by admin   /   16.07.2018   /   0 Comments

Back on July 07, Amy Adams and Patricia Clarkson appeared on “The Talk” to promote their show “Sharp Objects“. You can watch an seen photos and screancaptures below:

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Appearances & Public Events > 2018 > Jul 07 │The Talk in Studio City, California

Screencaptures > Talk Shows > July, 2018 │The Talk

by admin   /   10.07.2018   /   0 Comments

The first episode of “Sharp Objestcs” aired on Sunday (July 08), and we have added screen captures of Vanish in our gallery.

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Television Series > Sharp Objects (2018) > Episodes > 1×01 – Vanish

by admin   /   02.07.2018   /   0 Comments

The New York Times

Few actors are as unshowy, or unshakable. With “Sharp Objects,” in which she plays a self-destructive journalist, the five-time Oscar nominee keeps evolving.

LOS ANGELES — Amy Adams reached into her fanny pack and fished out a stick of sunscreen. “I’m such a mom-nerd,” she apologized, as if sensing the pretense of Hollywood Glamour melt with each dab to her flush, freckled cheeks. It was a late morning in June and the sun was high; there was nothing to apologize for. But she is congenitally polite and, as she stared up at the storied Art Deco observatory in Griffith Park here, on an 1,100-foot summit of Mount Hollywood, maybe a tiny bit self-conscious.

The hike had been her idea. A brisk climb punctuated by postcard views of Los Angeles landmarks: the Hollywood sign, the Santa Monica Mountains, the gauzy downtown skyline. Growing up in Colorado as one of seven children, hiking had been a family ritual — her parents’ way of getting her and her siblings to burn off energy without busting through the walls or the budget.

But because of an unlikely chain of recent events that, she explained, began with a run-in with her childhood ballet teacher and ended with an overeager return to the horizontal bar, she had suffered an “old lady injury.” Which meant that she hadn’t exercised in a while. Which meant that, even a few dozen yards into a hike with someone whom she just met, she’d already felt herself running short of breath.

Between the panting and the fanny pack, Ms. Adams, already a five-time Oscar-nominated actress at 43, had begun to wonder what she must look like.

I feel like I always … I don’t know if disappoint is the right word,” she said, zipping away the sunscreen. She was wearing dark, printed leggings, a black gift-shop ball cap with her signature strawberry tresses pulled through it and a black T-shirt that read, in big cutesy letters, “Better in real life.” “But whenever people meet me they’re always like ‘Really? That’swho you are?’

She stopped for a moment, then deadpanned the answer that she always thinks but never says: “Yes. It is.

She’ll star in July in the HBO mini-series “Sharp Objects,” her first television role since she began starring in features more than a decade ago. The eight-episode arc, based on the controlled burn of a novel by Gillian Flynn (“Gone Girl”), marks a departure of another sort, too — Ms. Adams’s performance, as a hard-drinking, self-cutting journalist who returns to her provincial hometown to cover a series of mysterious murders, is among the most desolate and disquieting of her career.

It was a whole other level,” she said, comparing the part to other damaged characters she’s played in the past. But she had been attracted to the novel’s audacious reframing of the female detective archetype. “I like when you can take genre and turn it into its own thing,” she said. “That’s something I’m always interested in — trying to defy expectations.

The first Amy Adams that came into view was a hungry-eyed Lolita. She was a supporting player in near-misses from the raunchy, post-“Scream” teen movie explosion: the bubbly, oversexed sidekick to Kirsten Dunst in “Drop Dead Gorgeous” (1999) and a debauched social climber in the straight-to-DVD knockoff “Cruel Intentions 2” (2000). She jokingly called this her “Naughty Girl” phase — the awkward early years in two abundant decades of evolution in front of the camera.

Another phase came in 2006, when she received an Oscar nomination for a big-hearted portrayal of a small-town expectant mother in “Junebug.” This was what she refers to as the “Innocents” phase, the one seared into collective memory, in which she became one of the most famous and well-liked actresses in America.

As Giselle in the subsequent “Enchanted” (2007), she breathed exuberant life into not only a high-concept revision of Disney princess dogma, but an entire new wave of live-action fairy-tale movies. A second Oscar nomination followed for “Doubt” in 2009, in which her credible innocence as the nun Sister James, opposite Meryl Streep and Philip Seymour Hoffman in scathing battle, ballasts a story about the thin line between human nature and the abyss.

