“I still get completely shocked that anyone knows who I am,” Ronan says, adding that she would rather act without the fame that comes with it. “But I’m not . . . famous. I just genuinely don’t think I am. Selena Gomez is famous.”
Ronan has gained critical acclaim ever since her 2008 role in the period drama that saw her nominated for several awards at just 13-years-old. She’s since earned Oscar nominations for her roles in 2015’s Brooklyn and 2017’s Lady Bird, her latest.
But the actress says she stays away from the public side of her job by not reading anything related to her.
“If you’re not aware of how often you’re in a newspaper, then it’s like it’s not really happening,” she says. “I just get so anxious whenever I watch anything that I’m in. I’m fine with the way I look now. But I wouldn’t necessarily be looking at photographs of myself all day. I don’t want to become too consumed by the image of myself.”
Describing a fashion show as very “mother-of-the-bride” is not always a compliment. Yet it was accurate and deliberate in the case of Fernando Garcia and Laura Kim’s resort collection for Oscar de la Renta. If there was ever a time to go in that direction, this was it.
Garcia and Kim were already looking at a Wedgwood book by Rizzoli as a key reference for the lineup in February when “we got Meghan [Markle’s] phone call to help dress her mom for the royal wedding,” Garcia said after Tuesday’s show, referring to the ODLR ensemble Doria Ragland wore to her daughter’s, the Duchess of Sussex, nuptials last weekend. He noted that the request to dress the most watched mother-of-the-bride in recent memory and the bridal registry china inspiration were a happy coincidence, so the designers went with it.
The English pottery brand’s heritage informed many of the collection’s colors and patterns. Everything in the lineup would be appropriate for an event on a wedding weekend itinerary — the rehearsal dinner, reception, bridesmaids’ dresses, morning after brunch. The show opened with a series of ivory and pastel stretch wool dresses that were minimal in shape with hemlines cut like architectural petals. There were
Oscar de la Renta has opened a pop-up shop in Boston. The brand’s first freestanding store in the city is located at 24 Newbury Street and will be open Thursday to June 20. The space is 1,600 square feet and includes ready-to-wear, handbags, shoes, jewelry from resort and spring as well as children’s wear. Fall bridal will be available by appointment and the pre-fall and fall collections will be on site, available for pre-order.
“With long-standing wholesale business in Back Bay and Chestnut Hill, it makes tremendous sense for us to open our own shop on Newbury Street,” said Alex Bolen, chief executive officer of Oscar de la Renta. “We are excited to continue to tell the Oscar de la Renta story with this new pop-up store on one of the most prestigious retail blocks in the country that is a destination for both locals and tourists.”
Watch the Jess Cagle interview, sponsored by Ford.
From Call Me By Your Name and TheShape of Water to Three Billboards Outside Ebbing, Missouri, this year’s crop of Oscar films are sure to make you shed a tear.
But what movies can make even an Oscar nominee cry? Turns out, almost all of them. A number of female nominees sat down with PEOPLE for an exclusive photo portfolio and video interviews, where they dished on which films give them the feels.
But while Octavia Spencer said E.T. evoked a variety of emotions from her, she admitted she usually had a different reaction to the classic film.
“It makes me heart chuckle,” she said.
Phantom Thread‘s Lesley Manville said Cinema Paradiso made her list for sentimental reasons.
“The movie that always makes me cry is cinema par. It’s a beautiful film about life and love,” she said. “It has a beautiful performance by a little boy and when it came out my son was roughly the little boy’s age so it just pulled at my heartstrings in a way that no other film has.”
As for the films the stars could watch over and over again, Spencer said she looks for movies that “run the gambit of emotions.”
Mary J. Blige, however, said she can’t resist a screening of Gladiator.
“No matter how hard they try to take away what’s destined to be his, they couldn’t stop him,” she said of the film.
The Oscars will air live on ABC from the Dolby Theatre at the Hollywood & Highland Center on Sunday, March 4, at 8:30 p.m. ET/5:30 p.m. PT.
Laura Kim and Fernando Garcia didn’t appreciate being dragged to Upper Manhattan to visit the Met’s medieval branch, The Cloisters. But when the boss insists, you do it. Back in 2013, Oscar de la Renta insisted they accompany him to experience the installation of sound artist Janet Cardiff. “I was whining, but then, I was like, it’s amazing!” Kim said during a preview. “Magical,” Garcia recalled, “one the most amazing memories we have of him.”
And one with more tangible resonance than memory. While developing their fall fabrics, that excursion to The Cloisters came to mind, which led to some research into Elizabethan textiles and ornamentation, and from there sprung a myriad of ideas about embroideries and tapestries (yes, there’s a unicorn). By gazing far into the past (and perhaps a little at Valentino), the designers delivered their most refined and resolved effort to date for Oscar de la Renta.
The collection hinged on a fungible balance between decoration and color, both announced with the first look out, a red wool-and-cashmere clutch coat held closed with a crystal-leaf brooch. The leaf motif expanded into embroidered swirls across vibrant natural-waist dresses, a black lace evening dress and oversized shirt cuffs. Textural plays swung
GOING FOR GOLD: Kering threw open the doors of its Paris headquarters on Monday for a party celebrating filmmaker Agnès Varda’s honorary Oscar.
Well-wishers including Isabelle Huppert, Jane Birkin, Louis Garrel, Jacques Audiard and fellow Oscar-winning director Michel Hazanavicius thronged around the diminutive director in the chapel of the historic building, built during the reign of Louis XIII.
Many of them wore badges proclaiming “I ❤️ Agnès” handed out by UniFrance, the agency dedicated to promoting French films around the world, which co-hosted the event. JR, the French photographer and artist who stars with Varda in their recent documentary “Faces Places,” sidled up proffering roasted chestnuts.
The Belgian-born director, 89, lapped up the attention, though she played down the fact that she was the first female director to be awarded an honorary Oscar.
“You shouldn’t be making a big deal of the fact that I am a woman, but you should be making a big deal of the fact that they chose someone who does not represent Hollywood values, because as I said in my speech, I am not bankable,” Varda told WWD between spoonfuls of pumpkin soup.
“My movies never made any money, but I have received many prizes, because my cinema interests students,
A sea-life-inspired collection shown via mini runway show at Pier 40, overlooking the Hudson River — the references were impossible to miss in Fernando Garcia and Laura Kim’s pre-fall collection for Oscar de la Renta. Cute illustrated seagulls appeared as a print on a shirtdress and on an intarsia blond mink coat. Fishbone motifs included sequined embroidery on an ivory merino shirt with tied shoulder details over houndstooth tweed trousers, and giant ivory laser-cut leather applique on a black tulle evening dress.
