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Amy Adams receives Emmy Award Nomination for “Sharp Objects”

The nominees for the  71st Primetime Emmy Awards were announced on July 16, and Amy Adams was announced as a nominee to Best Actresses in a Limited Series or Movie for Sharp Objects.

Actress in a limited series or movie
Amy Adams, “Sharp Objects”
Patricia Arquette, “Escape at Dannemora”
Aunjanue Eliis, “When They See Us”
Joey King, “The Act”
Niecy Nash, “When They See Us”
Michelle Williams, “Fosse/Verdon”

The ceremony itself takes place Sept. 22 at the Microsoft Theater in Los Angeles..

Woman in the Window’ to Move to 2020 as Disney Retools the Fox Film

The Hollywood Reporter

The final movie from the shuttering Fox 2000 division, an adaptation of a hit book from producer Scott Rudin, will get reshoots after test screenings revealed audiences were confused.

When production began in New York last August, The Woman in the Window seemed like that rarest of Hollywood properties — a grownup’s movie with both box office potential and an awards pedigree.

Based on a best-selling 2018 novel by A.J. Finn and starring six-time Oscar nominee Amy Adams as an agoraphobic child psychologist who witnesses a crime, the Fox 2000 thriller had been set to open on October 4, a prime date for awards movies and commercial adult fare such as Gone Girl.

Now Disney — which acquired the Fox film empire in March — will move Woman in the Window out of 2019 and retool the movie, including reshoots, The Hollywood Reporter has learned. The looming date change comes as the Burbank studio is digesting Fox’s slate, trouble-shooting on the films it inherited and setting a fall awards strategy.

A twisty mystery with a third act reveal and large chunks set inside the mind of Adams’ depressed character, The Woman in the Window has proven a challenging adaptation for director Joe Wright and producer Scott Rudin. Multiple sources tell THR the thriller, which also stars Gary Oldman and Julianne Moore and which Tracy Letts adapted for the screen, confused early test audiences.

Wright plans to shoot five days of pickup shots in August, after Adams finishes making Hillbilly Elegy, a Ron Howard movie for Netflix.

“We’re dealing with a complex novel,” says Fox 2000 president Elizabeth Gabler, who is departing the studio imminently but will remain as a consultant on the film for Disney until The Woman in the Window’s release. “We tested the movie really early for that very reason. We wanted to make it better, and we’ve had Disney’s full support in doing that.”

At Fox 2000, The Woman in the Window had a home with a history of making character-driven literary adaptations that yield major box office results, a la Hidden FiguresLife of Pi and The Devil Wears Prada. As the division’s last film before Disney shutters it, the movie is now something of an orphan. (Disney will release Fox 2000’s penultimate film, The Art of Racing in the Rain, Aug. 9).

Disney has awards friendly fall 2019 release dates for other projects it acquired in the Fox deal, including James Mangold’s Ford v Ferrari (Nov. 19), Fox Searchlight’s Taika Waititi satire, Jojo Rabbit(October 18), and Searchlight’s Terrence Malick drama A Hidden Life (Dec. 13).

Gallery Update: Leap Year (2010)

We’ve add ScreenCapturesStills, and posters of Amy in Leap Year (2007). Check the photos in our gallery:

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Amy Adams and Richard Madden talk nude scenes and “acting as therapy”

Variety

Richard Madden and Amy Adams sat down for a chat for Variety’s Actors on Actors. For more, click here.

Amy Adams and Richard Madden are famous for on-screen virtue — Adams has played a crusading linguist in “Arrival,” a good-hearted nun in “Doubt” and a fairy-tale princess in “Enchanted,” while Madden’s first big role after the heroic Robb Stark on “Game of Thrones” was the Prince in Disney’s “Cinderella.” This year, both plunged into moral ambiguity as trauma survivors trying to solve dark mysteries, Adams on the Southern noir “Sharp Objects” and Madden on the British counterterrorism thriller “Bodyguard.” 

AMY ADAMS: First of all, my husband wanted me to make sure and tell you how brilliant you are. We were discussing the level of commitment to that particular level of tension and how impressive it is that you’re able to hold that tension. How do you do that? I know it’s a big question, but that takes a toll, I imagine.

RICHARD MADDEN: It’s hard because I’m not a Method actor in any way, but you kind of can’t come out of it between takes or at night, because I get home and I’ve got eight hours till I’m back in makeup again. I can’t get happy again because I need to bring myself all the way down. It’s just a constant level of anxiety; it gets destructive, actually.

AA: When I had my daughter, I was a lot more like that. I couldn’t come out of characters. I went through a particularly challenging shoot, and what I realized is, I’ve gotta figure out how to come out of it or I can’t do it. 

RM: What’s your secret? 

