Breathe In

The actress has continued to hone her craft since then. Jones nailed it as Ruth Bader Ginsburg in “On the Basis of Sex,” released on Christmas. This film illustrates how and why the U.S. Supreme Court Justice has earned her nickname: Notorius RGB (check out the 2018 documentary “RBG” starring RBG).

On The Basis of Sex

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Before I screened “Breathe In,” I loved Jones in “Hysteria.” Since then, I was wowed by her role in “The Theory of Everything.”

Hysteria

The Theory of Everything

“Breathe In” is a beautiful film, directed by Drake Doremus. I walked in for the exclusive interview and Jones looked even more stunning in person. But more importantly than her looks, she was warm, kind, open, and smiled a lot.
 
Dorri Olds: How was it working with Guy Pearce?
Felicity Jones: Fantastic.! I’ve always admired his work I think he always chooses really interesting directors. He’s always about the acting. He’d never done a film where he was improvising before and I could see him relishing the challenge. He’s an actor who always pushing himself. He really loved the process of making it.
Was there a lot of improvisation?
Yeah, a lot. Some things were scripted but most of it was how we made “Like Crazy.” We had an outline and then there’d be thoughts about a character and what happens in the scene and then we’d bring dialogue in on the day.
How did you become involved with film?
This was really unusual, it never usually happens, Drake asked me to do it because we had worked together on “Like Crazy” and he had this idea. In many ways this film is like a twin to “Like Crazy.” He said, “Do you want to come back and see what we can do this time?” So, that was quite nice that I didn’t have to audition. Auditions are really, really frightening. After a while you get used to them but they can be really quite intimidating.
What type of research and preparation did you do for this role?
I felt like Sophie was a very troubled young woman. There was a play called “Master Builder” by Henrik Ibsen and there is a character in that called Hilda and she was a real inspiration. I felt like she was a good foundation for understanding Sophie. There was a French film, “Le Casse” that had a similar kind of thriller mood. With any part you look at other films. There is a fairytale quality to Sophie. She was coming into a family that was heightened by her and her presence. I think that the main thing to me is the back-story for both Anna and Sophie. What was she like? What was her house like? What did her parents do? Having a really sure understanding of the character’s background is so important.
After playing beside Hugh Dancy in the light comedy, “Hysteria,” is it strange to see him playing such a dark character in “Hannibal”?
I think that’s what we always want as actors, to be able to move between different characters and take on different personalities. For me, that’s part of the joy of doing it and I imagine he loves that too.
Do you have a favorite role?
I did a play called, “The Chalk Garden,” which is an amazing play by Enid Bagnon. I played a 16-year-old who was obsessed with fire, a pyromaniac. She was a very troubled young girl and I absolutely loved the play. I was with two fantastic British actresses.
Did you ever forget your line?
Sometimes you do and you panic and look to the audience and hope for the best. That’s why it’s so brilliant to do it. You literally freeze onstage and think, ‘Why the hell am I doing this to myself?’ But it’s really exciting as well.
What’s it like watching yourself on film?
Less fun than being onstage. It’s an odd experience. I think we humans tend to be quite critical of ourselves and it can be a hard process. You watch yourself and think, ‘I could’ve done that differently.’
Did you always know you were beautiful growing up?
[Laughs] Oh, that’s a nice compliment! I guess I don’t think in those terms. I try not to think too much about what how you’re perceived on the outside. That’s not good.
Have you ever had any bad experiences with fans?
Do you know what? I’ve been really lucky. I have really nice fans. They come up and they’re always really, really respectful and I’ve never had any aggression. They’ve always been really polite and nice.
Do you Facebook and Twitter?
No, I don’t.
Do you have staff that does that for you?
No, I don’t. It’s not something I engage in. I like to see other people doing it but no, it’s not really my thing.
Do you have a favorite movie you’ve done — “Like Crazy,” “Hysteria,” “The Invisible Woman”?
I like doing them all. My focus is always the character. That’s always my way into something and I try not to patronize the character depending on when they lived. I feel like as human beings we all have the same emotions, feelings we’ve had for hundreds of years. The forces upon us are slightly different. I love period dramas as well as more contemporary films. I grew up watching “Howard’s End” and “Room with a View,” so I do like doing period work but the hook is always the character and the director.
Was Ralph Fiennes a controlling director in “The Invisible Woman”? Did you have to stick to the script?
It was a very different process from “Like Crazy” and “Breath In.” He was always just wanting to explore and he pushed me. It was always just about trying to get to something truthful about that about my character.
What’s next for you?
I have a film coming out late this year called “Theory of Everything,” which James Marsh directed. It’s about Stephen Hawking and Jane Hawking and their relationship, first meeting and falling in love and then Stephen being diagnosed with motor neuron disease, and it spans their meeting when they were in their early 20s to when they split up in their 40s. Also “True Story” with Jonah Hill and James Franco and I was in “The Amazing Spider-Man 2.”
“Breathe In” opens in New York City on March 28, 2014. It is available now On Demand. Rated R. 98 minutes.
Trailer:

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In the searing new documentary The Sentence, we discover that the casualties of the “War on Drugs” extend beyond the millions of Americans harshly punished with prison time—their families suffer the brunt.

About the Filmmaker

Director Rudy Valdez, an American of Mexican descent, began filming his three nieces for his sister Cindy Shank. Why? Because she’d been sentenced to 15 years in federal prison. Her loving brother, the youngest sibling, wanted Cindy to be able to see the girls grow up. The even greater tragedy is her family’s suffering the pain of living without her. The worst crime is Cindy’s children doing time, also—they grew up without their Mom.
As Valdez began fighting to reduce his sister’s draconian sentence, he discovered that the problem of over-sentencing was much larger than his family’s painful tale. Due to the failed “War on Drugs,” nonviolent first-time offenders, like Cindy, received ghastly punishments because the judge had to adhere to the mandatory minimum sentencing laws.

The Girlfriend Problem

Cops and lawyers have a nickname for Cindy’s all-too-common scenario: The Girlfriend Problem. Cindy’s crime was falling in love with the wrong man.

Although it is not shown in the film, we learn that Cindy lived with Alex Humphrey until 2002, when he was murdered by gunshot right outside their home in Lansing, Michigan. When police searched their home for clues to the murder—which is still unsolved—they found more than 40 pounds of cocaine.
Cindy had attempted to leave Humphrey, but he had threatened her. After his death she was free to move on and straighten out her life. She fell in love with a good man, married him and the couple had three children.

The Arrest

Without giving too much away, the police knocked on the door six years later and arrested Cindy. She was charged as a conspirator because she had known about Humphrey’s drug dealing.
At SVA Theatre this past Wednesday, after a pre-screening of the documentary, filmmaker Valdez said, “We can no longer sit around and be okay with people profiting off the backs of the disenfranchised.”
“It’s the rhetoric we hear: hard on crime or you’re soft on crime…. we need to get rid of that crap. You’re either smart on crime or you’re not,” Valdez said. “This film is apolitical on purpose; it doesn’t go into the history, the right or the left, or who started this, or who’s perpetuating this. It’s a hearts and minds film that transcends voting…. There’s a cultural shift that needs to happen in this country.”

Sundance Film Festival to HBO

The film won the Audience Award at this year’s Sundance Film Festival. HBO purchased the film and will air it Monday, October 15. I suggest putting a box of tissues nearby.

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THE SENTENCE premieres on HBO Monday, October 15, 2018 at 8PM EST. Click here for additional screening times.

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“I can think of no other artist who has given more to her country,” said Moore. “What an honor for our festival audience to welcome and to be inspired by the work of this American Icon. Her voice is as needed today as much as ever.”

Moore will personally host the legendary actress, author, and activist at the Traverse City Film Festival, one of the most popular cultural events in the Midwest. The 2018 program is expected to bring in 100,000 attendees with this year’s roster of nearly 100 movies.
Fonda’s massive body of work includes Coming Home (Academy Award, Best Actress, 1978), Klute (Academy Award, Best Actress, 1971), They Shoot Horses, Don’t They?, Julia, The China Syndrome, On Golden Pond, and The Morning After (films for which she received five additional Oscar nominations). Fonda’s filmography includes more than 40 other films.
Fonda is also the subject of the revealing new HBO documentary Jane Fonda in Five Acts directed by Susan Lacy, which will screen at the festival. Fonda and Lacy will be watching the doc, too. Since 2015, Fonda has starred in Netflix sitcom Grace and Frankie. I chatted with the two mega-stars on the red carpet in New York City during the 2016 Tribeca Film Festival.
See Also: Lily Tomlin and Jane Fonda added joy to the red carpet at Tribeca Film Festival