Another actress might have settled there, staking out a comfortable living filling in one shade of disarming ingénue or another. But Ms. Adams has spent this decade evolving further still. She turned scrappy and raw in “The Fighter” (2010), chillingly zealous in “The Master” (2012) and cunning and carnal in “American Hustle” (2013).

Sharp Objects” consummates a new phase. Like the bereaved linguist she played in “Arrival” (2016), the journalist in the story, Camille Preaker, is adrift and riven with unresolved family trauma, suggesting what the actress identified as a “Moody and Introspective” period.

I don’t have the same darkness and depth of internal anger, but that sort of sadness that drives you to be unkind to yourself? I think I have that,” she said of what she saw in the role.

On the trail in Griffith Park, snaking toward the observatory, she described a series of setbacks from her pre-“Junebug” days — canceled television series (she co-starred in the evanescent 2004 Rob Lowe vehicle, “Dr. Vegas”), big breaks that snapped shut again — and an attendant “negative self-dialogue” that never quite went away. “I have this internal voice that is just not a cheerleader for myself,” she said.

We paused to take a breath in the shade of a billowing bush. Above: spindly cotton clouds, brilliant blue sky. Ms. Adams took a swig from a bottle of water and then, noticing my empty hands — my conspicuous lack of anything resembling a fanny pack — shot me a concerned look.

Did you bring any water?” she asked.

I did not. A more concerned look. Her self-consciousness dissipated, suddenly confronted by a more pitiable being.

Here,” she said, waving me over. “Drink.

TO BECOME CAMILLE in “Sharp Objects,” she began, as she always does, by overpreparing — mapping the character’s existential and emotional biography until she believes in her bones that they might plausibly walk the earth.

The physical transformation was equally demanding, requiring her to stand nearly naked for three to four hours of prosthetics — each morning of a 90-day shoot — in order to create Camille’s topography of cutting scars.

Ms. Flynn said that, between “action” and “cut,Ms. Adamscompletely immersed herself physically, bodily, mentally into Camille.” Jean-Marc Vallée, who directed all eight episodes of the series, said, “I noticed her voice dropped a few notes and her way of walking changed. Suddenly, it was more sloppy, like ‘I don’t give a [expletive].’”

To create a believable performance, many actors jettison their own personality, hoping their character will seize the resulting void like a territorial spirit. During the making of “Lincoln,” Daniel Day-Lewis was so thoroughly consumed by his presidential portrayal that Sally Field, who played Mary Todd Lincoln in the film, later claimed she’d “never met him.”

Some have noted that most “method” actors, as those who use this approach are known, tend to be men, who may be socially incentivized to take pride in burying themselves in work. “I think men are often very showy about the incredible lengths they go to, ‘Oh my gosh, the demons they must take on!’” Ms. Flynn said.

If women are less heralded for going to such lengths, she argued, it’s not for lack of commitment. “Maybe women just do less bellyaching,” she said.

Ms. Adams compared her own process to “catching a virus,” one that she can feel inside her body but suppress at will. “I’m constantly aware of other people’s experiences on set,” she said.

Adam McKay, director of a coming film about the life of Vice President Dick Cheney, tentatively titled “Cheney,” said Ms. Adams and Christian Bale — a reputed method actor and her previous acting partner in “The Fighter” and “American Hustle”— showed similar devotion to their characters.

Mr. McKay said Ms. Adams’s fluid portrayal of the second lady Lynne Cheney, which in the film covers five decades, resulted in a kind of uncanny hybrid that he and the rest of the crew took to calling “Amy Cheney.

She’s talking in that voice and emotionally leaning in that direction,” he said. “But you can still call her Amy and joke around and talk about other things.

Occasionally, the Cheney persona — political ideology and all — manifested at surprising moments, like on the day Congress passed a sweeping overhaul of the tax code.

Mr. McKay had found the news depressing, believing the bill favored the superrich, and, speaking to Ms. Adams about it on set, was taken aback when she all but accused him of being a socialist.

“She looks at me, totally in character, and immediately goes, ‘Well Adam, when people do well in life, they shouldn’t be punished.’”

