony talked to me about how Harper in Utah was like the punk, you know? She was the girl who never washed her hair and wore black eyeliner and punk t-shirts. She wasn’t a sweet little Mormon. She was always fighting. Then she was in love with this man and she knew, she always knew [that he was closeted]. Some of the first things she says in the play are, “Things are collapsing. Lies are surfacing.”
Deadline: There’s a thinking that of all the characters – and I think you touched on it in your description of Joe – Joe is the only one that the play doesn’t ever really forgive.
Gough: He never takes responsibility. If you don’t take responsibility for your actions you can’t move on. At the end of the play he goes back to Harper, and he would go back to lying again. That’s his choice. Joe is a brilliantly written part because of that. It can be difficult for actors to…you know, we all want to be the hero, don’t we? But there’s something incredible about being the person who doesn’t get redemption, and showing that to an audience.
Deadline: Someone once said about Harper that, despite her hallucinations, we meet her not when she’s in the fog of her pills – we meet her on the day the pills don’t work. She’s coming through, the denial is already fading by the time we first see her.
Gough: Yes. Yes. The greatest grief for an addict – and Harper has a mild Valium addiction, that’s how Tony describes her, and he has also said to me that the pills are sort of a side thing, something she uses to stop the truth from coming through – but the greatest devastation for an addict is that the drugs stop working. So you meet Harper at a point when lies are surfacing whether she likes it or f*cking not, you know? Even in her hallucinations, Joe keeps coming to her.
Deadline: In some ways Harper is the truth of the play…
Gough: When she gets described as drug addled and pill popping, I think, God, that’s just so reductive. That’s not her place in this play at all. And politically, especially now with #MeToo, she’s a female making her way in a world that has told her that her only role is to have babies and to be married, to the detriment of her own soul. And she walks away from that. By the end she’s so empowered.
In one of the books I read, Marcia Gay Harden [Harper in the original Broadway production] said something like, Oh, she never learns, she leaves her gay husband but goes off to San Francisco. And I was like, Hang on, her closest confidant and soulmate in this play is Prior [a gay character played by Andrew Garfield]. At every point that she thought she was falling apart, Prior comes along and they kind of steel each other up for the next part of their journey, so why wouldn’t she go to San Francisco? She’s not going to look for a man, she’s going to look for herself. And in my life the gay men are the ones who have always pushed me towards myself more than anyone else.
Deadline: Do you have a favorite of Harper’s speeches? You have one of the great monologues [the “Night Flight To San Francisco” scene near the end of the play]…
Gough: I know, but even Tony Kushner knows that it’s one of the great f*cking monologues. It makes me want to pick something else. [Laughs]. No, of course “Night Flight” is everything, and it’s so healing for me as an actress, too. At the end of it all, I get to walk away with hope. With both Harper and Prior, our journey through the play is devastation. When Andrew and I see each other backstage, we kind of feel like we’re willing the other person on. You’re like, Oh, God, you’re right in the center of your devastation and so am I, and they’re both seeking freedom, and we both get freedom. He gets his epilogue and I get my epilogue. So yeah, I do love doing that speech.
But there’s so much else. There’s loads. Her first speech is wonderful, though it’s really hard to do. It was harder in London. The character is talking to the audience about people who are lonely, and the rhythm of it is kind of…you don’t know whether it’s meant to be funny. And then her imaginary friend appears. London audiences were trying to work her out, whereas in New York as soon as I start speaking I felt the entire audience almost collectively say, Oh, there’s Harper!
Deadline: Much has been said about this era being a perfect time for Angels, with the connection between Donald Trump and the play’s Roy Cohn. Are you guys playing that at all? Does that even enter your minds?
Gough: No, I don’t think so. With this play I have discovered that no matter what you try to do, the play will do whatever it wants. Like, the play undoes you. So if I’m going to try to do anything that is not the play, it won’t work, you know? The beauty of this play is you just do it and it will have its effect.
I remember in London I was really nervous about playing [Roy’s friend] Martin because I’m onstage with Nathan Lane, who I love, and I’m playing a man, and I didn’t want to f*ck it up. So I was really nervous about it, thinking, Oh God, it’s going to look silly, and then the first night I went out and I spoke those words and I thought, Oh, just say the words. It doesn’t f*cking matter – you could be standing here dressed as a chicken.
Deadline: I seem to remember that in the original Broadway production [1993, the first year of Bill Clinton’s presidency], when Martin talks about Republicans taking over the Supreme Court, the Senate and the Oval Office, that speech got a laugh. It does not get a laugh anymore.
Gough: It really doesn’t. What it gets is this really uncomfortable…People can’t laugh about it now because it’s so dark. You kind of think, when this was written audiences must have thought, Aren’t we lucky that’s not how it is anymore? And now you think, Oh, God, how did we let this happen again?
And it’s the confidence of these people. I wanted Martin this time around to be real sharp. These guys know that they’re winning. It’s terrifying. I enjoy playing that scene much more than I did in London, I must say.
Deadline: Tony Kushner has been known to give notes. Has he given you any?
Gough: He gave me one note and that’s all he’s ever given me.
Deadline: You may have set a record.
