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Greta Gerwig regrets Woody Allen film: ‘I will not work for him again’

Charmaine Blake

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Actor, writer and director says if I had known then what I know now, I would not have acted in [To Rome With Love]

Greta Gerwig has expressed regret over working with Woody Allen on 2012 film To Rome With Love, saying in an online roundtable, If I had known then what I know now, I would not have acted in the film.

At the Golden Globes this week, where Gerwigs critically acclaimed film Lady Bird won in two of four nominated categories, the actor, writer and director dodged a question about working with Allen.

Allen has been the subject of decades-long allegations of sexual abuse by his adopted daughter Dylan Farrow, which he continues to deny.

Its something that Ive thought deeply about, and I care deeply about, Gerwig said on Sunday night. I havent had an opportunity to have an in-depth discussion where I come down on one side or another.

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Greta Gerwig questioned about working with Woody Allen backstage at the Globes on Sunday – video

Some criticised Gerwig for evading the question, while others drew attention to the gendered pattern of holding women like Gerwig and Kate Winslet more accountable for working with Allen than men.

Erica C. Barnett (@ericacbarnett)

Yo, while we’re (correctly and righteously) trashing the women who worked with Woody Allen and are now hypocritically saying #TIMESUP, can we PLEASE also talk about all the MEN who worked with him and are not experiencing remotely similar levels of scrutiny right now?

January 9, 2018

Bailey Disler (@baytato)

Another day, another d(ay watching people attack primarily women for working with Woody Allen in the past instead of the men or instead of Woody Allen him damn self)ollar

January 10, 2018

But on Tuesday night, in an online discussion with Aaron Sorkin hosted by the New York Times which covered the #MeToo wave in Hollywood, cultural appropriation and the impact of streaming services on the industry, Gerwig clarified her position on Allen.

Responding to a broad question about how allegations against artists like Allen should affect their legacy and future opportunities, Gerwig said: I would like to speak specifically to the Woody Allen question, which I have been asked about a couple of times recently … It is something that I take very seriously and have been thinking deeply about, and it has taken me time to gather my thoughts and say what I mean to say.

I can only speak for myself and what Ive come to is this: if I had known then what I know now, I would not have acted in the film. I have not worked for him again, and I will not work for him again.

Gerwig mentioned two pieces written by Dylan Farrow one in 2014, when she first publicly addressed her allegations against Allen, and another in October 2017 when she questioned why he was being spared in the #MeToo revolution. In the second piece, Farrow namechecked Gerwig, Winslet and Blake Lively as three A-list women who had broadly supported the movement while failing to account for their own professional support of Allen.

Dylan Farrows two different pieces made me realise that I had increased another womans pain, and I was heartbroken by that realisation, Gerwig said. I grew up on his movies, and they have informed me as an artists, and I cannot change that fact now, but I can make different decisions moving forward.

Gerwig described the politicised Golden Globes ceremony as an extraordinary night which was indicative of a turning point for women.

I think that the way women have come together to lead the Times Up movement and to make clear goals for our industry is how we are going to move forward with purposefulness. I was very moved that the stage was given to the leaders of this movement and the people who can be change agents. These are the women who should be apologised to, and that they were given the space was meaningful.

The fact that many of the women attended with feminist activists from across all industries made the night even more resonant with this moment.

Read more: https://www.theguardian.com/film/2018/jan/11/greta-gerwig-regrets-woody-allen-film-i-will-not-work-for-him-again

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Emily Blunt on the pressure of playing Mary Poppins

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Mary Poppins is a woman with a talent for putting things back together again.

“Which is why it’s rather apt that after 50 years, she’s returning to our screens at a time when the world is arguably most in need of being put back together.

And, Emily Blunt — who plays Mary Poppins in the upcoming sequel Mary Poppins Returns — is well aware of the impact her character has already had on the lives of those who watched the 1964 movie starring Julie Andrews.

Standing in full Edwardian get-up inside Shepperton Studios, Blunt told Mashable that she has fond memories of watching the film as a child. “The film, for me, and I think for most people, is one of those films that is seared into people’s memory, an emblem of their nostalgia in many ways,” says Blunt…………………………………………………”

Read more: https://mashable.com/article/emily-blunt-interview-mary-poppins-returns/

 

 

Director Rob Marshall and Emily Blunt on the set of Disney’s ‘Mary Poppins Returns’.

Image: Jay Maidment

 

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How Willem Dafoe Learned to Paint like Van Gogh

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Midway through artist-director Julian Schnabel’s new film At Eternity’s Gate, we see Vincent van Gogh, portrayed by actor Willem Dafoe, entirely consumed by the compulsion to paint. In the scene, the Dutch artist opens the door to his yellow-walled apartment in Arles, France, to find his friend, fellow artist Paul Guguin, sketching Madame Ginoux, a local café owner. Instantly compelled by what he sees, Van Gogh lunges into action, assembling his easel and grasping several paintbrushes in his left hand, while using his right to commit bold, feverish brushstrokes to canvas. His passion is enthralling—so much so, we forget that Dafoe is not a real painter at all.

At Eternity’s Gate envisions the final years of Van Gogh’s life, through a series of vignettes that straddle truth and fiction (much, though not all, is based on the trove of letters the artist left behind). We see his plight as an artist in Paris, his infatuation with the light and landscapes of Arles, and his declining mental health—including when he famously cut off his ear. But it’s not a straightforward account. “This isn’t a biopic, it doesn’t explain his life,” Dafoe recently explained at the New York Film Festival. “It’s really about painting.” Indeed, it is, first and foremost, the story of a painter as told by a painter: Schnabel, who is known for an idiosyncratic painting practice ranging from canvases covered in shattered plates to inkjet prints painted with purple-hued goats…………………………….”

Read the rest of the article here: https://www.artsy.net/article/artsy-editorial-willem-dafoe-learned-paint-van-gogh

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‘Love Actually’ turns 15: Fun facts about the movie

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