Fonda is also the subject of the revealing new HBO documentary Jane Fonda in Five Acts directed by Susan Lacy, which will screen at the festival, with Fonda and Lacy in attendance.
The festival will also present a 40th anniversary screening of “Coming Home,” a screening of “Julia”, and a free nighttime screening of “Nine to Five” projected on a 65-foot screen at the festival’s open space on the shores of Lake Michigan.
Fonda’s lifetime commitment to social change has also inspired a generation of artists and activists. She chairs the Georgia Campaign for Adolescent Pregnancy Prevention, sits on the boards of Women’s Day Media Center, which she helped found, and V-Day: Until the Violence Stops. She established the Jane Fonda Center for Adolescent Reproductive Health at the Emory School of Medicine and has long been a leading advocate for environmental issues, human rights, and the empowerment of women and girls.

See Also: Jane Fonda’s List of Awards

See Also: Michael Moore’s List of Awards

Details of Fonda’s appearance along with the 14th annual Festival’s complete schedule of films and events will be announced on Friday, June 29 online at tcff.org.
Tickets for this year’s edition will go on sale to the public on Saturday, July 21 at tcff.org, but Friends of the Film Festival will be able to get early access to tickets with advance sales starting Sunday, July 15. To become a Friend, sign up online, call 231-392-1134, or email friends@tcff.org.

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Hollywood has convinced so many women to fix their “imperfections.” Not Kirsten Dunst. When the actress showed up on the set of her first Spider-Man movie, she was told to get her crooked teeth straightened. Dunst refused. “I was like, ‘No, my teeth are cool!’” Now, at age 35, Dunst has once again delivered a fi rm “No” to a filmmaker’s request. She was asked to drop some pounds for her role as Miss Edwina in the new Southern gothic thriller, The Beguiled, but Dunst said (I’m paraphrasing here), “Nope, not gonna happen.”

Oh, the irony—it was her close friend and long-time collaborator, director Sofia Coppola, who asked Dunst to slim down. Yet it was also Coppola who advised a sixteen-year-old Dunst never to change her teeth during their first work project, 1999’s The Virgin Suicides. That was the film that some would argue really put Dunst on the Hollywood movies map. In 2006, Coppola also directed Dunst in Marie Antoinette.

The Beguiled is Dunst and Coppola’s third time making a film together. It is a remake of the 1971 movie starring Clint Eastwood, and both films are based on a novel by Thomas Cullinan. The scenes are lusty and tense, and loaded with director Coppola’s love of atmosphere and high drama. It’s a thriller that takes place in Virginia during the Civil War.

In the opener, young Miss Amy (Oona Laurence), is out picking mushrooms when she spots a Yankee soldier, Corporal John McBurney (Colin Farrell). He is suffering with a badly wounded leg. She feels sorry for him and helps him back to a plantation that used to be a boarding school for girls. During wartime, it has become a shelter for six women. Dunst’s character, Miss Edwina, is a school teacher. Miss Martha, the headmistress, is played by Nicole Kidman, who teeter-totters between seemingly very good and kind, and capable of dastardly deeds. Elle Fanning plays one of the students.

With six women living under duress, McBurney’s arrival creates quite a stir. He’s not a particularly good guy in that he manipulates the women and pits them against each other by using his seductive wiles. While the women tend to his wounds, a houseful of sexual electricity sizzles. I must say, it is so refreshing to see a female director’s decision to keep all of the women clothed, but turn the man into a bare sex object. There is humor amidst the intensity.

Recently, Dunst appeared as a guest on The Tonight Show with Jimmy Fallon. After congratulating her on both Emmy and Golden Globe nominations for her role in the FX series, Fargo, Fallon urged Dunst to dish on her engagement to Fargo co-star Jesse Plemons. A blushing Dunst said that she really wanted to keep things private—especially because her fiancé and their families were watching. She confirmed the engagement and added that she was glad that she and Plemons had become really good friends first.

Fallon, continuing to press for more juicy deets, pointed out how amazing it was that by agreeing to work on that television show, Dunst met the guy she is going to marry. The actress threw her arms up in the air in mock exasperation and said, “Yes, that is amazing. I’ll name my kid Fargo Season 2.”