Gough: Yeah. I was finding a scene really difficult, the scene in the rain. He loves Harper very much, Tony, so I feel like he also knows that it’s a very strangely written scene, that little piece when Harper says, “Water won’t ever accomplish the end, no matter how much you cry. Flood is not the answer, people just float.” I was like, f*ck. How? What? So I asked him and he said, Oh, I dreamt that in its entirety and I’ve never touched it. The thing about Harper is that she is open to emotional interpretation, and Tony let me do that. Now, if it had been bad he would have stopped me.
And we talked about the pills. Joe talks about how Harper’s pill addiction is the problem, and if she just didn’t take pills everything would be fine. I was like, Hang on, where does she f*cking get these pills? I spoke to Tony and he was like, Yeah, from him. And you think, Oh, that’s a whole other…that’s like being kept drugged up by your partner, you know? That added a whole different element for me this time around that I couldn’t quite catch in London, but here I really catch it. So when he shames her – “how many pills today, Buddy?” – and she’s so ashamed of herself, he’s giving them to her.
Deadline: It just struck me, but I think in this production Harper doesn’t give Joe her bottle of pills at the end, right?
Gough: Oh, I think you might have seen the night where I didn’t give them to him because I forgot them! Which was mortifying. Mortifying. F*cking…
Deadline: Then I’m glad I mentioned it. I was going to build some big theory around it.
Gough: No. No. No. But there is something different. In the old production she would pour some pills out and give him some and then she would take the bottle, but in this one she gives him the whole bottle of pills and she walks away with no pills. She leaves them to him. Well that’s what’s meant to happen.
Also in this [production], she kisses Joe at the end, which is an idea of mine. It’s a difficult scene [for the audience] with Joe to be left like that, so I wanted, through Harper, for the audience to find a way to be kind to Joe, too, you know?
Deadline: You’ve won a lot of awards. Are you allowing yourself to think about the Tonys?
Gough: I just can’t get involved in it. I had no idea that I would win an Olivier for it, I really didn’t. I was sure that The Ferryman was going to win everything, so I was really shocked that I won. I was delighted though, because it’s not an easy gig, this. And I can wear them as earrings now because I have two.
But listen, I’m nearly 40 and things took as long as they took just for me to start getting regular work. So the fact that I’m on Broadway with Angels in America, and having done People, Places, & Things in one of the coolest theaters in New York at St. Ann’s Warehouse, I’m living my best life right now. So you know, it’s all cherries and icing at the moment. It’s just so nice. I feel so f*cking lucky.
Deadline: Tell me about Mathilde, the character you play in Colette.
Gough: She’s basically at the forefront of the trans movement, before anybody knew what that word meant. She dressed as a man and she was referred to as a man. At a time when it was illegal for women to wear trousers, she wore trousers, and she and Colette had a seven year love affair, and then she tried to kill herself by committing hara-kiri, and when she was caught doing that she was arrested. She eventually killed herself by sticking her head in an oven. Whether I would play it or not, somebody should play her story fully. Colette is fantastic, and Kiera Knightley is really great in the film, but there are so many female stories that you think, God, if this was a man Tom Hanks would have played it and won Oscars for it 200 times over. It’s just really exciting that we’re at a time when these women’s stories are starting to be considered as leading, proper Hollywood movies. It’s fantastic, isn’t it?...
Though better known in the U.K., Gough has hit New York and hit it hard, reprising both her Angels performance and, prior to that, People, Places & Things at Off Broadway’s St. Ann’s Warehouse (she’s up for a Drama Desk Award for that one).
She’ll soon get an even wider audience with her role as Mathilde de Morny in Colette, the 2018 Sundance Fest biopic starring Keira Knightley as the French novelist, set for a September release by Bleecker Street.
Deadline spoke with Gough just days before her Tony nomination. Reflecting on her breakthrough London successes and Broadway audiences, Roy Cohn and Donald Trump, and Tony Kushner’s famous note-giving, Gough also took a deep dive into Angels’ Harper Pitt, the hallucinating “jack Mormon,” Valium-taking wife of the closeted gay Republican lawyer Joe Pitt. Harper is one of the great roles of the contemporary stage, a magnificent character in a magnificent play, and Denise Gough brings her to life on stage and, here, in this conversation.
This interview has been edited and condensed for clarity and length.
Deadline: I’m wondering if you had to recalibrate your performance in any way for a New York audience, after London?
Gough: Not really. I mean, I had to change everything because I have a new partner [Lee Pace plays Joe Pitt on Broadway; Russell Tovey played the character in London], so you’re reacting to an entirely different human being. I kind of feel like I’ve got to play two quite different Harpers, which is great.
But I feel like New York just owns this play, so there’s a real sense of it being at home, which I thought would be kind of intimidating but actually it’s really lovely. Like, people know Harper here. The very first night it just felt like everybody knew who she was. There was a tiny bit of that in London, as well that this was the first play I was doing after People, Places, & Things, and I had become something of a…I was everywhere. So it felt a bit like, “This is what Denise Gough does next in London,” and here I just don’t have any of that at all. I’m just playing Harper, with no baggage at all.
Deadline: Are you aware of what other actresses have done with this role?