AA: Just making the decision, and then it takes practice, you know? But usually it hits me at about two in the morning.

RM: I still really struggle, because you want to shake it off and get rid of it, but you’re so deep down that rabbit hole. It took me a few months after I finished “Bodyguard” to get myself back.

AA: I understand that. It’s funny because watching “Bodyguard” I was like, “I so identify with this character only because I’m just paranoid and anxious.” 

RM: And then that’s going into using your own paranoia and anxiety for things.

AA: I try not to use my experiences. I work really hard not to carry past experiences around with me on a daily basis, so to access them for work feels like I’m trudging into stuff I want to work through. I try to create a space for my characters where I can live and use my relationship with pain or anger or fear or anxiety, but I don’t use my own experiences. Does that make sense?

RM: Yeah. I’m very much against actors using acting as therapy. But I’ve gotten in my way a lot on jobs where I don’t access my own things, and you end up not kind of doing the job you should because you can’t access those things. With “Sharp Objects,” what drew you to choosing that character, that path, those things you have to engage with?

AA: I think the fact that I wanted to run from it is what made me want to do it. This seems like a place I should explore if I feel like there’s no way I could get there. 

RM: If I’m not good enough to do it, that’s the job I should try and do?

AA: The worst I’m going to be is bad, so I can live with that. Or maybe I couldn’t.

RM: Executive producing “Sharp Objects” and having your own production company, how does it affect your relationship with the performance?

AA: I didn’t have a production company when I produced “Sharp Objects”; that drove me in that direction. I’ve always been somebody who looks at the big picture
of anything I’m working on. I always want to serve the story, and to get to do that in a different way and to get to use my voice and my experience to improve the experience for everyone around me became something I was really excited about.

RM: We both had intimate scenes within our TV shows, which are kind of messed up — our need for intimacy and our manipulation of the other person and what we’re taking from them. How do you get your head into that?

AA: Whiskey. No, I didn’t drink at all except once, and that was because I felt the character had to come from such a raw place and her need had to be there. That was scary for me to go to a place of that deep dysfunction. And intimacy is so personal. It’s not easy. None of it’s easy for me. But what about you? 

RM: I felt so vulnerable doing this.

AA:  And it’s not the nudity. It’s being open.

RM: I always find that there’s something when you’ve not got your clothes on, when you are in bed with someone, there’s a way you speak to each other, there’s a side that you expose that we just couldn’t do if we were both fully dressed in bed. 

AA: Well, I was fully dressed, which was interesting.

RM: But that’s even harder to do the thing that you’re supposed to do when you’re naked but you’re clothed and hiding something that’s going on.

AA: I have to confess, when I first met you, I was like, “That Richard is so nice. What else has he done?” I sort of binge-watch, so there are no seasons of “Game of Thrones” for me, there’s just one long epic. What season did you leave?

RM: I died at the end of Season 3. It was such a hard thing to finish because from first pilot to my death was five years. But five years was a great time to be on the show. It helped me so much with my career and experience. I learned a lot from shooting 30 hours of television. You really start to learn the trade doing that. And then I was thankful to leave it. The actors on it now must be 11 years into playing these characters. Give these guys some medals, because that is a marathon.

AA: What do you want to do next?

RM: I’d like to explore things that are a bit not Romeo. I’ve spent 10 years playing different versions of Romeo, from Robb Stark to literally playing Romeo twice onstage, once when I was 21, once when I was 30. I’ve played a lot of these good guys that bad things happen to, and “Bodyguard” was my first real experience of this moral space that isn’t so clean-cut as good guys and bad guys. I want to delve into that. 

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THR: ‘Sharp Objects’ Team on Book’s 12-Year Journey to the Screen: “An Emotional Marathon”

The Hollywood Reporter 

After premiering on HBO last year, Amy Adams, Patricia Clarkson, Marti Noxon, Jean-Marc Vallée and Gillian Flynn are still reeling from the impact of the haunting drama: “I would wake up in a sweat and panic.”

It’s been nearly a year since Sharp Objects made its summer 2018 debut, but the stars and producers of the HBO miniseries are still reeling from the emotional impact of the haunting drama. “Ten years ago I wouldn’t have been able to do this as an actress and come out of it in a healthy place,” says star and executive producer Amy Adams, who took a break from her packed film schedule to play the troubled reporter at the center of the TV adaptation of Gillian Flynn’s 2006 novel. The eight-episode series, which is equal parts psychological thriller and murder mystery, also left an indelible mark on critics, with The Hollywood Reporter‘s own calling it “riveting prestige-pulp.” Adams, in conversation with co-star Patricia Clarkson, writer and executive producer Flynn, showrunner and executive producer Marti Noxon, and director and executive producer Jean-Marc Vallée, spoke with THR about the book’s 12-year journey to the screen, beating Reese Witherspoon to the punch and spending hours nearly naked in the makeup trailer. Jokes Adams, “I definitely have my limit of standing up with my arms to the side in a G-string.”