“We designed for a summer delivery,” said Garcia. “When it gets to the stores, it’s going to be what you want to wear to your summer house.”
The lineup was extremely commercial, full of takes on white shirting and blouses, which Garcia noted is a best-selling category. The shirts were worn with things such as a navy and white window pane boucle skirt, a navy dip-dyed plaid pencil skirt, a pair of extralong pinstripe skinny trousers that zipped at the ankle, and a neatly tailored black crepe coat with pearl embroidery at the cuff and matching cropped trousers. The pieces were nice and cleanly cut to be filed under the polished modernist fashion category, but Garcia and Kim still need
“Saawan,” a suspense drama set in the remote deserts, has been selected as Pakistan’s contender for the foreign-language Oscars race. The selection was announced by the Pakistan Academy Selection Committee. Based on real events that highlight societal injustices and the failure of the feudal justice system, the film is directed and lensed by veteran film… Read more »
Oscar de la Renta’s Laura Kim and Fernando Garcia, special guests at the annual Saks Fifth Avenue and League to Save Lake Tahoe luncheon last Saturday, decided to get a close-up look at the nature under threat — and got more than they bargained for.
“Laura and I were going to do a hike at 6:30 in the morning when we saw a bear tear right out of the neighbor’s gate, which was quite the wake-up call. That thing was running fast and I was terrified,” Garcia related. The pair ended up waiting it out and completed their hike, and also enjoyed swimming and waterskiing on the lake.
The centerpiece of the event was a showing of the resort 2018 collection in front of 650 guests at the Schumacher family estate on the shores of the famed body of water.
Created 48 years ago when Bill Blass began showing his collection there to a small group of clients and friends, the event has evolved into a benefit luncheon and fashion show partnership with Oscar de la Renta and Saks Fifth Avenue for almost 20 years. This year’s event raised a record $ 1.1 million.
“We were lucky enough to go on Oscar’s last trip to Lake Tahoe,
Iranian director Asghar Farhadi gave a master class Tuesday at the Doha Film Institute’s Qumra event and subsequently also spoke to a small group of journalists, all via Skype from Madrid where he is in pre-production on his untitled next project toplining Penelope Cruz and Javier Bardem. In his first interview since recently winning his… Read more »
Charlize Theron stepped out on the 89th annual Academy Awards red carpet on Sunday wearing a floor-length metallic Dior Haute Couture gown — and quite the statement jewelry. The actress, who is presenting during the ceremony, was dripping in diamond accessories by Chopard. Her look included diamond drop earrings from the brand’s “Garden of Kalahari Collection,” which are set in 18-karat white gold and feature a total of 59.9 carats worth of diamonds. She also wore two diamond rings from Chopard’s “High Jewelry Collection.” She quite literally shined.
Theron won an Academy Award for her lead role in “Monster” in 2004. She was the first South African actress to win an Oscar for Best Actress.
More on Oscar Style from WWD:
The Red Carpet Oscar Dresses and Outfits You Need To See
7 Must-See Oscar Winning Movie Costumes
WWD Predicts: Oscar 2017 Fashion
A History of Child Stars at the Oscars
Oscars Nominee Naomie Harris Talks “Moonlight”
At last year’s Academy Awards, Brie Larson took home the Best Actress award for her performance in “Room.” The film by Lenny Abrahamson told the story of a woman called Ma, who we eventually learn had been imprisoned in a small shed years before by a man called Old Nick. Although Nick is only briefly seen, his presence is known by the abuse, sexual and physical, he inflicts on Ma and her young son, Jack.
The actress dove into the role, shutting herself away for a month and meeting with psychologists to understand the trauma of her character. She showed great empathy as she hugged each sexual assault survivor after Lady Gaga’s awareness anthem “Till It Happens to You” as they departed the stage at last year’s ceremony.
During Sunday night’s Oscars, Larson took the stage again to announce 2017’s Best Actor winner. The honoree? Casey Affleck for his performance in “Manchester by the Sea.” The thing is, Affleck has been surrounded by controversy after 2010 sexual harassment allegations against him leapt back into headlines last fall.
The announcement made for one uncomfortable picture onstage. Although unlike the time she presented Affleck a Golden Globe in January, Larson chose to give the actor a quick hug as she handed over the gold statue.
Yes, Affleck took home an Oscar in spite of the allegations. (Sexual abuse allegations have squashed Oscar hopefuls in the past; “The Birth of a Nation” was pushed aside for its director’s controversy.) During the 2009 production of another film, Affleck allegedly made repeated sexual comments and unwanted sexual advances toward two women, a producer who he’d worked with him for 10 years and the film’s director of photography. They included the accusation that Affleck crawled into one woman’s bed as she slept.
The cases were settled out of court, and this awards season Affleck scored the BAFTA, Golden Globe, Critic’s Choice, Gotham and National Board of Review awards for the role as Hollywood seemed all too happy to overlook Ben Affleck’s brother’s transgressions.
Then, at Hollywood’s most coveted event, an audience of millions watched a woman who made a wholehearted effort to become familiar with the experience of sexual abuse award a man who’s put all his effort into denying and brushing away accusations of sexual harassment.
It’s true that the allegations against Affleck are far from the scarring experience with which Larson became familiar. But still, although it’s customary for the year’s previous Best Actress winner to award the new Best Actor, the Academy chose to pair the two of them onstage instead of making an exception. In doing so, it sent a disturbing message.
In Hollywood, it seems, sexual harassment is not a serious matter.
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From Julia Robert’s classic Valentino gown to Gwyneth Paltrow’s bubblegum pink dress, here are the most memorable looks at the Academy Awards. Allure
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There’s risk in everything — even choices driven by pragmatism.
The decision by Oscar de la Renta to show its own collection and Monse together, both now officially designed by Laura Kim and Fernando Garcia, was risky. It seemed a financial decision, and on that level made all the sense in the world. These shows cost fortunes to stage. In the vast majority of cases, the sets are so-what, and guests care far more about how long it will take to get to a venue than how deeply its ambiance will relate to the brand. For a brand or group to save on production costs when the possibility arises just sounds smart.
Would that money alone were the only consideration behind a move as unconventional as back-to-back showings. Those involved in this decision, the designers, ODLR chief executive officer Alex Bolen and their advisors, must have talked through various scenarios. Best-case: two smash hits, distinctive in tone but with like high levels of allure. Other possibilities: that the two collections would be too similar, or that one would look far better than the other. Bingo.