Her great sense of humor and quick smile are endearing and I feel lucky to have witnessed them up close when I interviewed Dunst myself on a few occasions related to her earlier movies. In 2014, I chatted with Dunst, alongside her sexy co-star Viggo Mortensen. That film, The Two Faces of January, opens with Colette (Dunst) and her husband, Chester MacFarland (Mortensen) looking very well-off, gorgeous and Great Gatsby-ish. We see them enjoying a carefree vacation in Greece, looking happy and in love. While sightseeing at the Acropolis, they meet Rydal (Oscar Isaac), a young American working as a tour guide. Rydal is dazzling gullible tourists right out of their dough, when suddenly he spots Colette and Chester. The opportunist first noticed Collette for her beauty, but then immediately sizes her up as another potential patsy. What Rydal doesn’t realize is that the slick and dangerous Chester had already been spying on the conman.

When I interviewed The Two Faces of January director and screenwriter, Hossein Amini, I asked him how he had chosen Dunst to play Collette. “I’d seen her in so many movies,” he said. “What I was really struck by is how smart she is. She has this extraordinary intuitive sense of a scene. She knows what’s going to work and what’s not. I wouldn’t be surprised if she ended up being a fantastic director. There’s an intelligence and sensitivity and almost telepathic understanding of the people she’s working with.”

Oh, how right Amini was! Dunst will be making her feature film directing debut in 2018 with The Bell Jar, an adaptation of the only novel by poet Sylvia Plath. Dakota Fanning will play the lead role of Esther Greenwood, the semi-autobiographical Plath character who descends into mental illness. Dunst and Nellie Kim co-wrote the screenplay. She has cast her fiancé Plemons to star opposite Fanning.

Dunst told me one of her reasons for doing that film was that she’d met Viggo before. Dunst shot him her signature dimpled smiled and said, “We were also both in On the Road, but we didn’t have any work together.” She mentioned that Mortensen also knew her then-boyfriend, On the Road co-star, Garrett Hedlund. She added that she’d also already known Isaac. “I immediately felt like I trust, and feel comfortable, with these people, which is very rare to happen.”

When I asked about challenges during the making of that film, Dunst said, “Sometimes for me, I felt like it was all about the boys. Sometimes Colette is objectified, since she’s the only female. But I wanted to be a part of this film because I loved the script so much, and Viggo was already attached.” She explained, “I wanted to make Colette as much of a character as I could. But it’s also about the guys, so that was probably the hardest thing for me—I wanted to make her as full as possible, when she could have easily just been a throw-away character.”

She added, “What’s interesting is that when I watch movies that are only about boys, and there aren’t any interesting female characters, I don’t really end up liking it that much.”

An earlier time I met with Dunst was in 2012, a year after she had finished Melancholia and really wanted to do a comedy. “I hadn’t done one in a while,” she said. “People don’t see you in that light unless you’re a comedic actress,” she said. “I didn’t want be pigeonholed in any type of mood, because I got a lot of scripts after Melancholia that were heady, weird, depressing. I’m like, I’m not gonna repeat this again. It’s boring for me and for everyone else, too.”

That’s how she decided on the edgy Bachelorette, which was released the following year. “I got this script, Lizzy [Caplan] was attached to and met Leslye [Headland, the director] and then I was like, this is hilarious and I would love to go completely opposite and be in this project.”

Due to the title of the movie, she mentioned the reality television show, The Bachelorette. “I like those TV shows,” said Dunst. “They’re just so ridiculous; everyone vying for a rose.” She laughed, flashing that awesome smile. “It’s so dramatic,” she said. “It’s just amazing trash television that you can watch with your mom and grandma on a Monday night!”

Dunst enjoyed her character in Bachelorette. “We look like a mess in the end of the movie,” she said. Isla Fisher chimed in, “We’re bad people doing bad things and, frankly, it’s not glossed over.” Dunst agreed and said, “I think that’s refreshing.”

