Amy at the “Jimmy Kimmel Live”!

Amy Adams stopped by Jimmy Kimmel Live on Thursday (December 13) to discuss her role in the new film Vice, where she plays former Second Lady Lynne Cheney. Also during the interview she explained why she had to reject a hug from Vice producer Brad Pitt!

He came to the set one day,” she explained, noting that before she knew the actor turned producer was set, all the women had put on lip gloss and were “skipping”. All the women, save for Adams, of course. Pitt’s visit coincided with a day that she was playing an older Lynne Cheney, complete with “70-year old Lynne makeup” and a suit that made her look “quite a bit heavier.” To top it all off, Adams had just been diagnosed with pink eye. That’s when she found out Pitt was on set.

I have seen him before, but every time you’re thinking it’s going to be like A River Runs Through It,” she told Kimmel. “You imagine yourself looking really pretty in, like, a white nightgown. But that wasn’t the case. I was in my fat suit with pink eye.

When he came to say hello to the star, he went in for a hug—but due to the pink eye diagnosis Adams couldn’t let that happen and stopped Pitt from giving her an embrace. As she told Kimmel, “And that’s when I became the first woman in history to reject a hug from Brad Pitt.

Check the photos in our gallery:

Appearances & Public Events > 2018 > Dec 13 │”Jimmy Kimmel Live”

Screencaptures > Talk Shows > December, 2018 │Jimmy Kimmel Live

Amy Adams attends the “Vice” world premiere!

Amy Adams walked though the red carpet at the world premiere of her movie Vice on Tuesday (December 11) at the Samuel Goldwyn Theater in Beverly Hills, Calif.

Also in attendance at the premiere were cast members Christian BaleSteve Carell, Sam RockwellLily Rabe, and Alison Pill, as well as writer and director Adam McKay.

Christian‘s wife Sibi BaleAmy‘s husband Darren Le GalloLily‘s partner Hamish Linklater, and Alison‘s husband Joshua Leonard all showed their support. More stars who attended the premiere included Kaitlyn Dever and Thora Birch.

Vice, which hits theaters on Christmas Day, was recently nominated for six Golden Globes and nine Critics’ Choice Awards.

Amy was wearing a Chloe dress and earrings.

Check the photos in our gallery:

Appearances & Public Events > 2018 > Dec 11 │”Vice” World Premiere

Amy Adams receives Critics’ Choice nominations!

The nominations for the 2019 Critics’ Choice Awards were announced on December 10, honoring the best achievements in film and television. Amy Adams stands out as a nominee in both film and television for her roles in “Vice” and “Sharp Objects“. Sharp Objects received a total of 4 nominations, and Vice received nine.

Best Supporting Actress – Amy Adams
Best Acting Ensemble – Vice
Best Picture – Vice
Best Actor – Christian Bale
Best Director – Adam McKay
Best Original Screenplay – Adam McKay
Best Editing – Hank Corwin
Best Hair and Makeup – Vice
Best Actor in a Comedy – Christian Bale

Best Limited Series
Best Actress in a Limited Series or Movie Made for Television – Amy Adams
Best Supporting Actress in a Limited Series or Movie Made for Television – Patricia Clarkson
Best Supporting Actress in a Limited Series or Movie Made for Television – Elizabeth Perkins

The winners will be revealed Jan. 11, when the 24th annual ceremony airs live on The CW Network.

Amy Adams receives SAG nominations

The nominations for the 25th annual SAG Awards were announced on Wednesday (December 12) and Amy Adams received nominations for her work on Vice and Sharp Objects.

Outstanding Performance by a Female Actor in a Supporting Role – Amy Adams, “Vice”
Outstanding Performance by a Male Actor in a Leading Role – Christian Bale, “Vice”

Outstanding Performance by a Female Actor in a Television Movie or Limited Series – Amy Adams, “Sharp Objects”

The 25th Annual SAG Awards ceremony will be simulcast live on TNT and TBS on Jan. 27

Amy Adams & Nicole Kidman on their HBO series and DC franchises

Recently Amy and Nicole sat down together and chatted as part of Variety’s Actors on Actors Series.