Gough: I’ve never seen or watched [Angels in America]. I’ve never. And also I just don’t believe in an actor owning a part, you know? I believe that every actress who played Harper, played it for the time they were supposed to play it and they were exactly the right person that was needed to play it at that time. I’m exactly the right person at this time, otherwise I wouldn’t be doing it.
Deadline: And in the earlier productions, there were many different Harpers, whereas the Angel was so associated with Ellen McLaughlin, and Stephen Spinella was always Prior Walter.
Gough: And I’ve been playing Harper for a long time now. And this time around [on Broadway] I realized just how abusive her relationship with Joe is, you know? He gaslights her, tells her she’s crazy, acts like the problem is her taking drugs.
And then you have to ask the question, where is she getting the drugs? Like, she hasn’t left the apartment in four years and he keeps talking to her about taking pills, but if he really didn’t want her to take the pills he could take them away from her. He could stop her from taking them but he doesn’t. Joe has this line in the bar scene with Roy Cohn (Lane) where he says, What I’m afraid of is that what I love about her is the part that’s farthest from the light, farthest from God’s love, and that I’m keeping that alive for something. And I always hear that line and I think, That motherf*cker knows what he’s doing. He’s keeping her doped up in the apartment because it’s easier for him. I’m not saying that he does it consciously, but an abusive relationship doesn’t necessarily have to be somebody battering somebody.
Harper is an incredibly emotionally intelligent woman who was born into a fundamentalist religion that told her that her only role is to be a wife and mother, and she never fit that role. Tony talked to me about how Harper in Utah was like the punk, you know? She was the girl who never washed her hair and wore black eyeliner and punk t-shirts. She wasn’t a sweet little Mormon. She was always fighting. Then she was in love with this man and she knew, she always knew [that he was closeted]. Some of the first things she says in the play are, “Things are collapsing. Lies are surfacing.”
Deadline: There’s a thinking that of all the characters – and I think you touched on it in your description of Joe – Joe is the only one that the play doesn’t ever really forgive.
Gough: He never takes responsibility. If you don’t take responsibility for your actions you can’t move on. At the end of the play he goes back to Harper, and he would go back to lying again. That’s his choice. Joe is a brilliantly written part because of that. It can be difficult for actors to…you know, we all want to be the hero, don’t we? But there’s something incredible about being the person who doesn’t get redemption, and showing that to an audience.
Deadline: Someone once said about Harper that, despite her hallucinations, we meet her not when she’s in the fog of her pills – we meet her on the day the pills don’t work. She’s coming through, the denial is already fading by the time we first see her.
Gough: Yes. Yes. The greatest grief for an addict – and Harper has a mild Valium addiction, that’s how Tony describes her, and he has also said to me that the pills are sort of a side thing, something she uses to stop the truth from coming through – but the greatest devastation for an addict is that the drugs stop working. So you meet Harper at a point when lies are surfacing whether she likes it or f*cking not, you know? Even in her hallucinations, Joe keeps coming to her.
Deadline: In some ways Harper is the truth of the play…
Gough: When she gets described as drug addled and pill popping, I think, God, that’s just so reductive. That’s not her place in this play at all. And politically, especially now with #MeToo, she’s a female making her way in a world that has told her that her only role is to have babies and to be married, to the detriment of her own soul. And she walks away from that. By the end she’s so empowered.
In one of the books I read, Marcia Gay Harden [Harper in the original Broadway production] said something like, Oh, she never learns, she leaves her gay husband but goes off to San Francisco. And I was like, Hang on, her closest confidant and soulmate in this play is Prior [a gay character played by Andrew Garfield]. At every point that she thought she was falling apart, Prior comes along and they kind of steel each other up for the next part of their journey, so why wouldn’t she go to San Francisco? She’s not going to look for a man, she’s going to look for herself. And in my life the gay men are the ones who have always pushed me towards myself more than anyone else.
Deadline: Do you have a favorite of Harper’s speeches? You have one of the great monologues [the “Night Flight To San Francisco” scene near the end of the play]…
Gough: I know, but even Tony Kushner knows that it’s one of the great f*cking monologues. It makes me want to pick something else. [Laughs]. No, of course “Night Flight” is everything, and it’s so healing for me as an actress, too. At the end of it all, I get to walk away with hope. With both Harper and Prior, our journey through the play is devastation. When Andrew and I see each other backstage, we kind of feel like we’re willing the other person on. You’re like, Oh, God, you’re right in the center of your devastation and so am I, and they’re both seeking freedom, and we both get freedom. He gets his epilogue and I get my epilogue. So yeah, I do love doing that speech.
But there’s so much else. There’s loads. Her first speech is wonderful, though it’s really hard to do. It was harder in London. The character is talking to the audience about people who are lonely, and the rhythm of it is kind of…you don’t know whether it’s meant to be funny. And then her imaginary friend appears. London audiences were trying to work her out, whereas in New York as soon as I start speaking I felt the entire audience almost collectively say, Oh, there’s Harper!
Deadline: Much has been said about this era being a perfect time for Angels, with the connection between Donald Trump and the play’s Roy Cohn. Are you guys playing that at all? Does that even enter your minds?
