One of the most respected actors of his generation, Day-Lewis is the only man who has won three Oscars for Best Actor. Those victories were for “My Left Foot” (1989), “There Will Be Blood” (2007), and “Lincoln” (2012). In fact he is one of only three men to win acting Oscars three times; the others are Walter Brennan and Jack Nicholson. In addition, he has won two Best Actor awards each from the Screen Actors Guild and the Golden Globes.
Most importantly (if retirement actually happens), he will have left
Hilaria and Alec Baldwin Attend Ripple of Hope Awards dinner
Credit/Copyright: Getty Images/Jason Kempin
Ethel Kennedy presented Harry Belafonte, Alex Gorsky, Chairman and CEO of Johnson & Johnson, and Hamdi Ulukaya, founder of Chobani with the Ripple of Hope Award, an award that celebrates leaders of international business, entertainment, and activist communities who have demonstrated a commitment to social change.
Alec Baldwin acted as the evening’s Master of Ceremonies for the dinner, which was hosted by Ethel Kennedy, Kerry Kennedy, Philip W. Johnston, B. Scott Minerd, Marvin S. Rosen, Robert & Hope Smith, Pedro Torres-Mackie and Donato Tramuto.
Other notable guests included: Hilaria Baldwin, Tony Bennett, Kenneth Cole & Maria Cuomo Cole, Thomas Dinapoli, Kathryn Erbe, D’Brickshaw Ferguson, Peter Frampton, Pamela Frank, Whoopi Goldberg,
Honorees reflect Robert Kennedy’s passion for equality, justice, basic human rights and his belief that we all must strive to “make gentle the life of this world.”
The 2017 Ripple of Hope Awards dinner will honor Harry Belafonte (singer, songwriter, actor & activist); Alex Gorsky Chairman of the Board and CEO Johnson & Johnson); Hamdi Ulukaya (Founder, Chairman and CEO Chobani, LLC). Master of Ceremonies: Alec Baldwin and hosts: Ethel Kennedy, Kerry Kennedy, Tim Cook, Philip W. Johnston, B. Scott Minerd, Marvin S. Rosen, Robert & Hope Smith, Pedro Torres-Mackie and Donato Tramuto. Special guests to include: Tony Bennett, Trevor Donovan, Kathryn Erbe, Susie Essman, Peter Frampton, Whoopi Goldberg, Cheryl Hines, Catherine Keener, Keegan-Michael Key, Tony Lo Bianco, Matthew Modine, Lena Olin,
24 of the 50 productions are returning shows, so says the broadcaster.
Following its phenomenal success earlier this year Sky’s best-performing original series to date, Riviera returns with Julia Stiles reprising the role of Georgina Clios for another high-octane series about the lives of the super-rich on the Côte d’Azur. Jack Whitehall’s comedy thriller Bounty Hunters is set to return for more action and adventure. And brand-new drama Gangs of London, a fresh and original gangland thriller, will take viewers on an adrenaline-fuelled journey into the hidden heart of the capital.
In Another Life
British filmmaker Jason Wingard went to the Jungle, the refugee camp in Calais, intending to make a documentary about life there. But after befriending those living in squalor out of desperation, he decided to make a narrative based on their stories instead, shot in the Jungle and with some of them playing versions of themselves. The result is an astonishingly moving film that rehumanizes people who have been dehumanized in public discourse, putting faces to the still-ongoing refugee crisis and inescapably reminding us that those we’ve Othered are not very different from us. “In another life,” Syrian refugee Adnan (French actor Elie Haddad) tells us in the touching narration through which we follow his journey, “I was a teacher.” His new friends in the Jungle are other middle-class people from such far-flung places as Sudan,
Academy Award nominee Lena Olin plays an internationally renowned poet and novelist busy orchestrating one helluva plot twist in her own life in Magdalena Zyzak and Zachary Cotler’s “Maya Dardel.” “My work is in decline. I see no need to birth a few more mediocre books,” says Maya (Olin) in a new trailer for the film. But rather than quietly retire, she’s decided to take a more radical approach to dealing with the issue: she announces on National Public Radio that she plans to kill herself.