Few stars are more willing to take risks than Amy Adams. Her turn as Second Lady Lynne Cheney in “Vice” is only the latest in a series of on-screen transformations, following her startling work in the HBO limited series “Sharp Objects.” Adams’ roles — from a heartbroken linguist in “Arrival” to a social climber in “American Hustle” to Lois Lane in the DC Universe — share little but Adams’ fierce tenacity and perpetual intelligence.

Meanwhile, Nicole Kidman’s characters seem at times to share nothing at all. Her 2018 has been as much of a tightrope walk as Adams’, with two juicy but divergent roles — as an achingly conflicted mother of a gay son in “Boy Erased” and as a hardened cop in “Destroyer.” On top of it all, she plays an undersea monarch in “Aquaman,” a role whose special-effects surroundings promise not to diminish Kidman’s star power.

Nicole Kidman: First of all, we have to acknowledge that we’ve both worked with Jean-Marc Vallée on limited series.

Amy Adams: You had him first. When I started working with him, you guys were releasing “Big Little Lies,” and I read about the intensity of the work. What was that like for you?

Kidman: It was incredibly intense, but it was also very freeing. It was almost slice-of-life, where he’s in there with the camera, because he operates the camera sometimes. I was really exposed, but that was good. What about you?

Adams: It was challenging, because it does create this voyeuristic energy. I had so much to do that the way he shot became an endurance challenge.

Kidman You’re amazing in it. And I want to play sisters, so I’m putting that out there for anybody.

Adams: I always said that I wanted to be like Nicole Kidman, but I understood that I was like corduroy to her silk.

Kidman No!

Adams: It’s so true. I’m so corduroy and I hate it, but it’s true. You have to know yourself.

Kidman Well, I’m not silk. It’s like to be a little bit of lace, a little bit of leather. Can I be that?

Adams: Yeah, you can be that.

Kidman And maybe pleather. I just saw “Vice,” and once again, [I’m] gobsmacked at your talent, because you become [Lynne Cheney]. You’re her.

Adams: She reminded me of my grandmother very much. I grew up knowing women like Lynne who were self-starters, uncompromising and direct and not afraid to speak the truth. It was strangely empowering, because I would go on set and have these debates with Adam [McKay] as Lynne Cheney, so we would talk about the political events of the day and I would imagine Lynne’s point of view. Adam requires a lot of improv.

Kidman The scene where you and Christian [Bale] speak Shakespearean, that was obviously written.

Adams: I had a contest with Christian to see who could memorize it first, and he won, of course. I have a feeble brain. He won, and that was with him working every day at two o’clock in the morning getting makeup on. I was not happy about it.

Kidman I have a tough time learning lines. There’s different directors, and sometimes there’s improvising; sometimes you can move around the line and fill in, and other times it literally is to the rhythm, to every piece of punctuation. You take a breath when they want you to take a breath. Have you run that scope of directors?

Adams: Oh, absolutely. David O. Russell will throw lines to you in the middle of a scene, and you’re just saying them while in these intense situations.

Kidman But I love that. People say, “What’s your process?” Well, it changes every film.

Adams: I agree, and I think that it’s so important to have that adaptability, because you never know the actor you’re going be working with, the director, what the day calls for. I always find that if I go into a scene with an idea of how this scene’s going to go, it never goes that way. And that’s when you get lost, when you’re trying to steer the scene. I used to try to steer scenes and I would get really panicky. There was this scene in “The Master” where I was supposed to wake [Joaquin Phoenix] up and he wasn’t waking up. I freaked out. I’d pour water on his head now; I’d be like, “You want to play that game, Joaquin, here you go.” I didn’t roll with it, and I learned a lesson from that.