Bachelorette won Official Selection at the 2012 Sundance Film Festival and also starred Isla Fisher and Rebel Wilson. When I interviewed director Headland, she bounced right into a midtown Manhattan hotel room, talking fast with her blonde hair flying. She has a deep ballsy laugh yet also projects an endearing, almost childlike, vulnerability. Headlund said, “Meeting Kirsten was nerve-wracking. I remember driving to meet her and I’d smoked like 37 cigarettes and had like 18 shots of espresso. I just really wanted her to do this movie and I didn’t know what I should do to get her to say yes. Directors that I look up to—like Kubrick and Altman—have reputations of being manipulators but I’m so not like that. I’m such an open book. I thought I was going to really have to talk her into doing it.”

Much to Headlund’s delight, Dunst happily signed on. “It was a gift from God that Kirsten, who I was a huge fan of, liked the character,” said the director.

Dunst is doing all right for herself, eh? This A-lister began her career as a three-year-old child fashion model for TV commercials. She signed on with Ford and Elite modeling agencies. At age six she was in her first feature film, New York Stories, where she appeared in Woody Allen’s section titled, Oedipus Wrecks. A year after that, she co-starred with Tom Hanks in 1990s Bonfire of the Vanities. Her biggest movie breakthrough came in 1994, when Dunst was 11 and played Claudia in Interview with the Vampire with Brad Pitt.

On September 15, you’ll be able to catch Dunst in A24’s arty and haunting thriller, Woodshock. She plays Theresa, an isolated, grief-stricken woman who becomes paranoid after taking a powerful, reality-twisting drug. The film is the directing debut for Los Angeles fashion designers and screenwriting sisters, Kate and Laura Mulleavy. Until its release, you can check out the movie’s psychedelic, trippy trailer.

“It’s kind of your job as an actress to define what kind of things you want to do, and the types of people you want to surround yourself with,” Dunst told me. “It’s really your taste and what you want because everything is out there. It’s just how you go about your own process and what’s true to who you are and what you want to put out in the world.”

For all of her strength, smarts, and success, we celebrate Kirsten Dunst as the woman with the HERS spirit for this issue of Honeysuckle Magazine.

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YouTube Channel has 1.9 MILLION VIEWS!! Woooot.

When you wake up and your YouTube channel is up to 888,000 views and over a million minutes watched. Yeah, that.

www.youtube.com/DorriOlds

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SEE ALSO: List of Celebrities I Have Interviewed and Photographed

SEE ALSO: Helen Mirren Talks About Kissing Stephen Colbert

SEE ALSO: Tribeca Film Festival 2017 Celebrates Women

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Movies for Science Students and Sci-Fi Lovers

If you’re a science student, chances are you don’t see the world through the same eyes as everybody else. You’re probably the one always looking for scientific inaccuracies in films and your friends probably love you or hate you for it. But there are some great films that will keep even the most skeptical of science students entertained. Here are three great movies every science student should watch.

Timecrimes

Timecrimes is the story of Hector, played by Karra Elejalde, an ordinary guy who decides to go on a trip to the countryside with his life partner, Clara, played by actress Candela Fernandez. But as soon as they get there, Hector sees something unusual while scoping the area with his binoculars: a beautiful woman taking her clothes off in the open. Hector decides to take a stroll to pay her a visit. Once he gets there, he sees the women dead lying on the floor and is attacked by a mysterious man. Hector then flees to what seems to be an abandoned building, which is really a private research facility operated by a mysterious scientist. The scientist decides to give refuge to Hector in a strange closet which happens to be a time machine.
This movie is a fast paced science fiction movie that every person seeking an online bachelor of science degree in medical laboratory science will love because of its many intricate scientific references.

2001 Space Odyssey

2001 Space Odyssey is a science fiction masterpiece by critically acclaimed director Stanley Kubrick. 2001 Space Odyssey takes us to the dawn of man, where a group of hominids encounter a strange looking black alien monolith on their path. As one of the hominids brandishes his weapon to attack the structure, the scene cuts to a 21st century spacecraft that is travelling over the Earth.
A US scientist by the name of Heywood Floyd, played by actor William Sylvester, goes to the moon to discover another black monolith on its surface. However, once the sunlight hits the monolith, a sharp sound is emitted, which stops the scientist and his crew in their path. The whole movie is based around the search of a source for the mysterious monolith and its role. The film was critically acclaimed for its realistic depictions of space travel and is a must-see for any student seeking a medical laboratory scientist program online from the University of Cincinnati.