AT THE SOUTH-FACING SUMMIT of the Griffith Park trail, the Griffith Observatory sits on a manicured plateau from which you can see miles in every direction. We escaped the sun and sat in a quiet corridor in the back of the white, triple-domed building.

Ms. Adams recalled a few occasions while shooting “Sharp Objects” when she tried out versions of Camille — spiky, mulish — during phone calls with her unsuspecting husband, the actor and artist Darren Le Gallo. “He was not a fan,” she said with a laugh.

The two have been together for 16 years, and were engaged after six, but only got married in 2015. “I enjoy other people’s weddings, but I never had a wedding fantasy growing up,Ms. Adams said.

The couple — who have an 8-year-old daughter, Aviana — are miraculously private and largely duck the tabloids. At home in the Hollywood Hills, it’s karaoke and ballet practice (for Aviana, at least, Ms. Adams has hung up her own pointe shoes for now) and raucous singalongs with their three howling rescue dogs.

The wedding might never have come had it not been for Aviana’s budding curiosity and Mr. Le Gallo’s sister, who picked a date and nudged Ms. Adams to capitalize on a two-month break from work. “She was like, ‘It’s enough already, you guys are just being stupid,’” Ms. Adams said.

This summer, the family will temporarily relocate to Brooklyn, where Ms. Adams will shoot a film adaptation of another mystery novel, “The Woman in the Window.” When Aviana was born, Ms. Adams took on a slew of projects believing she needed to “hoard work” in order to be a good provider, a decision she came to regret. Now she filters jobs through school schedules and family vacations.

Like Camille, Ms. Adams’s character in “The Woman in the Window,” a Hitchcockian psychological thriller that debuted at No. 1 on the New York Times best-seller list this year, is another artifact of the “Moody and Introspective” era — she’ll play a mentally unstable and pathologically nosy recluse. “It must be my hormones,” she joked of the pattern, reverting to her baseline of reflexive self-effacement.

After surviving her “Innocents” phase — the earnestness, the piety, those doe eyes — is there a part of her that’s running in the opposite direction, searching down dark alleys to see what she might find?

She paused to think, toying compulsively with a beaded bracelet on her left wrist.

It’s not that she regrets any of her previous roles, but she is hungry for a different kind of challenge. “I don’t feel any sense of pride or accomplishment if I’m not being pushed, so I’m interested in anything that will push me,” she said.

I may succeed, I may fail, but I’ll try anything.

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 Photoshoots > 2018 > #009 NY Times

by admin   /   02.07.2018   /   0 Comments

Amy Adams attended a screening of Sharp Objects at the 92Y on June 28 in New York City.

The five-time Oscar-nominated actress was joined by her co-stars Patricia ClarksonChris MessinaElizabeth Perkins, and Eliza Scanlen, as well as the book’s author Gillian Flynn, series director Jean-Marc Vallee, and executive producer Marti Noxon.

Amy looked super sexy in a suit with just some lace lingerie!

The eight-episode adaptation of Gillian‘s popular book will be premiering on HBO on July 8.

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 Appearances & Public Events > 2018 > Jun 28 │Screening of HBO ‘Sharp Objects’ in New York

 Candids > 2018 > Jun 28 │Arrving for Screening of HBO ‘Sharp Objects’ in New York

by admin   /   01.07.2018   /   0 Comments

On June 28, Amy Adams visited the AOL Build series to promote ‘Sharp Objects‘. She was there with her co-star Chris Messina and  author and executive producer Gillian Flynn.

Amy was looking good in a maroon and white floral-print dress by Rebecca Taylor.

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 Candids > 2018 > Jun 28 │Spotted outside BUILD series in New York

 Appearances & Public Events > 2018 > Jun 28 │AOL Build Speaker Series in New York

Screencaptures > Talk Shows > June, 2018 │AOL Build Series

by admin   /   01.07.2018   /   0 Comments

LA Times –  Get actress Amy Adams and director Jean-Marc Vallée into a room together and at some point Led Zeppelin might start blaring through the puny speakers of an iPhone, with Adams doing a subtle sing-along midway.

“We could keep this going,” Adams warns, as she bobs her head in time along with Vallée to the iconic band’s “What Is and What Should Never Be” inside a Beverly Hills hotel on a recent afternoon.