Kidman My one thing I struggle with is to get through my shyness. Because if I’m willing to speak up and not be obedient all the time, then I’m free and I do much better work. But if I haven’t worked for a long time, I’m a little bit rigid and scared. Strangely enough, because “Destroyer” required so much fatigue and so much kind of just [being] beaten down, that kind of worked for it. I try to never fight whatever I’m given. I learned that early on from people like Jane Campion and even [Stanley] Kubrick. He’d lose a location and shrug, and create something better, actually.

Adams: Amazing.

Kidman Do you ever feel that you’re in that place where it’s not clicking in?

Adams: I think that happens to me when I’m trying to please somebody. When I’m trying to please the director, I’m not thinking about the character anymore. You do a take and they call “Cut,” and I would immediately look for them to tell me if it was OK. And I had to train myself out of that.

Kidman Do you watch the monitor?

Adams: I don’t.

Kidman Neither do I.

Adams: I’ll start self-directing.

Kidman We’re kindred spirits.

Adams: Do you still try to please, though?

Kidman I have a pleaser personality, so there’ll be times when I’m being really well behaved and really good. That can sometimes not work for me because I have other ideas. Now what I’ve trained myself to do is just do it. I never ask; I just do it. Because then it’s being true to the character and who I am. And I love obsessive directors. I love the passion, so anyone that people think is difficult, I usually do not think is difficult.

Adams: I’m OK with difficult, as long as they’re nice. I don’t like yelling.

Kidman No. But I’ve never really worked with yellers. I have a huge understanding of the artistic process, and I like the idea of the set being sacred. So there’s a sacredness to what goes on there, and obviously if someone’s feeling exploited or violated, everything has to be talked about so it’s safe. But I also believe there is a sacredness to the artistic bubble.

Adams: You’ve committed to working with female directors once every 18 months, right?

Kidman I did. I made a pledge at the Cannes Film Festival to work with a female director every 18 months because I actually saw the statistics and they were unbelievably dire. One night, strangely enough, after the Oscars, and instead of going to the parties, Meryl Streep, Cate Blanchett and a bunch of us went and just had a bite to eat. Out of it came the conversation of how do we support women, and how do we build more female directors, female crews in this industry. What do we do? And that’s where I went, “OK, I’m going to make this pledge publicly,” and I’ve exceeded it, actually.

Check the photos in our gallery:

Photoshoots > 2018 > #015 Variety Magazine’s Actors

Amy Adams for Backstage Magazine

Backstage Magazine

Inside a stark Hollywood photo studio, Amy Adams’ detailed phrasing while discussing her acting process conjures finger-painted fridge notes, candles with lost wicks, and a garage-strung tennis ball patting a windshield. “I like lived-in characters,” she says. “I want a character to feel like that’s who she’s been her whole life. I don’t want it to feel like a performance,” adding, “I want it to feel like someone you know.”

The women she brings to the screen are so convincing, it’s easy to imagine encountering them at crosswalks after the end credits living the new life you’ve dreamt up for them: Ashley Johnsten (“Junebug”) rode her first plane and had another baby; Sister James (“Doubt”) left the church to counsel sexual abuse victims; Julie Powell (“Julie & Julia”), worn down by the competitiveness of foodie Instagram accounts, returned to rustic cookery.

Although Oscars have eluded Adams five times, she’s in the awards conversation again for Adam McKay’s Dick Cheney biopic “Vice” and her recent work on “Sharp Objects,” which has already made her a front-runner in 2019’s Emmy race (not to mention a lock for the upcoming SAG Awards).

Adapted from Gillian Flynn’s novel, the eight-part HBO miniseries, which debuted in July, enlists Adams as Camille Preaker, a St. Louis crime reporter doubly imprisoned by words. We pick up years after Camille has extracted herself from the Missouri Bootheel and her mother Adora’s (Patricia Clarkson) manicured claws, only to be sent back to investigate the murder of a local girl. Forced to again write herself out of small-town America, she manages her anxiety by quietly and constantly pouring vodka into her water bottles while resisting the urge to etch another 350 cries for help into her skin—from “INJURY” to “WRONG” to “VANISH.” Her addiction to self-harm—revealed in parsed-out flashbacks—mandates a dress code of long-sleeved forced modesty; almost every inch of her skin remains covered, despite the sweltering Missouri heat.