Gough: No, I don’t think so. With this play I have discovered that no matter what you try to do, the play will do whatever it wants. Like, the play undoes you. So if I’m going to try to do anything that is not the play, it won’t work, you know? The beauty of this play is you just do it and it will have its effect.
I remember in London I was really nervous about playing [Roy’s friend] Martin because I’m onstage with Nathan Lane, who I love, and I’m playing a man, and I didn’t want to f*ck it up. So I was really nervous about it, thinking, Oh God, it’s going to look silly, and then the first night I went out and I spoke those words and I thought, Oh, just say the words. It doesn’t f*cking matter – you could be standing here dressed as a chicken.
Deadline: I seem to remember that in the original Broadway production [1993, the first year of Bill Clinton’s presidency], when Martin talks about Republicans taking over the Supreme Court, the Senate and the Oval Office, that speech got a laugh. It does not get a laugh anymore.
Gough: It really doesn’t. What it gets is this really uncomfortable…People can’t laugh about it now because it’s so dark. You kind of think, when this was written audiences must have thought, Aren’t we lucky that’s not how it is anymore? And now you think, Oh, God, how did we let this happen again?
And it’s the confidence of these people. I wanted Martin this time around to be real sharp. These guys know that they’re winning. It’s terrifying. I enjoy playing that scene much more than I did in London, I must say.
Deadline: Tony Kushner has been known to give notes. Has he given you any?
Gough: He gave me one note and that’s all he’s ever given me.
Deadline: You may have set a record.
Gough: Yeah. I was finding a scene really difficult, the scene in the rain. He loves Harper very much, Tony, so I feel like he also knows that it’s a very strangely written scene, that little piece when Harper says, “Water won’t ever accomplish the end, no matter how much you cry. Flood is not the answer, people just float.” I was like, f*ck. How? What? So I asked him and he said, Oh, I dreamt that in its entirety and I’ve never touched it. The thing about Harper is that she is open to emotional interpretation, and Tony let me do that. Now, if it had been bad he would have stopped me.
And we talked about the pills. Joe talks about how Harper’s pill addiction is the problem, and if she just didn’t take pills everything would be fine. I was like, Hang on, where does she f*cking get these pills? I spoke to Tony and he was like, Yeah, from him. And you think, Oh, that’s a whole other…that’s like being kept drugged up by your partner, you know? That added a whole different element for me this time around that I couldn’t quite catch in London, but here I really catch it. So when he shames her – “how many pills today, Buddy?” – and she’s so ashamed of herself, he’s giving them to her.
Deadline: It just struck me, but I think in this production Harper doesn’t give Joe her bottle of pills at the end, right?
Gough: Oh, I think you might have seen the night where I didn’t give them to him because I forgot them! Which was mortifying. Mortifying. F*cking…
Deadline: Then I’m glad I mentioned it. I was going to build some big theory around it.
Gough: No. No. No. But there is something different. In the old production she would pour some pills out and give him some and then she would take the bottle, but in this one she gives him the whole bottle of pills and she walks away with no pills. She leaves them to him. Well that’s what’s meant to happen.
Also in this [production], she kisses Joe at the end, which is an idea of mine. It’s a difficult scene [for the audience] with Joe to be left like that, so I wanted, through Harper, for the audience to find a way to be kind to Joe, too, you know?
Deadline: You’ve won a lot of awards. Are you allowing yourself to think about the Tonys?
Gough: I just can’t get involved in it. I had no idea that I would win an Olivier for it, I really didn’t. I was sure that The Ferryman was going to win everything, so I was really shocked that I won. I was delighted though, because it’s not an easy gig, this. And I can wear them as earrings now because I have two.
But listen, I’m nearly 40 and things took as long as they took just for me to start getting regular work. So the fact that I’m on Broadway with Angels in America, and having done People, Places, & Things in one of the coolest theaters in New York at St. Ann’s Warehouse, I’m living my best life right now. So you know, it’s all cherries and icing at the moment. It’s just so nice. I feel so f*cking lucky.
Deadline: Tell me about Mathilde, the character you play in Colette.
Gough: She’s basically at the forefront of the trans movement, before anybody knew what that word meant. She dressed as a man and she was referred to as a man. At a time when it was illegal for women to wear trousers, she wore trousers, and she and Colette had a seven year love affair, and then she tried to kill herself by committing hara-kiri, and when she was caught doing that she was arrested. She eventually killed herself by sticking her head in an oven. Whether I would play it or not, somebody should play her story fully. Colette is fantastic, and Kiera Knightley is really great in the film, but there are so many female stories that you think, God, if this was a man Tom Hanks would have played it and won Oscars for it 200 times over. It’s just really exciting that we’re at a time when these women’s stories are starting to be considered as leading, proper Hollywood movies. It’s fantastic, isn’t it?...
- 5/9/2018
- by Greg Evans
- Deadline Film + TV
• The Undefeated an amazing longread about the careers of several non-household name black actors from 1990s television series
• Coming Soon Ansel Elgort in talks to play fairy tale writer Hans Christian Andersen in an original screen musical composed by Stephen Schwartz (Wicked). The huge success of La La Land and Greatest Showman is already taking effect which is nice because we were worried it wouldn't.