Kim and Garcia delivered a strong, buoyant Monse collection which, though au courant and young, is far from
LOS ANGELES (AP) — Women earned a number of barrier-breaking Oscar nominations this year, but overall representation of women in Oscar-nominated behind-the-scenes categories fell two percent according to a report from the Women’s Media Center published Monday. Entertainment News Headlines — Yahoo! News
FOREVER STAMPED: On Feb. 16, the final day of New York Fashion Week, Oscar de la Renta will host a ceremony with the U.S. Postal Service honoring the fashion house’s upcoming collaboration on a series of postage stamps for 2017, announced last month.
The Forever Stamp First-Day-of-Issue Stamp Dedication Ceremony, open to the public, will take place at 11 a.m. at Vanderbilt Hall in Grand Central Terminal and feature speakers including Hillary Clinton and Anna Wintour. Anderson Cooper will emcee the event.
The collection of 11 Oscar de la Renta Commemorative Forever Stamps feature a black-and-white portrait of the late designer, taken by Inez Van Lamsweerde and Vinoodh Matadin, as well as 10 additional stamps with close-up details from de la Renta’s most memorable gowns.
The stamps, designed by art director Derry Noyes, go on sale on Feb. 16.
The nominations for the 89th Academy Awards have been announced, and La La Land is leading the pack with 14 salutes under its belt, including Best Picture, Best Director, and Best Original Song.
That number means La La Land is now on level pegging with All About Eve and Titanic, who until now have jointly held the record of the most nominated films at the Oscars. La La Land can also now lift the title of most nominated musical, having beaten Mary Poppins’ 13 nods at the 37th Academy Awards in 1965.
Meryl Streep has also had her name inked into the history books as the most nominated performer in Oscar history, having scooped a salute for her lead role in Florence Foster Jenkins.
ROME – The Venice Film Festival, after launching multiple-Oscar-winning movies three years in a row, now has a strong chance to make it four. Newly announced Best Picture nominees “La La Land,” “Arrival,” and “Hacksaw Ridge” all launched from the Lido last year. With a total of 33 Oscar nods for six movies that world-premiered… Read more »
ALL-AMERICAN STYLE: For Friday’s two big inaugural events, Ivanka Trump turned to Oscar de la Renta’s Laura Kim and Fernando Garcia for an outfit for her father’s swearing-in ceremony in the morning and she donned a Carolina Herrera champagne-colored embellished gown for the inaugural balls.
The Oscar de la Renta designers saw to it that Ivanka Trump hit just the right notes for three key events during the weekend. For Thursday’s wreath-laying ceremony at Arlington National Cemetery, the entrepreneur wore a kelly green wool cashgora coat with matching crepe dress. Thursday night’s candlelight ball in Union Station was another occasion for her to wear the New York label – this time it was an ivory crepe gown with black velvet corset bow. The Oscar de la Renta trifecta was completed at Friday’s swearing-in ceremony, where the first daughter donned an ivory cashgora wool jacket with stretch cady pants. Trump must really be a fan of the brand, having also turned to the design duo to dress her three children – Arabella, Joseph and Theodore Kushner – for the actual inauguration.
Her sister Tiffany seemed to follow her lead for outerwear, choosing a white double-breasted one albeit from Taoray Wang, a Chinese fashion
Oscar de la Renta will be part of the lineup for the U.S. Postal Service’s series of stamps for 2017.
Mary-Anne Penner, director for stamp services at the U.S. Postal Service, said, “The new year is shaping up to be exceptional as the Postal Service continues to produce stamps that celebrate the people, events and cultural milestones that are unique to the history of our great nation.” She described the new stamps as part of a showcase of “miniature works of art to help continue telling America’s story.”
De la Renta is widely known for dressing America’s first ladies and celebrities. He passed away in 2014 and was one of the world’s leading fashion designers for more than 50 years.
For the postal series, the pane of 11 stamps features a black-and-white portrait of the designer — by Inez van Lamsweerde and Vinoodh Matadin — and 10 details from several of his famous gowns. Art director Derry Noyes designed the stamps, the U.S. Postal Service said.
The pane of 11 U.S. postal stamps featuring Oscar de la Renta.
De la Renta, who was born on July 22, 1931 in Santo Domingo in the Dominican Republic, passed away at the age of 82 after a long battle
The Cuddly Cushion – Oscar The Duck by Wesco can be used either as a pillow, bolster or simply as a plaything. With embroidered eyes and guaranteed free from azo dyes, this piece is made from 65% polyester/35% cotton fabric with polyester fibre wadding. Zip cover for easy cleaning. W: 21 3/4″, H: 11 3/4″.
List Price: $ 99.99 Price: $ 99.99
The Duplass brothers may be the bane of Mindy Lahiri's existence, but this week, even the good doctor herself couldn't deny how fierce and progressive they're being. The Duplass brothers are championing the first transgender-actor…
ATLANTA — Considering Oscar de la Renta’s close ties to the Savannah College of Art and Design, it was fitting that SCAD FASH opened its first fashion collection dedicated to the late designer.
The fashion museum, which officially opened Oct. 3 at the school’s campus here, was spun out of 10,000 square feet of space originally used for events, said Paula Wallace, president and founder of SCAD. The full-scale remodeling of the facade and interior began this summer and transformed much of the area into an elegant room that can be modularly changed according to the dictates of each exhibition it presents. Visitors enter by ascending a grand staircase that offers a dazzling panoramic view of the city.
The museum gallery is surrounded by fashion classrooms on two sides and leads into the library-style Film Salon, a lounge for visitors and the Assouline store with merchandise made by SCAD students, a fashion resource library, and a collection study and conservation lab.
SCAD celebrated the opening on Thursday with Champagne and hors d’oeuvres as guests toured the collection of Oscar de la Renta creations past and present, including some fall 2015 designs by Peter Copping, the fashion house’s creative director, who took the helm
This hilarious story recounts an incident loosely based on Oscar’s childhood and the close-knit neighborhood in which he grew up. Every Saturday, the people in Oscar’s neighborhood have a picnic at the park, and Oscar is responsible for handing out that lists that tell everyone what to bring. But little Oscar is a daydreamer, and one week, he completely forgets to distribute the lists. The picnic will be ruined unless Oscar can save it With some lightning-quick moves and fancy footwork, Oscar scrambles to get supplies from the grocery store, set up the tables, and prepare the food. Of course, there’s a twist–the future boxing champ sprints over avacadoes to make guacamole and whips up cream by jumping rope. Told in English and Spanish, this entertaining book includes fitness tips from the Olympic gold medal winner and Super World Welterweight Champion.
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One number: 22. That’s all it took to transform Ellen Goosenberg Kent from a filmmaker to a woman on a mission. “When I heard that 22 veterans are killing themselves every day, I thought: This is outrageous. That’s almost one every hour. I had to do something,” she said. Goosenberg Kent was already a strong voice on veterans’ issues. In 2007 she partnered with the late James Gandolfini to create Alive Day Memories, a heartwrenching documentary in which soldiers from the Iraq War reflected on the days they almost died in combat.
