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 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: 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.”
This is an edited version of the story.
– Courtesy: Variety.com