• /Film Kristen Wiig in talks to play the villain Cheetah in Wonder Woman 2. Looooove this idea
• Mnpp Armie Hammer getting his chest waxed. Nooooo
• The Guardian Casting for Quentin Tarantino's Charles Manson movie has begun. Brad Pitt and Leonardo DiCaprio are officially returning to the director's filmography. Margot Robbie might be joining them.
• Coming Soon Have any of you read the Witchers series of fantasy books? It's being adapted to Netflix series with several characters confirmed
• NPR profiles the three awesome Octogenarians up for Oscar this year: James Ivory,...
• Coming Soon Ansel Elgort in talks to play fairy tale writer Hans Christian Andersen in an original screen musical composed by Stephen Schwartz (Wicked). The huge success of La La Land and Greatest Showman is already taking effect which is nice because we were worried it wouldn't.
• /Film Kristen Wiig in talks to play the villain Cheetah in Wonder Woman 2. Looooove this idea
• Mnpp Armie Hammer getting his chest waxed. Nooooo
• The Guardian Casting for Quentin Tarantino's Charles Manson movie has begun. Brad Pitt and Leonardo DiCaprio are officially returning to the director's filmography. Margot Robbie might be joining them.
• Coming Soon Have any of you read the Witchers series of fantasy books? It's being adapted to Netflix series with several characters confirmed
• NPR profiles the three awesome Octogenarians up for Oscar this year: James Ivory,...
- 3/1/2018
- by NATHANIEL R
- FilmExperience
On Broadway and beyond, a curtain can rise as quickly as it can fall; a star can be swapped as easily as Bernie Telsey can say, “That’s enough.” Theater is the beating heart of New York show business and, if you want to make it here, it’s crucial you’re up to date on incoming projects, latest castings, and other industry news. Don’t worry, Broadway baby, Backstage has your back. Every week, we’re rounding up the can’t-miss stories no thespian should live without, so you can focus on important matters like hitting your high F. Curtain up and light those lights! A screen star will step into “Angels.”One of this theater season’s most anticipated events is the revival of Tony Kushner’s “Angels in America,” the two-part drama that will bow at the Neil Simon Theatre Feb. 23, 2018. The Marianne Elliott-directed production has...
- 10/19/2017
- backstage.com
by Sean Donovan
Roy Cohn, the devilish super-lawyer towering over Tony Kushner’s epic two-part play Angels in America, is introduced to the audience at his favorite place, his office telephone, shifting between various calls, screaming at his clients and associates, and relishing his position of supreme power and influence. In between calls he leans over to his protégé, closeted Mormon lawyer Joe Pitt, and remarks
I wish I was an octopus, a fucking octopus. Eight loving arms and all those suckers, know what I mean?”...
Roy Cohn, the devilish super-lawyer towering over Tony Kushner’s epic two-part play Angels in America, is introduced to the audience at his favorite place, his office telephone, shifting between various calls, screaming at his clients and associates, and relishing his position of supreme power and influence. In between calls he leans over to his protégé, closeted Mormon lawyer Joe Pitt, and remarks
I wish I was an octopus, a fucking octopus. Eight loving arms and all those suckers, know what I mean?”...
- 8/3/2017
- by Sean Donovan
- FilmExperience
Chris here, reminding you about an important revival coming across the pond. Tony Kushner's beloved Angels in America is getting a new production in London this spring, with probable Hacksaw Ridge Oscar nominee Andrew Garfield. But wait - it's also coming to cinemas!
The National Theatre production will be broadcast this summer with Part 1 on July 20 and Part 2 on July 21. Garfield will play Prior Walter, but he's not the only star power in the production. Joining him will be Russell Tovey and Nathan Lane as Joe Pitt and Roy Cohn, respectively. All of this casting feels slightly off for my Angels-obsessive mind, but that's not enough to diminish my excitement! Here's a first look at the cast, which also includes James McArdle and Denise Gough:
The National Theatre has had several productions shown in cinemas, such as War Horse and Helen Mirren in The Audience. Have you seen...
The National Theatre production will be broadcast this summer with Part 1 on July 20 and Part 2 on July 21. Garfield will play Prior Walter, but he's not the only star power in the production. Joining him will be Russell Tovey and Nathan Lane as Joe Pitt and Roy Cohn, respectively. All of this casting feels slightly off for my Angels-obsessive mind, but that's not enough to diminish my excitement! Here's a first look at the cast, which also includes James McArdle and Denise Gough:
The National Theatre has had several productions shown in cinemas, such as War Horse and Helen Mirren in The Audience. Have you seen...
- 1/17/2017
- by Chris Feil
- FilmExperience
Hollywood’s sound pros nominated Birdman and Dawn of the Planet of the Apes for three awards apiece as the Motion Picture Sound Editors unveiled nods for its 62nd Mpse Golden Reel Awards, honoring the best feature film, television, animation and computer entertainment work of the year.
“2014 was a fantastic year for sound,” said Mpse president Frank Morrone. “The advent of new distribution channels, streaming services and gaming platforms is creating additional opportunities for sound artists to practice their craft beyond the traditional venues of film and television. This year’s nominations reflect that change, spanning an amazing diversity of mediums and genres, all executed at the highest level of creativity. We are truly inspired and impressed by the work of our colleagues.”