The musical moment is enough to make you wonder what could have been. The two were set to team up on a biopic of Janis Joplin, with Adams, a multi Oscar-nominee whose acclaimed work in films such as “Arrival,” “American Hustle,” “Nocturnal Animals” and “The Master” propelled her to the top ranks of Hollywood actresses, set to play the legendary ’60s rock singer.

That project was ultimately shelved. But music, ever so slightly, has finally united them in a different endeavor: HBO’s“Sharp Objects.”

Making its premiere July 8, the limited series is an adaption of the 2006 debut novel of the same name from author Gillian Flynn, whose other novels, “Gone Girl” and “Dark Places,” were made into feature films.

“Sharp Objects” is a psychological thriller that stars Adams as Camille Preaker, a troubled reporter with a penchant for drinking and cutting herself, who has been assigned to cover the mysterious murders of two young girls in her small Missouri hometown of Wind Gap. The journey to her fictional home also forces Camille to confront the corrosive effects of her psychologically abusive relationship with her mother, Adora, played by Patricia Clarkson.

It’s a series that’s been 12 years in the making — and, well, one that was originally poised to be a feature film. That is until Marti Noxon, the writer and producer behind “UnReal” and, currently, “Dietland,” persuaded the producers that had optioned the book that the onlysmart way to make this was for TV.

“I said, here’s who I am. This is a TV show, it’s not a movie,” Noxon recalled in a separate interview. “And [the producers] were like, “Well, we’re pretty far down the road to make it a movie. And I said, ‘I think you’re wrong’ until they eventually saw that I was right. … My argument really was that these kind of female characters are not successful in films and could get shoveled off to an indie — or it could be a studio movie where they try to make it ‘Less Sharp Objects.’ But for it to be as provoking and to build out some of the characters, it belonged on TV. You would have lost all that.”

Flynn characterizes the long journey from book to screen more simply: “The book was waiting for Amy.”

The eight-episode miniseries is directed entirely by Vallée, who won an Emmy for helming the first season of last year’s critically acclaimed “Big Little Lies.” And in keeping with Vallée’s reputation for preferring songs over score music to amplify emotions, “Sharp Objects” makes noticeable use of music, including Led Zeppelin (hence the jam session) — for reasons that will reveal themselves as the series plays out on the small screen.

In a long-ranging conversation, Adams and Vallée spoke about what drew them to “Sharp Objects,” their working relationship, and what might have been lost had it been a film.

Amy, what opportunity did you see in this character, in terms of expanding the types of portrayals we see of women on screen?

Adams: She just has such a deep pain. That’s something that I sense in people around me, I sense in myself — there’s a darkness or pain and it’s not something that we share openly. That’s what I’m always interested in exploring … this private experience of life. . Even if we don’t have similar vices in common with Camille, I think you can take away this idea of feeling alone or feeling unwanted or an alienation from family, which creates alienation itself. In the book, the line that got me, which always gets me, is her boss says — or she’s recalling something her boss said — and she says, “Curry always said I was a soft touch.” Outside of all of these really dramatic vices that she has, she’s a really tender heart and she cares. I find the most tender people are the most easily wounded and they end up with the biggest scars.

What did you bring out in each other in your respective roles?

Adams: I can be a very heady person. I like to think and I like to plan and I can be like precise. When you’re working in the way Jean-Marc works, it kind of takes you out of your head and puts you into a very visceral place. Exhaustion isn’t the right word but you just stop telling a story and start living the story.

Vallée: When she started to act, she’d use a tone down, and start to talk more [Vallée speaks softly to demonstrate]. The first day of shooting, I was like, “OK, that’s Camille’s voice she’s doing, hmm?” And I wasn’t sure about it. And you [Amy] just did it. You just went into this kind of talking where people have to listen — she’s a cerebral journalist, she has an obsession with words —

Adams: She also doesn’t want people to see her. You’re not gonna draw a lot of attention to yourself with volume. I didn’t know that you [Vallée] were like, “Oh, what is she doing with your voice?” You know, you’re not the first. I worked with … I won’t tell you what director, but I worked with a director and I brought out the voice that I was doing and he literally went home and was like in full sweat until the next day, when he’s like, “Oh, no, no, no, yeah. It’s not Amy’s, she’s putting it on,” I’m sorry. You’re not the first to be freaked out. I didn’t know you were freaked out. That’s funny. I totally get it because we hadn’t had a conversation.