Gillian, you wrote your novel Sharp Objects when you were still working at Entertainment Weekly. What made you want to write a story of a journalist haunted by her past?

GILLIAN FLYNN That’s simple. I was a troubled journalist haunted by my past. (Laughs.) So, write what you know. I knew I wanted to write about female rage and self-harm, how that looks generationally and what we do to each other in the cycles of violence. Basically, what men have written about for the entire history of writing.

Amy, this was your first big TV role. Did you have any hesitation?

AMY ADAMS I was a little nervous about the schedule and especially diving into this character. I remember Jean-Marc being like, “I mean, are you sure? Like, you really want to do this?” (Laughs.)

PATRICIA CLARKSON And you had all those days with the scars …

ADAMS Yeah, but for me the physical work wasn’t as grueling as the emotional work on this character. Sure, there was a lot of physicality in the application of the scars and being in the heat when it was super hot and she was always in long sleeves — but it was really the emotional tool that I had to work through and pace myself to understand. That was more of what I was scared of than it being television or film. It was just a huge commitment to an emotionally troubled character — and I didn’t take that lightly.

What did you learn from playing this character over eight episodes instead of a two-hour movie?

ADAMS I learned to let stuff go at the end of the day. I had already been working on that with some other characters I played, and it’s something I am moving toward, especially as I have a young daughter. Whether it was a glass of wine, going for a run or going out to dinner, I had to do something meaningful to let go of Camille and get back into myself.

CLARKSON I never ever brought Adora into my apartment in New York.

ADAMS It was an emotional marathon. Camille would sneak up on me in the middle of the night. I told people I would wake up in a sweat and panic, and I would try to understand, “Wait, is this anxiety? Is this depression mine or does this belong to the character?” And that was the big struggle I had: What belongs to me and what belongs to my character? Luckily, it belonged to her. Mostly. (Laughs.)

Jean-Marc, you’d just come off Big Little Lies when you started on Sharp Objects. Was that stressful?

FLYNN I cannot believe you went straight from Big Little Lies into this.

JEAN-MARC VALLÉE Yeah, it was two marathons. Amy got this offer to do her first TV series and it was actually going to be my first TV series because Big Little Lies didn’t exist in my mind then.

ADAMS See, I got the idea before Reese.

VALLÉE She did! And I was attached [to this] before Big Little Lies and so I told Reese, “Maybe I can do one [episode], just the beginning.” I started to do one and then the more I was getting involved and casting the kids and meeting people, you go, “I can’t let you down. I can’t.” So I thought, “Let’s hope I can survive two.” And I’m still here.

Marti, you read the book and immediately you knew it needed to be a TV series, not a film. Why?

MARTI NOXON At the time I read the book they were planning on making it into a movie, and I told [producer] Jason [Blum] I felt very strongly that it would fail as a film because features don’t seem to tolerate really complicated female characters as well. I mean, there are certain exceptions, but I said to him, “I am afraid this will be made for a price and it will just disappear.” And then Dark Places [another Flynn adaptation] starring Charlize Theron came out and sort of disappeared and I was like, “See?!” And then they called and said, “Maybe this is a TV show.” (Laughs.)

Gillian, you’ve said it took 12 years to get this book adapted. Why do you think it was such a hard sell?

FLYNN Well, it had been a hard sell even to get it sold as a book, and when we were shopping it around, we were told quite a bit by people that men don’t want to read about women and women don’t want to read about heroines that they can’t root for. And that’s inherently wrong. Of course, we did get it sold — but there was still constantly that hesitancy.

What female tropes did you try to avoid as you were telling the story?

NOXON Camille does all these things that you see male leads do all the time — but usually there is a consequence that’s much more about their femaleness. They get judged in a way. But Camille is so competent. And she drinks like a fish and she has casual sex and does all these things.

ADAMS Whenever I am playing a troubled character, I don’t want them to present themselves as victims. That’s one of the things I loved about Camille: Even though she was victimized by her past and by her mother and by herself to some degree, she always had hope. She kept going. So I try not to judge my characters. And I try not to let them be victims.

CLARKSON I think it’s deadly for us to judge the characters. That’s for other people to do.

ADAMS I will say I did judge Camille for one thing. And that is her drunk driving.

NOXON Well, it is the South.

Patricia, how much research you did into Munchausen Syndrome by proxy when you were taking on this role?