During the 91-day shoot, daily scar application took one to three hours. “Because they’re head to toe, I had to stand up pretty much in my underwear,” says Adams. “Being confronted with the sight of me every day as [my skin] would transform and standing there feeling really vulnerable, it really fed the character.”

Long before arriving on set for director Jean-Marc Vallée (“Big Little Lies”), Adams (also an executive producer on the project) started her preparation by “mining” details from Flynn’s text and ordering numerous books on self-harm. She spent “hours and hours and hours” with her acting coach, Warner Loughlin, whom she refers to as her “acting therapist,” since “essentially we go in and break down the characters…discussing [their] past[s] and moments and motivations.

Vallée was against the use of voiceover, “so it was really important to me to be able to communicate her inner monologue just through acting,Adams says. “There’s a sadness and an intensity about her, but she’s also very raw and very vulnerable, and also very compassionate, like strangely compassionate.

Her character’s compassion comes through best in her relationship with her charming but manipulative younger half sister Amma (Eliza Scanlen), and Adams decided she wanted to help cast the role. (She also had a say in who played Detective Richard Willis, the love interest she chases to question each suspect and witness; the part went to her onscreen “Julie & Julia” husband Chris Messina.)

For Amma, Australian teenager Scanlen “just was undeniable.” In the audition room, Adams recalls, “She not only kept up, but she got ahead,” meaning “with every slippery trick I was trying to use to see if she could [handle them,] engaging, disengaging, saying a line really quietly…just seeing how she’ll react to things,” Scanlen rose to the challenge. When Vallée encouraged Scanlen to show affection, the young actor crawled onto Adams’ lap and stole a kiss. Theirs is an at first cautious chemistry that blossoms as the season and their relationship progresses, and Scanlen’s scenes with Adams are some of the show’s best.

Developing a rapport with her co-stars was necessary for Adams’ preparation, but getting ready for “Sharp Objects” also meant constructing Camille’s sense memories. “You kind of tell yourself the stories of what happened to the character,” she says, explaining how she assembles from scratch a very specific set of recollections for the women she plays. For example, filming “Arrival” required many instances where her character, Louise Banks, pined for the little girl she’d lost. “To think about my daughter, a trigger would be the smell of the shampoo in her hair,” says Adams. Her process involves putting these manufactured memories “into my body as reality,” ergo “just a real big mind bend.” Although these thoughts are assigned to characters, “they feel really real, because you go into detail.

Channeling Camille necessitated three months of Adams exploring the fictional journalist’s anger and sadness. “That need to relieve yourself of pain, to make your pain visible, was something I identified with,” she says. “I get to work out my crap by playing these characters and exposing myself in a way that feels relatively safe,” reasoning that the strength her family provides (plus the stress relief of yoga and hiking) is why she knows she can “come back” from emotionally taxing shoots.

The one step Adams didn’t take while developing the character was seeking out actual survivors of self-injury. “That felt so personal, and I never want to feel like I’m exploiting someone else’s pain,” she says.

However, Adams did look to sit down with Lynne Cheney, whom she portrays in “Vice”—McKay’s much-awaited follow-up to his Academy Award–winning “The Big Short”—but for the sake of creative license, the filmmakers did not pursue the family’s input. A biopic of George W. Bush’s running mate, “Vice” (out Dec. 25) brings together the talents of Christian Bale (Dick Cheney), Sam Rockwell (Bush), Steve Carell (Donald Rumsfeld), Tyler Perry (Colin Powell), and many others.