This year’s Golden Reels will additionally honor Noah director Darren Aronofsky with the Mpse’s annual Filmmaker Award. Oscar winner Skip Lievsay, known for his work...
“2014 was a fantastic year for sound,” said Mpse president Frank Morrone. “The advent of new distribution channels, streaming services and gaming platforms is creating additional opportunities for sound artists to practice their craft beyond the traditional venues of film and television. This year’s nominations reflect that change, spanning an amazing diversity of mediums and genres, all executed at the highest level of creativity. We are truly inspired and impressed by the work of our colleagues.”
This year’s Golden Reels will additionally honor Noah director Darren Aronofsky with the Mpse’s annual Filmmaker Award. Oscar winner Skip Lievsay, known for his work...
- 1/14/2015
- by Jen Yamato
- Deadline
By Kellie Kotraba
Religion News Service
(Rns) Twenty years ago, a gay Mormon character stepped onstage for the first time. His name was Joe Pitt, and he was in Tony Kushner’s “Angels in America, Part One: Millennium Approaches.”
Pitt lived in New York with a good reputation and a bad marriage to a woman addicted to Valium. As colleagues dealt with the devastation and uncertainty of AIDS – it was the 1980s – he grappled with openly acknowledging his sexuality. He was Mormon. And gay. And the two didn’t mix.
Before Pitt, there was a gay Mormon character in a novel: Brigham Anderson, in Allan Drury’s “Advise and Consent,” published in 1959. But words like “gay” and “homosexual” weren’t used; it was all innuendo.
Now, the scene has changed: Gay Mormon characters and themes have a growing role in theater and literature.
Utah playwright Eric Samuelsen said “Angels in America...
Religion News Service
(Rns) Twenty years ago, a gay Mormon character stepped onstage for the first time. His name was Joe Pitt, and he was in Tony Kushner’s “Angels in America, Part One: Millennium Approaches.”
Pitt lived in New York with a good reputation and a bad marriage to a woman addicted to Valium. As colleagues dealt with the devastation and uncertainty of AIDS – it was the 1980s – he grappled with openly acknowledging his sexuality. He was Mormon. And gay. And the two didn’t mix.
Before Pitt, there was a gay Mormon character in a novel: Brigham Anderson, in Allan Drury’s “Advise and Consent,” published in 1959. But words like “gay” and “homosexual” weren’t used; it was all innuendo.
Now, the scene has changed: Gay Mormon characters and themes have a growing role in theater and literature.
Utah playwright Eric Samuelsen said “Angels in America...
- 5/24/2013
- by Jahnabi Barooah
- Huffington Post
Chicago – Evoking the civil rights melodramas of the ’60s, such as Guy Green’s wrenching “A Patch of Blue,” with a dash of Robert Benton’s 1979 masterpiece, “Kramer vs. Kramer,” Travis Fine’s “Any Day Now” shamelessly aims to tug at the heartstrings. And tug at them he does with considerable success, thanks in large part to the riveting, career-best performance delivered by Alan Cumming. It’s the sort of work that could’ve easily been honored with an Oscar nod, had Fox Searchlight or Harvey Weinstein picked it up.
Set in California circa 1979, the film centers on a gay couple struggling to care for a young boy who is in desperate need of a family. Though the couple desires to be considered as his parents, they find themselves in the same predicament as the distraught father figure in Patrick Wang’s 2011 masterpiece, “In the Family.” Yet whereas Wang’s...
Set in California circa 1979, the film centers on a gay couple struggling to care for a young boy who is in desperate need of a family. Though the couple desires to be considered as his parents, they find themselves in the same predicament as the distraught father figure in Patrick Wang’s 2011 masterpiece, “In the Family.” Yet whereas Wang’s...
- 5/8/2013
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Chicago – Travis Fine’s “Any Day Now” is an old-fashioned social problem film painted in the broadest of strokes. Fairly early on, the audience is faced with two choices: either resist the film’s assuredly tear-jerking formula or submit to it. Though some critics will always opt for the first choice, regardless of a film’s merits, I’m willing to praise a formula as long as it’s well-executed.
Rating: 4.0/5.0
At its best, Fine’s film appropriately evokes civil rights melodramas of the ’60s, such as Guy Green’s wrenching “A Patch of Blue,” with a dash of Robert Benton’s 1979 masterpiece, “Kramer vs. Kramer.” Fueling the fractured heart of “Any Day Now” is the love that two would-be parents feel for a young boy in desperate need of a family. The fact that the two “parents” are a gay couple unable to marry in America circa 1979 places a...
Rating: 4.0/5.0
At its best, Fine’s film appropriately evokes civil rights melodramas of the ’60s, such as Guy Green’s wrenching “A Patch of Blue,” with a dash of Robert Benton’s 1979 masterpiece, “Kramer vs. Kramer.” Fueling the fractured heart of “Any Day Now” is the love that two would-be parents feel for a young boy in desperate need of a family. The fact that the two “parents” are a gay couple unable to marry in America circa 1979 places a...