CLARKSON I oddly had an interest in it long before this project. It fascinated me. There was a women that went to the White House long ago and I remember seeing her on the news. She was brought to the White House as part of a healthcare debate, and I remember seeing the child in a wheelchair and I said, “Something is wrong.” And six months later, the woman was in jail. So I have been fascinated with it and I’ve known quite a bit about it. You are the destructor and the savior all in one.

Amy, had you ever spent so many hours in a makeup trailer?

ADAMS I am trying to think — at that point, had I? I don’t think so.

FLYNN Because it took hours.

ADAMS It actually prepped me because I ended up in the makeup trailer a lot on Vice. But I had never been quite so exposed for that period of time in a makeup trailer. So that took a different muscle. I definitely have my limit of standing up with my arms to the side in a G-string. (Laughter.) I learned my boundaries.

Marti, you’ve teased a potential second season. There’s obviously no formal plan yet, but is it a possibility?

NOXON That got blown out of proportion, as things on the internet are wont to do. What I said was that when we first went out with it, we had talked about ideas for more. And that I wouldn’t mind revisiting Wind Gap. But nothing other than that.

VALLÉE Well, I said I thought there would never be another Big Little Lies, and now they are doing it. So never say never.

Anyone else down for season two?

ADAMS As long as I am fully clothed, I am game.

 

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Amy Adams to Star in Ron Howard’s ‘Hillbilly Elegy’ at Netflix

Variety

Amy Adams is set to star in Netflix’s adaptation of “Hillbilly Elegy,” which Ron Howard is on board to direct, Variety has learned.

“Shape of Water” screenwriter Vanessa Taylor adapted the script, with Howard, Brian Grazer, and Karen Lunder producing for Imagine Entertainment. Julie Oh and J.D. Vance will exec produce.

Based on Vance’s bestselling memoir, the pic is a modern exploration of the American dream and follows three generations of an Appalachian family as told by its youngest member, a Yale law student forced to return to his hometown.

Imagine has been developing the movie since 2017 when it acquired the rights. Netflix boarded the project in January after winning a heated bidding war to finance the $45 million feature.

Adams had a busy 2018, starting with her role in the HBO limited series “Sharp Objects,” which earned her a Golden Globe nomination. She followed that up with her Oscar-nominated performance as Lynne Cheney in the Dick Cheney biopic “Vice.”

She can seen be next in the adaptation of the New York Times bestseller “Woman in the Window,” which co-stars Julianne Moore and is directed by Joe Wright. She is repped by WME, Brillstein Entertainment, attorneys Jason Sloane and Harris Hartman, and Narrative PR.

Amy Adams attends the Deadline Contenders Emmy Event

Amy Adams stepped out for the Deadline Contenders Emmy Event at Paramount Theater in Los Angeles on Sunday.

The 44-year-old beauty was a vision in royal blue as she graced the carpet at the stellar event.  

Adams, who does double duty as actor and an executive producer on the HBO miniseries Sharp Objects, struggled on the panel to talk about the challenges of portraying the story’s main character, emotionally troubled (to put it mildly) newspaper reporter Camille Preaker.

“When this came across my desk, it terrified me. (I thought) I should probably explore this,” Adams said.

Quick background; Sharp Objects is based on the bestselling book by Gone Girlauthor Gillian Flynn about a reporter, just out from a stay at a psychiatric hospital, who is ordered by her tough editor to return to her small hometown to report on the murders of two preteen girls. Marti Noxon, who wrote the final script, serves as showrunner and writer. Noxon, Flynn and Jean-Marc Vallée also serve as executive producers and Vallée directs.

“I think her relationship with her family and her history, her past is very complicated, and the town has its own history that needs to be resolved in the course of the show,” Adams said. She added that most audience members will be able to relate to the idea of returning to one’s past: “Hers is just very, very extreme,” Adams said.

Adams appeared on the panel, moderated by Pete Hammond, with Vallée, who directed all episodes as he did for HBO series Big Little Lies, starring Nicole Kidman and Reese Witherspoon. The pair come to the project with a history. The worked together for some seven years to develop a Janis Joplin biopic that never came to fruition.

A big challenge for the creative team was figuring out how to get inside Camille’s head without the benefit of a narrator in the style of the book.  Said Vallée: “I was surprised (the writers didn’t want to go with a voice-over… that’s suicide, no? They are going to compare the series to the book and we are going to get f–ked.” However, the director said the team found ways to express the character’s inner trauma.

Small spoiler alert: One of those ways is through Camille’s behavior of cutting words into her body, through which an audience gets insight into her thoughts. Shooting these scenes required Adams to spend two to four hours virtually naked for the makeup and the prosthetic process.

“I had to stand just literally naked, and that isn’t a natural place for me,” Adams joked. “I used that vulnerability as part of getting into the character.”

She added with a laugh: “We would do scarves over key places. It was all Kosher.”

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