But suicide, that was a silent epidemic, one that needed to be addressed head-on. “I kept thinking: How can I make that number real for people? When I learned about the Veterans Crisis Line,” a suicide hotline created by the Department of Veterans Affairs in 2007, “I realized that this was an opportunity, a chance to capture a glimmer of hope in a sea of suffering.”
The director convinced the V.A. to grant her access to the crisis line’s Canandaigua, NY., facility, where she spent the next three months filming trained responders as they answered calls from suicidal veterans, some of them armed and ready to act. Goosenberg Kent spliced her footage into a 40-minute film that crackles with a disquieting, nervous energy. The movie has more drama than any action picture released this year and a greater grasp of the soldier experience than most of the war films of the last decade.
Crisis Hotline: Veterans Press 1 premiered on HBO last November. In February it won the Oscar for Best Documentary (Short Subject). And today, Independence Day, as millions nationwide honor our vets, Americans have the chance to watch the film with family, through HBO Go, Google Play and Amazon Instant Video.
Goosenberg Kent spoke with me about her film, the importance of the suicide hotline, and what each of us can do to help our veterans.
Kors: I have to challenge you about that statistic: 22 veteran suicides a day. It comes from the V.A., and you cite it in the beginning of the film. But how can we possibly know a number like that?
Goosenberg Kent: It’s an estimate. We spent a lot of time trying to vet it. But it’s very difficult to reliably gather suicide statistics. My sense is that the real figure may be much larger, that veterans’ suicides are widely underreported. But even if it is just 22 — one is too many. So 22 is insane.
Kors: And yet your film spends no time casting blame, not on the administration, not on the V.A. It’s focused on the crisis hotline responders, who display such intelligence and empathy as they to talk these veterans down from the brink.
Goosenberg Kent: That’s right. There’s a lot of blame to go around when it comes to these suicides. And exploring who is to blame is important. But I realized, we had an opportunity here, a chance for a fresh perspective by focusing on the good guys, the responders who are using compassion, training and focus to save lives. As a filmmaker, I wanted to do more than present the problem. I wanted to offer a lifeline of hope. That’s what the Veterans Crisis Line is.
Kors: It’s Ground Zero for the epidemic.
Goosenberg Kent: Absolutely. At the call center, it’s wave after wave of veterans, alone, in the dark, crying out for help. You spend a little time there, and you really get the scope of the problem.
Kors: How did you get access to the facility?
Goosenberg Kent: Well, the V.A. had let the New York Times in for a piece they produced in 2010. But what we wanted was a whole different level of access. Basically, we wanted to embed, to be there for three or four months and just watch the place work, to hear the soldiers in crisis and watch the responders as they assist them.
Kors: That’s one of the amazing ironies of the film: it captures the voice of veterans better than so many other movies, and yet the only voices in the movie are the responders’, not the callers’.
Goosenberg Kent: Because the V.A. doesn’t tape the calls.
Kors: It doesn’t?
Goosenberg Kent: No, it doesn’t. That surprised us too. We thought it would be like 911, which records all of its calls. But veterans’ conversations with the responders are just between them. To get access to the call center, we had to commit to not taping those calls either. Which meant that, with one side of the conversation, we didn’t know what we had. We didn’t know if there was enough to make a film.
Then we came back from our first few days of shooting and watched the footage. There was a call from a 20-year-old veteran whose best friend died in his arms. Maureen, [one of the crisis hotline responders], talked to him in a way that was incredibly moving. He thought this life was over, and she was able to seize on his ambivalence, keep him from acting on his impulse. She bought him some time to reconsider living, to realize that he wasn’t responsible for his friend’s death. On another call, Luis, who was an Army sergeant before becoming a responder, he talked about going through combat in such a powerful way. The caller was crying so loudly, you could hear it over the phone. Luis was emphatic. He told him: “If you ever feel like this again, you pick up the phone.” I thought we were going to be hearing phone therapy, but wow, this was different.
Dana Perry, who produced the film, her son committed suicide. When we first got to call center and started watching the responders, she got so silent. I asked her what’s going on, and she said, “It never occurred to me to call a hotline. Maybe if he had a hotline on the day he killed himself, maybe he wouldn’t have done it.” I realized, this is a message we had to get out to military families: There’s a place you can call, a place where you can be heard.
Kors: Were you worried that your film would look like a 40-minute commercial for the V.A.?
Goosenberg Kent: I was. But the failures of the V.A. have been amply reported. I was more concerned that there was this hotline out there, a bright light with top-notch people ready to help, and many military families didn’t even know it existed.
Kors: It is amazing how many veterans I talk to who are in crisis but don’t know about the hotline or have never thought to call.
Goosenberg Kent: Exactly. The longer we filmed at the call center, the more urgency I felt to tell soldiers what a resource they had there. I remember one call, an Army sniper who said, “I saw a child get blown away.” He wasn’t able to tell that story to his buddies or his wife. But to the responder, he could. It was an amazing moment. It was the beginning of something.
Kors: In the film, none of the calls end in suicide. Did you film any calls that ended unsuccessfully?
Goosenberg Kent: No, we didn’t capture anything like that. I know that occasionally it does happens. But not as often as you might think. When it does, usually the responder will find out much later: “You took a call a few weeks ago from a Marine in crisis. He didn’t make it.” But that didn’t happen while we were there.
Kors: Recently the Crisis Line has drawn fire from vets who say they called, needing immediate assistance, and instead were put on hold. I know Senator Bill Nelson has been looking into this. Was this a problem that you saw during your time at the call center?
Goosenberg Kent: No, I didn’t see anything like that. Believe me, if I saw responders putting veterans on hold, I would not have ignored that. But that’s not how the call center is set up. Responders don’t have a queue, with blinking lights for callers they have to get to. The center has 255 responders. And when each of them is talking with a veteran, the calls are rolled over to backup centers, which are also staffed with trained responders. I met several of them.
Kors: Did you ever meet a veteran who called the Crisis Line?
Goosenberg Kent: I did. The New America Foundation was screening our film, and a veteran at the screening told me she called the Crisis Line. She had been sexually assaulted while serving and was struggling with that. She said the Crisis Line saved her. To hear that from a veteran, in person, it was wonderful. She said that after the call, she got herself to a better place and got involved with [the Iraq and Afghanistan Veterans of America].
Kors: It is tough, though, for veterans to get to a place where they’re ready to call and ask for help.