A lot of times, you’ll walk away from the movie and you’ll be thinking about a specific part or a specific scene, and I was left with the sum of the parts just blowing me away,” she says of the film, whose producers include Brad Pitt and Will Ferrell (who played Adams’ paramour in another McKay entry, “Talladega Nights: The Ballad of Ricky Bobby”).

Both she and now three-time co-star Bale (“The Fighter,” “American Hustle”) “approached our characters with a lot of respect and compassion, and then it’s our job as actors not to judge the characters we play,Adams says. “So it’s interesting now on the other side of it, because I know it’s going to [inspire] very interesting conversations, [and] I actually am still in defense of my character.

Upon accepting the role of second lady, Adams laughs that she merely “knew who [Lynne Cheney] was, and I knew that Eminem mentions her in one of his songs, so I knew her point of view.

She continues, “I really came to like and respect her as a woman. She’s very self-motivated, she pursued her education, she has a Ph.D; she didn’t just sit by, she had jobs of her own. She’s very outspoken—whether I agree with what she says all the time or not, she’s not afraid to use her voice for what she believes in. I could probably do a little more of that.

Still quite self-aware, Adams says that she is beginning to worry less about how others perceive her and her choices. Back in the auditioning phase of her career, she says, “I just constantly did not present myself well or wore the wrong thing, or I was very nervous and my energy was somewhat socially awkward.” Meanwhile, on sets, she “didn’t want to seem like the weird actor acting like the character.

Eventually, she accepted that “I’m weird, and I’m going to be walking around, saying lines, talking to myself, and whatever the quirk is that my character has. I’m going to be doing that, and you all will think I’m nuts—and I might be.

It took time to get to this point, she admits. “[In the past,] I got caught up in thinking about things that weren’t that important, like being successful or getting the right job or having the right anything. No, it wasn’t that [I was turning down roles], it was just that I wasn’t kind to myself about my failures, and so one failure would feed into another failure and another because I couldn’t get ahead of it,” she remembers. “I was auditioning, but I was too nervous because I felt too much riding on it.

Now, it’s easy to look back and say that, but at the time, I was ready to pack it up…. I was doing a television show, and I had been let go from the television show, and that’s when I was like, Clearly this industry and I are not—at least this part of it, film and television—aren’t gelling.” She considered heading to New York or exploring teaching in order to find happiness in the pursuit rather than the result. Then she landed “Junebug,” a role she says came as a result of “letting go.”

With practice, she’s learned to balance the thick skin of an artist with the vulnerability required for creative flow. “Care!” she advises. “Everyone’s like, ‘Oh, I act like I don’t care.’ That’s my least favorite quality in people. I care way too much,” she says, laughing. “You put all of it into the work, into the preparation.

Check the photos in our gallery:

Photoshoots > 2018 > #014 Backstage Magazine

Amy Adams receives Golden Globes nominations

The nominees for the 2019 Golden Globes were announced on Thursday (December 06), and Amy Adams was announced as a nominee to Best Actresses in a Limited Series for Sharp Objects. Vice is also leading the nominations, counting a total of 6, including Amy as Best Supporting Actress. Adams received three nominations, since she’s producer of Sharp Objects.

Best Performance by an Actress in a Leading Role in a Series, Limited Series or Motion Picture Made for Television – Amy Adams
Best Television Limited Series or Motion Picture Made for Television – Sharp Objects
Best Performance by an Actress in a Supporting Role in a Series, Limited Series, or Motion Picture Made for Television – Patricia Clarke

Best Performance by an Actress in a Supporting Role in a Motion Picture – Amy Adams, Vice
Best Motion Picture, Musical or Comedy – Vice
Best Performance by an Actor in a Supporting Role in a Motion Picture – Christian Bale
Best Performance by an Actor in a Supporting Role in a Motion Picture – Sam Rockwell
Best Screenplay, Motion Picture – Adam McKay
Best Director, Motion Picture – Adam McKay

The ceremony itself will air on Sunday, January 6, with the duo of Andy Samberg and Sandra Oh hosting.