She was talking about guys doing 100 push ups and being mean to women who ask questions on press junkets. Those are very very separate from anything resembling method acting. Most of the actors who do that stuff are a-holes. The push ups is to look cut on camera and is always the muscle type people. Tommy Lee Jones is the type of person she’s describing on junkets. He is a mean hombre.
Those things are very outside what any method actor would do as they’re not part of the character.
She just doesn’t like a-holes who slow down production and that’s GOOD. But she’s not talking about method actors at all from what I saw there. Even Brian Cox says the real problem with Jeremy is not that he’s slowing down the production, it’s that he’s taking that horrible character home with him all the time and that takes a huge toll like bad characters have taken on other method actors. It’s not worth it, but they keep getting awards so they’ll keep doing it.
There’s no question men are accepted and rewarded for the kind of behavior she describes.
There’s also no question women and nonbinary people are inhibited to far greater degrees from the same freedom of choice and expression.
We could say yuck, “method acting” has come to describe something the phrase doesn’t really mean, but that’s the evolution of language and dual meanings for the same phrase depending on context.
What I disagree with is that method actors are liked in any way whatsoever and that some women aren’t considered ‘method actors’. There’s not a single method actor in Hollywood that isn’t described as difficult. Being considered difficult means you don’t get as many parts, even with the awards. Method is bad whether you’re male, female, or non-binary, but it exists and some directors want to work with those people…until they don’t.
Absolutely everyone hated working with Brando by the end, and the list is a mile long of people who didn’t want to work with Kilmer again after all his antics on various movies. Scorsese kind of created DeNiro, so he probably didn’t mind and I’m sure there were other directors of method actors who stuck with their guys because they thought they were so good. The lesson here is don’t be method. It reflects badly on you and it makes it harder for you to get parts, even after big awards.
I just really disagree that women aren’t method actors too, they just handle certain things about the job differently than an a-hole man would.
A single mother and her two daughters arrive in Taipei to open a small restaurant in the heart of a night market in the Taiwanese capital. Each of them must find a way to adapt.
No one told me Sean Baker has a new movie out on Netflix!!!
Okay, he did not direct it, but he serves as co-writer, co-producer, and editor. Glowing reviews say it has the same kind of emotional texture.
The director is Baker’s longtime collaborator Shih-Ching Tsou, who also co-directed Take Out with Baker in 2004, and then served as a producer for everything else Sean made (except Anora).
Sean Baker was so committed to Left-Handed Girl that he says he didn’t have time to relish the historic Oscar wins, because he had to be at Cannes for Left-Handed Girl.
Asked whether he had time to digest his four Oscar wins yet, the director said he only managed to properly look back at that eventful night in the last month. Within 36 hours of Oscar night, he and wife-slash-producing-partner Samantha Kwan were on a plane to Tokyo for the Japanese release of “Anora,” going straight into Cannes for the world premiere of Tsou Shih-Ching’s “Left-Handed Girl.”
What’s the verdict?
You should put this at the top of your list and watch it now. NPR says the movie “strikes a delicate balance between intimacy and playfulness in a story that centers those historically on the margins.”
One thing I will say about why you should feel comfortable watching this ASAP is that this is an uplifting movie. Yes it has the abrasive moments and emotional depth of a Baker movie, but the experience is ultimately delightful and inspiring.
I’ve seen 8 of the 12 nominees for picture. Not the strongest slate, but Frankenstein is the only one I’d give a negative grade to. Slow and boring. Everything else is at least decent, pending the four unseen ones (Marty Supreme, Nouvelle Vague, Secret Agent, No Other Choice).
I don’t really understand the fanfare for One Battle After Another. It would have been much better if Leo had taken a backseat and Teyana Taylor/Perfidia had been the main character.
Honestly, I wasn’t overly stoked for this because so far I’ve been kind of out of step with the consensus on Park Chan-wook’s work. I think Oldboy, while really strong, is a little overrated, and I think The Handmaiden, while solid, is more overrated than Oldboy. My overall feeling toward him has been to understand what others are seeing, but just not sharing in the effusive praise.
That ended here. This is absolutely one of the best movies of the year. Great combination of artistry, metaphor, and humor, and the visual filmmaking is absolutely next-level. It’s lengthy - 2 hours, 20 minutes - but I was highly entertained throughout and didn’t meaningfully feel the runtime. I’m now rooting for it to win Best International Feature and feel it absolutely has to make it into the Best Picture field.
No Other Choice and Sentimental Value (Oslo August 31 is in my top 10 OAT) are probably my most anticipated films this year so I’m happy you gave it a glowing review.
I would assume Golden has to be a near lock. I mean after 6 months it is still #2 on the Billboard top 100 only behind a Taylor Swift song. Not sure I can come up with a song with that much popularity that didn’t win.
Don’t get me wrong, I Lied to You would get my vote.