Goosenberg Kent: I think it is. That’s part of the culture that I was hoping to chip away at, this idea that only the weak pick up the phone and ask for help. I remembering reading a series of articles about soldiers being bullied for seeking help, including soldiers at Fort Carson who were actively discouraged from seeking help. That was heartbreaking to me, and when I made this film, those articles very much in my mind. I wanted veterans to see that asking for help is actually a sign of strength. It’s an act of courage, one that doesn’t make you any less of a hero. In fact, it’s the beginning of getting your life back together.
Kors: Nonetheless, I bet a lot of civilians will see the movie and say, “It’s sad to hear that so many vets are in crisis. And it’s good that these responders are helping some of them. But either way, there’s not really anything I can do about it.”
Goosenberg Kent: No. That’s not true at all. In fact, that’s exactly the opposite of what I hope people will take from the film.
Kors: What do you want them to take from the film?
Goosenberg Kent: That they can be part of the solution. Even people with no training in psychology or counseling. You can ask a veteran how he’s doing. Let him know that you’re available to listen.
The worse feeling in the world is a sense of isolation. That’s what I learned from my time at the Crisis Line. You don’t have to have gone to war to understand pain or trauma, or empathy or understanding. The responders provide an example of how to open the lines of communications, how to be part of a conversation that all of us can engage in.
Oscar is a tabby cat that happily lives in his cozy home with a child and lots of toys. He loves to climb and jump on everything, and one day he jumps to the moon. There he finds mysterious lunar cats drinking milk out of the moon’s craters. But those who drink the milk of the moon learn they will never return to Earth.
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As an online fashion writer, Oscars night is hard work: I’m glued to my computer, watching red carpet coverage and hunting for the perfect pictures of our favorite gowns (vote here if you didn’t last night). Still, I am not complaining because it involves one of my most favorite parts of fashion: breathtaking, elegant gowns.
We connected with fashion illustrator Laura Kay of Diary Sketches and she sketched out five of our favorite looks, exclusively for us. Is your pinning finger ready or what because, um, these are gorgeous.
Rosamund Pike in Givenchy Haute Couture.
Rita Ora in custom Marchesa.
Lupita Nyong’o in Calvin Klein Collection.
Jessica Chastain in custom Givenchy by Riccardo Tisci.
Kerry Washington in Miu Miu.
I mean, how pretty? Who was your favorite last night?
The stars who win big at the Oscars aren’t looking to heaven during their acceptance speeches — they’re looking at Steven Spielberg.
The renowned American film director is thanked more often during Oscars acceptance speeches than the Good Lord Almighty himself, Vocativ reports.
With the 87th Academy Awards slated to air on Sunday, Vocativ mined through 1,396 acceptance speeches currently archived on Academy’s website to measure who got the most “Thank Yous” from winners.
Spielberg came in at number one, with 42 mentions, followed by Harvey Weinstein, James Cameron, George Lucas, Peter Jackson. God came in at number six, with just 19 mentions.
It should be noted that a number of acceptance speeches from the earliest years of the awards haven’t yet been added to the Academy’s acceptance speech database. As a result, Vocativ’s survey isn’t conclusive.
Still, it seems the dream-come-true moment inspires many winners to give thanks to forces greater than themselves. Here are a few of the celebrities who gave God a thumbs up during their time in the spotlight.
Winner: Haing S. Ngor Year: 1984 (57th) Academy Awards
Category: Actor in a Supporting Role
Film Title: The Killing Fields
Presenter: Linda Hunt
Date & Venue: March 25, 1985; Dorothy Chandler Pavilion
This unbelievable, but so is my entire life. . . And I thank God Buddah that tonight I’m even here. Thank you very much. Thank you.
Winner: Prince Year: 1984 (57th) Academy Awards
Category: Music (Original Song Score)
Film Title: Purple Rain
Presenter: Michael Douglas, Kathleen Turner
Date & Venue: March 25, 1985; Dorothy Chandler Pavilion
This is very unbelievable. I could’ve never imagined this in my wildest dreams. And I would like to thank the Academy . . . and most of all, God. Thank you very much.
Winner: To Richard Williams for the animation direction of “Who Framed Roger Rabbit.” Year: 1988 (61st) Academy Awards
Category: Special Achievement Award
Film Title: Who Framed Roger Rabbit
Presenter: Robin Williams, Charles Fleischer
Date & Venue: March 29, 1989; Shrine Civic Auditorium
Thank you very much, members of the Academy and Carl Bell. I have to thank, first, Steven Spielberg for having the enormous prestige to mid-wife the whole thing and get all those different, competing cartoons in the same movie. Then to Jeffrey Katzenberg, who kept his cool under tremendous duress, and thank God or I wouldn’t be here tonight.
Winner: Tom Hanks Year: 1993 (66th) Academy Awards
Category: Actor in a Leading Role
Film Title: Philadelphia
Presenter: Emma Thompson
Date & Venue: March 21, 1994; Dorothy Chandler Pavilion
I know that my work in this case is magnified by the fact that the streets of heaven are too crowded with angels. We know their names. They number a thousand for each one of the red ribbons that we wear here tonight. They finally rest in the warm embrace of the gracious creator of us all. A healing embrace that cools their fevers, that clears their skin, and allows their eyes to see the simple, self-evident, common sense truth that is made manifest by the benevolent creator of us all and was written down on paper by wise men, tolerant men, in the city of Philadelphia two hundred years ago. God bless you all. God have mercy on us all. And God bless America.
Winner: Mel Gibson Year: 1995 (68th) Academy Awards
Film Title: Braveheart
Presenter: Robert Zemeckis
Date & Venue: March 25, 1996; Dorothy Chandler Pavilion
I’d like to thank the Academy first of all. . . And God, for indulging me in this tiny moment.
Winner: Cuba Gooding, Jr. Year: 1996 (69th) Academy Awards
Category: Actor in a Supporting Role
Film Title: Jerry Maguire
Presenter: Mira Sorvino
Date & Venue: March 24, 1997; Shrine Auditorium & Expo Center
God, I love you. Hallelujah. Thank you, Father God, for putting me through what you put me through, but I’m here and I’m happy.
Winner: Denzel Washington Year: 2001 (74th) Academy Awards
Category: Actor in a Leading Role
Film Title: Training Day
Presenter: Julia Roberts
Date & Venue: March 24, 2002; Kodak Theatre
Oh, God is good. God is great. God is great. From the bottom of my heart, I thank you all.