Vallée: But, to answer your question, what I learned and what I saw from Amy is that she had an understanding for who is Camille. I don’t really verbalize, and she does and she did, and I was receiving this every morning and it was putting me in a safe place.

The narrative touches on a lot of themes: the way your past can haunt you, the cycle of mental abuse, the way women treat each other.

Vallée: Yes, that history of abuse is what is heartbreaking — behind all the murder, the investigation [Camille] is doing — we want to discover what happened to Camille. And then, we get to understand the vicious cycle of abuse. And when you get to discover that’s why she’s cutting herself — this mother-daughter relationship that is so unique and so singular and so troubled. You’re supposed to feel protected and safe in your home with your mother, and you’re not.

Adams: That’s what’s interesting to me as well is this idea of generational violence between women, and it’s not something that’s been explored in this way, or at least that I’ve had the opportunity to explore. Every time I play something, I always do a lot of research, just to make sure if the story’s too out there, I’ve got to base it in reality and I always find so many stories or, by doing projects, people will approach me that I wouldn’t have expected to. I’ve shared some stories with a friend of mine about her relationship with her mother that I can’t even believe what I hear. And it just reminds me that these stories happen and there is this generational cycle that’s hard to break but important to break.

The book relies on narration to help bring in Camille’s internal perspective. The TV series does not.

Vallée: I read the script and I went “Oh, my God. There’s no voice-over in the script. This is what I love in the book’.’So I went to Gillian and Marti, what’s going on? Where’s the voice-over? I wanna hear her talk.

Adams: Camille is a very reactive character and it was hard for me to wrap my head around it too. She is reactive.

Vallée: Then of course they manage to get the quality of her internal voice into the scripts through dialogue and some details in her action. And we found a way, in the cutting room, to cut to quick flashbacks to get into her head. And this visual language becomes almost her voice-over because we see what she thinks of, how she thinks of, what she’s afraid of, what she fantasizes about. And words — in the editing room, we added words in the reality from [Camille’s] perspective, but when it’s from someone else’s perspective the words are not there. Like, you’ll notice the word “dirty” scrawled on the trunk, like someone wrote “dirty.”

Adams: That’s amazing. That’s so smart because so much of Camille being obsessed with words is her claiming reality, her understanding that there’s something that she knows, trying to hang on to truth, and she puts it on her body as a memory. So yes, it’s cutting but it’s also claiming the truth, claiming the moment because Adora has so systemically created this insanity inside of her where she no longer trusts anything.

Amy, this is your first time serving as an executive producer on a project. What was the experience like? Do you want to do more of it?

Adams: I think it’s something I want to head towards. I’d be curious to try it again if I had more of a supporting role because I really do like to be active. But as a producer, I think people trusted that I actually wanted to make the day shorter and make us all more comfortable, you know what I mean? I’m not sure that I’ve ever felt comfortable using my voice in that way. Like trying to, believing that people would trust that I was doing things for the betterment of the whole and not just of myself. I think that’s something that I really enjoyed and also getting into all parts of the project. It was intense. There was a lot of things that I loved about it.

“Sharp Objects” was optioned to be a film before it became the TV series. What do you think might’ve gotten lost or not fully explored had that happened?

Adams: I think Wind Gap as a character would’ve been lost. All of the smaller characters might have been repressed a little bit. And I think they’re so informative to how those structures stay into place, how everything kind of keeps as is.

Vallée: In two hours, the character-driven stuff, the emotional stuff would’ve been hurt … and suffered.

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 Photoshoots > 2018 > #008 LA Times

by admin   /   01.07.2018   /   0 Comments

On June 26, Amy Adams attended the premiere of her upcoming miniseries ‘Sharp Objects at the Cinerama Dome in Los Angeles. She was there with her husband Darren Le Gallo, her co-stars Patricia Clarkson, Chris Messina, Taylor John Smith, Madison Davenport, Sydney Sweeney, Eliza Scanlen, Elizabeth Perkins, and Hilary Ward, the author of the book Gillian Flynn and series creator Marti Noxon.

The eight-episode miniseries debuts on HBO on July 8.

Amy was looking amazing in a Calvin Klein by Appointment  black dress and Cartier jewelry.

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 Appearances & Public Events > 2018 > Jun 26 │Premiere of “Sharp Objects” in Los Angeles

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