Solaris

Solaris is a movie rendition of a popular science fiction novel by author Stanislaw Lem. George Clooney plays the role of Chris Kelvin, a psychologist and astronaut still coming to terms with the death of his wife Rheya, who is played by Natasha McElhone. He is then approached by one of his colleagues, Gibarian, who implores him to conduct an investigation on some strange happenings on the Prometheus space station. Once there, he finds out that Giberian has committed suicide and the rest of the crew are in a state of shock. They then tell him that they have been experiencing hallucinations and visits from spirits, which they believe came from the Solaris interstellar energy source. What ensues is series of twists and turns that will leave the most stoic science student on the hedge of their seat. This is a great movie for any science fiction lover.
If you’re a science buff, or if you’re simply a lover of science fiction, I suggest you give these movies a try.

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Created by writer/producer and recovering film critic Ted Lambert, Critical Mass adopts a feisty approach to its reinvention of At the Movies–style review programs, combining panel discussions, celebrity guest appearances, and real-time quizzes designed to engage a live studio audience and online participants. The series will launch with 10 half-hour weekly segments. “The mass of Critical Mass is the audience,” says Lambert. “Their feedback, rants and raves are an integral part of the show.” 

“It’s rare that a show proposal makes me laugh out loud,” says Salie. “Ted’s introduction not only made me envision the concept, but see why it appeals to all moviegoers—fanboys, fangirls, fanmoms and fandads. This is the evolution of the movie show, a format that hasn’t changed since Siskel and Ebert, despite advances in technology and a variety of viewing habits.”

“Faith was our first choice for a host and we’re ecstatic to have her,” says Critical Mass producer Joe Cantwell (Bravo, IFC, Starz). “Aside from her experience as a host and panelist, who else has a résumé that boasts degrees from Harvard and Oxford along with roles in Wild Things 2 and Star Trek: Deep Space Nine?” Salie’s first collection of essays, Approval Junkie, was published by Crown in 2016. She is repped by Adam Nettler at CAA. 

In addition to the half-hour weekly episodes, Critical Mass viewers will have access to digital-only bonus segments, trivia games, and a destination website where they can upload reviews and video comments. The producers are currently in talks to secure a premium broadcast and digital-first partner. 

“We adore movies and want to celebrate and share everything we love about them in our own playful way,” says Lambert. “We believe this show will have a significant impact, not only on the art form, but also on the sales of Raisinets and Sno-Caps.” Lambert is working with Cantwell and Cinelan managing partner Karol Martesko-Fenster to begin production in early 2017.

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GIBNEY’S BEST QUOTES OF THE EVENING:

“I was conscious of the fact that a lot had been done, a lot had been written about Steve Jobs, much of which I also read. I wanted to find a way to focus that, so it didn’t just piggy-back on that material. It ended up being not just about Steve Jobs, but also about us.”
“I think there were a lot of people who knew Jobs, and were close to Jobs that had very good things to say about him. A couple of them are in the movie. I think that to the people he was interested in, he could be not only a very charismatic figure, but a very engaging, inspiring, and transformative figure.”
“Over and over and over again, Steve Jobs keeps talking about the values of Apple. If I had an opportunity to ask Steve Jobs one question, it would’ve been, ‘What are your values? Please express your values.’ That I would’ve liked to have learned from him, in an honest and straight-forward way, if he had been willing to do it, which people like Steve Jobs rarely are when you’re a filmmaker or a person in the press and trying to get them to speak honestly of themselves.”
“He said, not in effect, he said it straightforward, ‘Giving away money is a waste of time.’ It’s hard for me to understand that. That he felt his focus was to make great products, but it was the focus of a monk without the empathy. His job was to make great products. Fuck everything else.”
As we walked out of the screening room side-by-side, I asked Gibney if he thought that Jobs’ obsessive nature bordered on insanity. He turned to look at me and said, “Yes, I think people who are that creative, that obsessive and that successful, yeah, there’s always a bit of crazy.”
“Steve Jobs: The Man in the Machine” opens in theaters and
becomes available on VOD platforms on Friday, Sept. 4.
CNN Films will premiere the film on TV in early 2016.
Documentary. Rated R. 127 min.
Watch the trailer:
Dorri Olds is a contributing journalist for TheBlot Magazine. 

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