Winner: Adrien Brody Year: 2002 (75th) Academy Awards
Category: Actor in a Leading Role
Film Title: The Pianist
Presenter: Halle Berry
Date & Venue: March 23, 2003; Kodak Theatre
This is, you know, it fills me with great joy, but I am also filled with a lot of sadness tonight because I’m accepting an award at such a strange time. And, you know, my experiences in making this film made me very aware of the sadness and the dehumanization of people at times of war, and the repercussions of war. And whomever you believe in, if it’s God or Allah, may He watch over you. And let’s pray for a peaceful and swift resolution.
Winner: Conrad L. Hall (accepted by his son, Conrad W. Hall) Year: 2002 (75th) Academy Awards
Film Title: Road to Perdition
Presenter: Julia Roberts
Date & Venue: March 23, 2003; Kodak Theatre
[Ed. note: Mr. Conrad L. Hall passed away in January of 2003.]
It’s been said that God gives each and every one of us the gift of life and what we do with that life is our gift back to Him. I can’t think of a better gift than my father. Dad, wherever you are, you will be gone but you’ll never be forgotten. Thank you.
Winner: Forest Whitaker Year: 2006 (79th) Academy Awards
Category: Actor in a Leading Role
Film Title: The Last King of Scotland
Presenter: Reese Witherspoon
Date & Venue: February 25, 2007; Kodak Theatre
I want to thank my mom and my dad; I want to thank my wife Keisha, my children, my ancestors who continue to guide my steps, and God, God who believes in us all and who’s given me this moment in this lifetime that I will hopefully carry to the end of my lifetime into the next lifetime. Thank you.
Winner: Jennifer Hudson Year: 2006 (79th) Academy Awards
Category: Actress in a Supporting Role
Film Title: Dreamgirls
Presenter: George Clooney
Date & Venue: February 25, 2007; Kodak Theatre
Oh my God. I have to just take this moment in. I cannot believe this. Look what God can do. . . Wow. Oh my God. Unbelievable cast. I’d like to thank the Academy. Definitely have to thank God, I guess, again. I can’t believe this. Wow, I don’t know what to say but I thank you all for helping me keep the faith even when I didn’t believe. Thank you and God bless you all.
Winner: A.R. Rahman Year: 2008 (81st) Academy Awards
Category: Music (Original Score)
Film Title: Slumdog Millionaire
Presenter: Zac Efron, Alicia Keys
Date & Venue: February 22, 2009; Kodak Theatre
I want to tell something in Tamil, which says, which I normally say after every award, which is: Ella puhazhum iraivanukke. “God is great.” Thank you.
Winner: Written by Dustin Lance Black Year: 2008 (81st) Academy Awards
Category: Writing (Original Screenplay)
Film Title: Milk
Presenter: Steve Martin, Tina Fey
Date & Venue: February 22, 2009; Kodak Theatre
When I was thirteen years old, my beautiful mother and my father moved me from a conservative Mormon home in San Antonio, Texas, to California, and I heard the story of Harvey Milk. And it gave me hope. It gave me the hope to live my life. It gave me the hope one day I could live my life openly as who I am and that maybe even I could even fall in love and one day get married. I wanna, I wanna thank my mom, who has always loved me for who I am even when there was pressure not to. But most of all, if Harvey had not been taken from us thirty years ago, I think he’d want me to say to all of the gay and lesbian kids out there tonight who have been told that they are less than by their churches or by the government or by their families, that you are beautiful, wonderful creatures of value and that no matter what anyone tells you God does love you, and that very soon, I promise you, you will have equal rights, federally, across this great nation of ours. Thank you. Thank you. And thank you,God, for giving us Harvey Milk.
Winner: Oprah Winfrey Year: 2011 (84th) Academy Awards
Category: Jean Hersholt Humanitarian Award
Presenter: Lawrence Gordon, John Travolta, Maria Shriver, Ayanna Hall
Date & Venue: November 12, 2011; The Governors Awards (Grand Ballroom, Hollywood & Highland Center)
The first line of the book [The Color Purple] is, “Dear God, I’m fourteen years old…” And I had lived that life and couldn’t imagine that someone was able to put into words what I had already experienced. And so began this journey that I was able to really understand that God’s hand, or power greater than myself, “the forces,” as Sidney Poitier calls them, were engaged in leading my life to a plane and a level that I had not even imagined. But I released myself to those forces, and literally said inside myself, “Thy will be done.”
Winner: Matthew McConaughey Year: 2013 (86th) Academy Awards
Category: Actor in a Leading Role
Film Title: Dallas Buyers Club
Presenter: Jennifer Lawrence
Date & Venue: March 2, 2014; Dolby Theatre
First off, I want to thank God, ’cause that’s who I look up to. He has graced my life with opportunities that I know are not of my hand or any other human hand. He has shown me that it’s a scientific fact that gratitude reciprocates. In the words of the late Charlie Laughton, who said, “When you’ve got God, you’ve got a friend. And that friend is you.”
Winner: Morgan Neville, Gil Friesen and Caitrin Rogers (Janet Friesen accepted for her husband; accompanied on stage by film subject Darlene Love) Year: 2013 (86th) Academy Awards
Category: Documentary (Feature)
Film Title: 20 Feet from Stardom
Presenter: Bradley Cooper
Date & Venue: March 2, 2014; Dolby Theatre
Darlene Love: Lord God, I praise you and I am so happy to be here representing the ladies of “20 Feet from Stardom.” [Sings:] “I sing because I’m happy. I sing because I’m free. ‘Cause His eye is on the sparrow and I know He watches me.” Alton, I love you.
Tom Ford might have gotten a lot of attention with his highly anticipated show in Los Angeles last night (as it should—Beyonce, Miley, Gwyneth, Karlie, and others were there), but Meryl Streep, Rosamund Pike, Jennifer…
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Lauren O’Brien Impressions – Oscar Nominee Speech Practice (2015) HD
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Lauren O’Brien’s impressions of the nominees practicing their Oscar acceptance speeches. Featuring: Reese Witherspoon, Meryl Streep, Rosamund Pike, Keira Knightley, and Laura Dern.
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The Oscar awards committee today announced controversial new plans to give all future awards to singer Beyoncé Knowles in an attempt to stop rapper Kanye West from storming the stage.
The sight of Kanye, producer of such international hits as “Jesus Walks” and “Gold Digger”, helping himself to the podium steps has become a common sight in recent years and has been dubbed ProtWests or ProtWesting by satirists with too much time on their hands.
A spokesperson for the committee told us, “I think it’s become obvious that Kanye knows best; I mean take the Grammys. Awarding the prize to a genial newcomer like Beck who barely has thirty years in the music industry instead of Beyoncé was just unforgivable and, frankly the totally impartial committee should have known better. As should E! News for branding the microphones that they paid for with their own money.”
“Originally we thought that awarding statues to recipients based on a consensus from a large and diverse group of industry professionals was pretty fair, but then Kanye brought to our attention that this just didn’t sit well with him.”
