For nearly a decade, the actress-turned-filmmaker tried to get her ambitious Nella Larsen adaptation made. As she tells IndieWire, she knew there was only one way to make it happen.
And, true to form for the long-running Prime Video series, its final moments cut through the action and found the humanity that was always underneath.
The newly minted Gotham winner had to learn a variety of skills for her starring role in the Sundance hit, an experience she only looks back on with joy.
The actor tells IndieWire about his characteristically immersive process: blocking his agent, buddying up to real-life jockeys, cutting weight, and still finding himself at the end of the journey.
As Jets leader Riff, the Tony nominee had to translate his Broadway pop to a big screen spectacle. How does he make it look easy? Hard work, meticulous research, and something called “Jet-tivities.”
The Oscar winner is ending 2021 with a predictably packed slate, with each role speaking to his uncanny ability to embody a range of people. He tells IndieWire how he does it.
The Northern Irish actor is earning some of the best reviews of his career for his turn in Kenneth Branagh’s black and white memoir. For Dornan, that’s proof his strategy is working.
As the conflicted patriarch of the Blake family, Jenkins spends most of the film holding in a terrible truth. For the veteran actor, it’s just a new way to navigate honesty.
Reinaldo Marcus Green’s biopic might get its title from the father of the iconic Williams sisters, but it’s Ellis’ turn as their mother Oracene Price that feels like a revelation.
“I am actually surprised at how many entertainment journalists I’ve met who are dicks,” the actor told IndieWire, but his new movie helped him understand the process.
The actor lied about his citizenship, taught himself how to conduct, and got cozy with a puppet for his turn in the Leos Carax musical. But as he tells IndieWire, that was the easy part of a cinematic high-wire act.
Cumberbatch used to take on demanding roles to avoid being pigeonholed. For “The Power of the Dog,” the impulse was different.