- 1/3/2013
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Today we are talking to one of Broadways most remarkable breakout stars to have crossed over into Hollywood with an impressive film career following his superlative work in the Mike Nichols-directed HBO production of Tony Kushners Pulitzer Prize-winning Angels In America in 2002, the affable and incredibly talented Patrick Wilson. While looking ahead to Mondays Broadway Blows Back benefit concert in aid of Hurricane Sandy relief, Wilson and I take a look back at his career onstage and onscreen thus far, with an emphasis on the diverse range and commendable dedication to character he has displayed since his memorable first starring roles on Broadway - from Bright LIGHTSamplt Big City to Oklahoma to The Full Monty, Barefoot In The Park and All My Sons onstage to his aforementioned Joe Pitt in Angels to roles in Hard Candy with Ellen Page, Little Children with Kate Winslet, Watchmen with fellow recent InDepth...
- 12/8/2012
- by Pat Cerasaro
- BroadwayWorld.com
TMZ Carrie Fisher 'damn right she wants to be in Star Wars Episode VII'
Pajiba '11 Heir Apparent Brit Actors to Hugh Grant's Hair.' Hee
Vanity Fair photographs Olivia Munn! (Q: Wasn't she superb in Magic Mike? A: Yes)
i09 Jeff Bridges was always going to play The Giver. He finally has a director. Maybe.
Awards Circuit likes Lionsgate's chances in two of the lead acting categories
The Envelope Skyfall would like a Best Picture nomination, please
All Things Twitter killed the fail whale on election night
Towleroad Barack Obama's election night tweet becomes the most popular tweet of all time
Joe Pitt is sharing concept art from Wreck-It Ralph. You can see the evolution of the new hit character
Hollywood.com celebrates Movember with dos and don't of the moustache via celebrity photos. The only time I've ever done a 'stache was for a Halloween costume...
Pajiba '11 Heir Apparent Brit Actors to Hugh Grant's Hair.' Hee
Vanity Fair photographs Olivia Munn! (Q: Wasn't she superb in Magic Mike? A: Yes)
i09 Jeff Bridges was always going to play The Giver. He finally has a director. Maybe.
Awards Circuit likes Lionsgate's chances in two of the lead acting categories
The Envelope Skyfall would like a Best Picture nomination, please
All Things Twitter killed the fail whale on election night
Towleroad Barack Obama's election night tweet becomes the most popular tweet of all time
Joe Pitt is sharing concept art from Wreck-It Ralph. You can see the evolution of the new hit character
Hollywood.com celebrates Movember with dos and don't of the moustache via celebrity photos. The only time I've ever done a 'stache was for a Halloween costume...
- 11/8/2012
- by NATHANIEL R
- FilmExperience
BioWare A scene from the videogame Mass Effect 3.
During an appearance on NPR’s “Talk of the Nation” for the 20th anniversary of his Pulitzer Prize-winning play “Angels in America,” Tony Kushner let slip a detail of the “very specific sense” he had about what happened to Joe Pitt—one of the play’s central characters that disappears very ambiguously from the story’s end. Neal Conan, the show’s host, must have realized the incredible opportunity he had in...
During an appearance on NPR’s “Talk of the Nation” for the 20th anniversary of his Pulitzer Prize-winning play “Angels in America,” Tony Kushner let slip a detail of the “very specific sense” he had about what happened to Joe Pitt—one of the play’s central characters that disappears very ambiguously from the story’s end. Neal Conan, the show’s host, must have realized the incredible opportunity he had in...
- 3/26/2012
- by Yannick LeJacq
- Speakeasy/Wall Street Journal
Patrick Wilson
Patrick Wilson sees dead people.
Okay, Wilson himself doesn't actually see the deceased. But Michael Holt, his character in the new CBS drama A Gifted Man does. However, before you start thinking Wilson is poised to be the next Patricia Arquette running around solving crimes with the help of the dead each week, you should know it's only one specific person his character sees — his recently deceased ex-wife.
Why is Michael suddenly seeing his dead ex? No doubt the show will spell that over the first season, but judging from the first episode she's hanging around both to get Michael to tie up her loose ends, and to get him to loosen up as well.
Wilson recently appeared on a panel for A Gifted Man at the Television Critics Association Summer Press Tour where AfterElton had a chance to get a little one on one time with the actor.
Patrick Wilson sees dead people.
Okay, Wilson himself doesn't actually see the deceased. But Michael Holt, his character in the new CBS drama A Gifted Man does. However, before you start thinking Wilson is poised to be the next Patricia Arquette running around solving crimes with the help of the dead each week, you should know it's only one specific person his character sees — his recently deceased ex-wife.
Why is Michael suddenly seeing his dead ex? No doubt the show will spell that over the first season, but judging from the first episode she's hanging around both to get Michael to tie up her loose ends, and to get him to loosen up as well.
Wilson recently appeared on a panel for A Gifted Man at the Television Critics Association Summer Press Tour where AfterElton had a chance to get a little one on one time with the actor.
- 8/17/2011
- by Michael Jensen
- The Backlot
My prediction for the fall 2011 season: record-breaking heat, with a 100% chance of sexy. Well, on TV anyway. See, even as the weather begins to cool down, the small screen will be heating up as a mixture of hotties both established and up-and-coming will grace our TV sets in the quickly-approaching crop of fall shows.