Despite Ms. Knowles, 34, not actually doing anything to qualify for the movie industry’s highest award this year, a source close to Mr. West made it clear that “they shouldn’t let that stop them, or buddy, Kanye will.”
Other organizations said to be considering similar moves are the SAG Awards, The Producers Guild and the Nobel Peace Prize Committee. A spokesperson for the latter told us, “We considered other moves to prevent Kanye protWesting us, such as large fences around the stage with really big spikes, armed guards or just not inviting him to anything with a statue, but we think that in the long run just giving all the awards to Beyoncé will work out better.”
Dan Miles is the cult bestselling author of Filthy Still – A tale of travel, sex and perfectly made cocktails.
With the help of Oscar the Grouch and a bunch of other garbage-loving Grouches, the Grammy Award-winning rapper performed a catchy — if not slightly bewildering — parody of his hit song “Thrift Shop” on Monday’s episode of the children’s show.
In the video above, watch as Macklemore waxes lyrical about garbage, romping through Sesame Street while explaining how “one man’s trash” is “another Grouch’s outfit.”
“I’m gonna pop some trash,” the Grouches crooned. “Only got seven bags in my trash can. I-I-I’m shopping, looking for some rubbish, this is gross and awesome.”
The late designer’s kind spirit weaved a tapestry just as beautiful as his runway, red carpet and bridal creations. And it is because of the utmost class de la Renta exuded beyond the catwalk, that he will live forever in our memories.
Following news of his death on Monday, fashion’s elite took to Twitter to offer heartfelt condolences and memories of de la Renta. Scroll down to see how they mourned “the king of evening.”
Warner Bros. dropped the first trailer for Clint Eastwood’s “American Sniper” on Thursday, and it’s a doozy: The two-minute clip focuses on Chris Kyle, the most lethal sniper in United States history, and provides a brief window into what kind of decisions he was asked to make during his time as a Navy SEAL. Bradley Cooper plays Kyle in Eastwood’s film, and from the extra bulk on Cooper’s frame to the Texas accent he affects, it’s the kind of part that could put the two-time Oscar nominee in line for a third straight nod. Either way, keep “American Sniper” on your long list of Oscar contenders for one simple reason: Eastwood’s “Million Dollar Baby,” which had a similar “surprise” release in 2004 and went on to win Best Picture.
Oscar de la Renta’s Spring 2015 collection was a lesson in classic elegance. Chantilly lace, silk organza and traditional tulle took on a new life with embroidered overlays, pearlized prints and sequin detailing. Off-the-shoulder gowns and illusion necklines ruled the runway while accessories, like crystal headbands, pearl necklaces and dramatic veils, cued the romance.
Despite a torrential downpour and flash flood warnings in L.A. on Friday evening, Jared Leto hit the ground running, in fancy black-and-white shiny shoes with a red sole. The Oscar-favorite spoke to The Huffington Post at LA Confidential’s annual Oscar event, which this year honored Leto, who graces the magazine’s Spring Issue with wide-open eyes and his signature silky long locks.
Dressed like the rock star that he is in all black, Leto laughed when he saw the giant blow-up of his magazine cover. “I’ve never seen my head so big. Only on the inside,” he joked.
Leto first heard the announcement of his “Dallas Buyers Club” Best Supporting Actor nomination at 5 in the morning but didn’t share the news right away. “Oh I didn’t call anybody. Didn’t want to wake anyone up,” he said.
He’s might be a man of few words, but his performance as Rayon in “Dallas Buyers Club” is nothing short of brilliant. And playing a transgender woman has certainly brought a spotlight to the community. “It’s been wonderful and supportive and generous — from the very beginning when I started research and preparation for the role,” Leto told HuffPost.
He described being nominated for the film as “truly mind-blowing” and “a thrill,” but clarified that there’s some anxiety involved. “It’s a great time to stress out about what you’re going to say for 45 seconds,” Leto said, musing about his potential acceptance speech. Luckily, Leto will have more than enough support at the awards Sunday — he’s bringing his mother and brother as his dates. “It’s the whole family. And that’s just a dream. I couldn’t think of a better way to do it.” Leto said.
Staring directly into the actor’s electric blue eyes causes one to consider to a certain theory that Leto does not age (Google images of Leto in 1994 and 2014). Unfortunately, HuffPost could not confirm with the 42-year-old the validity of whether or not he is in fact the real life Dorian Gray. “I don’t know. I have no idea,” said Leto. “But I’m sure happy to be alive.”
There might not be an aging painting of Jared Leto locked away in his house, but based on reputable Oscar predictions, there likely will soon be a little gold man in its place.
“Dallas Buyers Club” is nominated for six Academy Awards including Best Picture, Best Actor for Matthew McConaughey and Best Original Screenplay. This is Leto’s first Academy Award nomination. Entertainment – The Huffington Post
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147 docs were eligible for Oscars this year. 15 made a short list, and 5 are now contenders. One, The Act of Killing, a first feature length film for director Josh Oppenheimer, working with an anonymous partner, raises questions of morality, conscience, and accountability related to the 1965-6 genocide in Indonesia. As Oppenheimer explained at a special Academy of Art & Sciences screening series of the Oscar nominated documentaries, he had met some survivors of the killings, and in the process of deciding to make a film on this subject, he met with perpetrators, proud and still in powerful government positions.
Oppenheimer interviewed forty killers before landing on Anwar Congo who described in detail how he developed a method of killing using wire that he learned watching American gangster movies, the advantage being that this technique produced the least amount of blood to mop up. Also adept at beheading using a machete when needed, Congo’s testimony suggested to Oppenheimer that the bravado behind describing this cruelty might in fact hint at a new reckoning; this taboo topic might be ready for discussion for a regime that prefers to stand silent behind its untoward past.
When asked to describe what they did to unarmed victims said to be Communist or enemies of the state, Congo and other death squad members seemed boastful and eager to show and tell, agreeing to film a re-enactment of these murders, with fellow Indonesians including women and children as actors. A particularly cruel Herman Koto performs his bit in drag, and in a penultimate production number, beautiful, colorfully dressed women sway to a rendition of “Born Free.” The viewer marvels at this surreal non-fiction.
It was as if I went back to Germany and found the Nazis in power crowing about the murder of the Jews, said Oppenheimer, who in fact is a descendent of Holocaust survivors. His remark called to mind The Last of the Unjust, an outtake from Claude Lanzmann’s epic length Shoah, focused on Benjamin Murmelstein, third and last president of the Jewish Council of the Thereseinstadt ghetto in Czechoslovakia, who fought with Adolf Eichmann on matters of liquidating the Jews, and how best to complete the final solution. For him, Hannah Arendt’s summation of Eichmann’s “banality of evil,” is pure rubbish; Eichmann was no bureaucrat, but a particularly inventive murderer. Claiming to have saved lives, Murmelstein, an erudite former rabbi from Vienna, was a controversial figure after liberation, accused of being a collaborator, but freed of these charges.
After Lanzmann filmed survivors for Shoah in 1975, he teased out several interviews for stand-alone films. At 3 1/2 hours, The Last of the Unjust is riveting, because Lanzmann, seen chain smoking in trendy sunglasses, takes the time to linger on a particular exterior where murders took place, making a leafy empty corridor grow in haunting elegiac intensity. How easily the imagination fills in the horrific drama, even as the specificity of Murmelstein’s words transfix. What Claude Lanzmann has said about his film Shoah works for his treatment of Benjamin Murmelstein: “I am not here to judge.”
Because many of us haven’t trusted the Pulitzer Prize since 1962 when Edward Albee’s Who’s Afraid of Virginia Woolf? was nixed by the powers there, whatever lands the award from year to year can receive an I’ll-be-the-judge-of-that critical response.
I suppose that’s my way of saying I wasn’t bowled over by Donald Margulies’s Dinner With Friends win in 2000. Come to think of it, the decision could have been the Pulitzer deciders’ way of accepting their judges’ choice that go-round as compensation for the institute’s not honoring The Model Apartment, the playwright’s superb 1998 play, stunningly revived last year by Primary Stages.
(There’s a prominent precedent: Albee’s 1967 win for A Delicate Balance was viewed, at least in part, as a make-up nod for the 1962 gaffe.)
But don’t get me wrong. While I’m not convinced Dinner With Friends is a duh!-but-of-course prizewinner, I’m glad to say it’s a piece of very fine writing. The evidence is the Roundabout’s flawless revival at the Laura Pels, directed by Pam McKinnon (who has the recent Who’s Afraid….? revival to her credit), and acted by Jeremy Shamos, Marin Hinkle, Darren Pettie and Heather Burns.
Getting back to the Pulitzer voters, maybe they favored Margulies for his depiction of two contemporary middle-class marriages. Perhaps they reasoned the drama had been, and would be, seen by many middle-class marrieds who’d find themselves so well observed in it.
Certainly, Margulies–on record as cribbing from his own marriage to a general practitioner–takes his characters’ temperature with compelling accuracy. In the first of his two acts, the ostensibly blissful Gabe (Shamos) and Karen (Hinkle) are hosting good pal Beth (Burns) who confides in their well-appointed Connecticut kitchen (Allen Moyer’s design) that husband Tom (Pettie) is leaving her for another woman. After returning home to confront the admittedly philandering Tom, Beth so agitates him when she admits having told Karen and Gabe that he races over to give them his side of the break-up.
Margulies begins his second act flashing back to the summer some 12 years earlier when, at their Martha’s Vineyard summer retreat (Moyer keeping up the good work), Gabe and Karen rather awkwardly reintroduce Beth and Tom, who’d disliked each other since their hosts’ wedding. That four-way exchange–infused with comic touches that always come easily to Margulies–is followed by a scene in which Karen and Beth discuss the unfolding events, then a scene in which Gabe and Tom do the same and, finally, a one-on-one bedroom wrangle between Gabe and Karen.
Am I going back on my earlier Pulitzer-resistant stance by saying it would be hard to question the wisdom with which Margulies writes about the somehow sturdy Gabe-Karen marriage and the foundering Tom-Beth alliance, which, when ended, allows them to enter into sound second marriages? Not only do I appreciate his views there, but I also admire (maybe even more so) Margulies’s nuanced understanding the dynamics of friendships. He’s put “Dinner” is his title, and he plays with it by devoting two scenes to Karen and Gabe preparing food with great enthusiasm, as well as having the pair offer Tom something to munch on when he barges in.
But Margulies has also inserted “Friends” in his title, and in both the lengthy Karen-Beth and Gabe-Tom confrontations, he explores the subtle things between friends that, if not confronted, can become big things. His perceptions about the unconscious slights friends can commit, often on an consistent basis, are beautifully jarring. What Beth observes about Karen and then Tom observes about Gabe and that then propels Karen and Tom into their own marital considerations is so profound that, yes, I don’t begrudge that Pulitzer.
There’ll be no speculating here on how actors and directors approach a Pulitzer play. It’s highly unlikely that director MacKinnon thought differently about how she’d treat Dinner With Friends, which did win, and Who’s Afraid of Virginia Woolf?, which didn’t. The very thought is laughable. And notice that both works dwell on two unions in shaky shape.
Actors undoubtedly think about how best to play the role they’ve won. Shamos, Hinkle, Pettie and Burns–as guided by MacKinnon–know exactly what to do. Each of them has acquired the kind of resumé that marks them as reliable. Theirs is a reliability that stems from fitting the parts they play as if the parts were written about and for them.
So, renewed congratulations to Margulies on his Pulitzer. More than that, congratulations, prize or no prize, on presenting so believably the infinite complexities of marriages and friendships. These are the foundations on which are built so many of our daily lives.
N. B.: The list of Oscar Wilde’s plays usually includes only five–Lady Windermere’s Fan, Salomé, An Ideal Husband, A Woman of No Importance and The Importance of Being Earnest. Theatergoers familiar with them may be surprised to learn that’s not the complete list. In 1883, his early play-Vera, or The Nihilists, about the eponymous woman’s throwing her lot in with revolutionaries (one of whom is a royal)–had its first production in New York City.
It’s not a very good play. Actually, it’s quite bad, which explains its being little discussed in polite society. It can be seen now, though. True Wilde completists can look at it–and may want to–in the Femme Fatale Theater production at HERE, the first on these shores in 131 years. By their own admission, director-designers Stephen Gribbin and Robert Ribar have tinkered with it but haven’t apparently improved the hard-boiled melodramatics. Nor does the all-male cast help.
Among the very few hoped-for epigrammatic remarks for which Wilde is still revered are “Nothing is impossible in prison but reform,” “Indifference is the revenge life takes on mediocrities” and “Experience is merely the name men give their mistakes.”
Oscar de la Renta is one of the world s leading luxury goods firms. The New York-based company was established in 1965 and encompasses a full line of women s accessories, bridal, childrenswear, fragrance, beauty and home goods, in addition to its internationally renowned signature women s ready-to-wear collection.
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“I don’t think it ever stops being an absolute thrill, but I do have an immediate leveler… I still have to get up and make lunch for a little person, and pray — please, dear God — that he eats something I put in his lunchbox today.”