From fairytale princes and teenage witches to supernatural hunters and ‘60s playboys, this fall season offers up a titillating assortment of hunky new characters – all of them brought to life by a group of fetching performers who will no doubt have us drooling at our TV screens come September. Below I’ve compiled a list of 12 to get your tongues wagging.
Note: The 2011 fall season is also lamentably short on performers of color, which is sadly reflected in the following list. Nevertheless, while only three of the twelve actors I highlight below belong to a racial minority,...
From fairytale princes and teenage witches to supernatural hunters and ‘60s playboys, this fall season offers up a titillating assortment of hunky new characters – all of them brought to life by a group of fetching performers who will no doubt have us drooling at our TV screens come September. Below I’ve compiled a list of 12 to get your tongues wagging.
Note: The 2011 fall season is also lamentably short on performers of color, which is sadly reflected in the following list. Nevertheless, while only three of the twelve actors I highlight below belong to a racial minority,...
- 8/15/2011
- by Chris Eggertsen
- The Backlot
Noticed Patrick Wilson lately? You may not have — he’s been flying relatively, and tragically, under-the-radar since 2009′s Watchmen. And that’s even considering the guy starred in three films last year! But after seeing him as a homicidal evangelist in the trailer for The Ledge, it occurred to me that he could be poised for some big-screen attention, similar to what he garnered during Little Children’s 2006 run. And he certainly would deserve such recognition: When I first noticed him in 2005′s Hard Candy, as the creepy object of Ellen Page’s sadistic yet completely valid vigilante justice, I...
- 6/8/2011
- by Maggie Pehanick
- EW.com - PopWatch
A little over two years ago, AfterElton.com brought readers a list of the 37 Hottest Guys in Theater, and since then, the New York Stage has only become increasingly sexified. The lines between Broadway and Hollywood continue to blur, and as young men come to recognition in NYC, they're often quickly whisked away to Tinseltown to showcase not only their amazing talent, but often they're breathtaking good looks.
While it's tempting to include every Hollywood hottie who graces the stage on this list (a certain Lee Pace and Luke Macfarlane spring to mind), the point here is to honor the men who are mostly known for rockin' the live stages here in New York.
And so, without further ado, we present, in alphabetical order, the list (39!) of this year's hottest guys in theater!
Nick Adams
A perennial AfterElton favorite, the muscular, openly gay Nick first made waves a few years...
While it's tempting to include every Hollywood hottie who graces the stage on this list (a certain Lee Pace and Luke Macfarlane spring to mind), the point here is to honor the men who are mostly known for rockin' the live stages here in New York.
And so, without further ado, we present, in alphabetical order, the list (39!) of this year's hottest guys in theater!
Nick Adams
A perennial AfterElton favorite, the muscular, openly gay Nick first made waves a few years...
- 6/2/2011
- by JT Riley
- The Backlot
Nowadays, people imagine vampires as either being about romance with a hint of danger—ranging from Twilight to True Blood—or else the impersonal, tormented masses of tales like 30 Days Of Night or Stake Land. Novelist Charlie Huston has done something different with the genre in his five books about Joe Pitt, a New York-based bad-ass vamp who feeds on humans, kills any who guess at the existence of the undead, and hates vampire politics almost as much as he hates anybody who tries to tell him what to do.
- 2/19/2011
- by gingold@starloggroup.com (Abbie Bernstein)
- Fangoria
Patrick Wilson is poised to make his series regular TV debut, having landed the lead in a CBS drama pilot penned by Susannah Grant (Erin Brockovich) and to be directed by Jonathan Demme (Silence of the Lambs). In the as-yet-untitled project, Wilson will star as Michael, an ultra-competitive surgeon whose life is changed forever when his ex-wife dies… and begins teaching him what life is all about from the here-after.
Home Improvement‘s Tim Allen Returns to ABC Roots With Comedy Pilot
Wilson’s film credits include Watchmen, Little Children and Hard Candy, while his primary TV gig was the...
Home Improvement‘s Tim Allen Returns to ABC Roots With Comedy Pilot
Wilson’s film credits include Watchmen, Little Children and Hard Candy, while his primary TV gig was the...
- 2/19/2011
- by Matt Webb Mitovich
- TVLine.com
We're only three episodes in and I've already polluted the idea of this new series, in which participants are supposed to choose their single favorite shot from a film. I offered up a fantasia of multiple shots from Showgirls. The idea is to choose only one shot from each film. I did a better job with X-Men. And I'm so happy that people are now playing along... even if the one shot thing is difficult difficult difficult. But this time our indecision is totally rational. Tony Kushner's extraordinary stage epic Angels in America was adapted for the screen in 2003 by Oscar winning Mike Nichols. Rather than limit myself to one shot I'm picking one from each chapter. This I can manage!
Chapter 1 "Bad News"
Mary Louise Parker and Justin Kirk in their pre-Weeds duet. Harper and Prior, the abandoned lovers, are dolled up to provide themselves with distracting glamour in their shared hallucination.
Chapter 1 "Bad News"
Mary Louise Parker and Justin Kirk in their pre-Weeds duet. Harper and Prior, the abandoned lovers, are dolled up to provide themselves with distracting glamour in their shared hallucination.
- 8/12/2010
- by NATHANIEL R
- FilmExperience
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