Maya explains, “I don’t have any family so I’m going to need an heir and executor. I want young but professional writers of poetry and the guy I pick gets my house, and my archive, and my publishing rights when I’m gone.”
The men vying for the role “are challenged intellectually, emotionally, erotically, until one of them begins to fathom Maya’s end game,” the film’s official synopsis hints.
“You’re never going to kill yourself. You just wanted attention,” one of the wannabe heirs accuses Maya.
Olin received an Oscar nod in 1990 for “Enemies: A Love Story.” The Swedish actress’ other credits include “Alias,” “Chocolat,” and “The Ninth Gate.”
“Maya Dardel” marks Zyzak and Cotler’s directorial debuts. The pair also penned the script for the drama, which made its world premiere at SXSW this year. The film opens in NY and La on October 27 with additional cities to follow.
Trailer Watch: A Writer Announces Her Plan to Commit Suicide and Seeks an Heir in “Maya Dardel” was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story.
This year’s edition of Raindance features 200 films, shorts, Vr projects, and music videos, including Zachary Cotler and Magdalena Zyzak’s feature debut, “Maya Dardel,” starring Lena Olin and Rosanna Arquette; Tony Gatlif’s “Djam”; and Japanese film “Mukoku,” all of which are in competition. Other titles competing for awards include Jason Wingard’s directional debut, “In Another Life,” which is set against the backdrop of the “Jungle” refugee camp in Calais, France, and has its international premiere at Raindance.
And yet, there’s nearly 70 years of tradition with the fall TV season. It’s when Nielsen still resets the calendar for the new TV year; when blue chip advertisers like the automotive sector roll out their own new wares; football season returns (don’t discount that huge impact on TV schedules); and the weather gets chilly, which conceivably means more viewers watching TV indoors.
This year, they’ll find a lot of familiar titles on broadcast TV, including the return of NBC’s “Will & Grace”; a prequel to “The Big Bang Theory,
The feature marks the directorial debut of U.S. poet/novelist Zachary Cotler who shares the directing and writing credits with Polish-born but U.S.-based Magdalena Zyzak. The duo just won best screenplay for the film earlier this month at the Prague Independent Film Festival, while Lena Olin (“Chocolat”) picked up best actress.
Olin plays Maya Dardel, an internationally respected poet and novelist, living in the Santa Cruz Mountains of California. One day she announces on the radio that she intends to end her life and that young male writers may compete to become the executor of her estate. They are challenged intellectually, emotionally and erotically, until one of them begins to fathom Maya’s end game.
Co-stars include Rosanna Arquette (“Crash”), Joardan Gavaris (“The Sea of Trees”), Nathan Keyes (“Britney Ever After”) and
“Back,” a six-part comedy, is created and written by Simon Blackwell (“Veep”), directed by Ben Palmer (“The Inbetweeners”) and starring David Mitchell (“Peep Show”) and Robert Webb (“Peep Show”).
The comedy, which will premiere on Sundance Now in fall 2017 and on SundanceTV in 2018, follows Stephen (Mitchell) as he tries to follow in his recently deceased father’s footsteps and take over the family business, but his plans are foiled by the unexpected return of his estranged foster brother, Andrew (Webb).
“Funny and clever with a strong emotional heart, ‘Back’ is an auteur-driven series that brings together a unique pairing of some of today’s best comedic minds,” said Jan Diedrichsen, general manager of SundanceTV and Sundance Now. “It is the perfect entrée into comedy for Sundance Now, with its compelling yet relatable characters and hilarious storylines.”
See MoreDaniel Day-Lewis Announces He Is Retiring From Acting
But these highlights are only a few of the astonishing achievements in the actor’s robust output. Here are the ones we’ll treasure for all time, while holding out hope that this legendary talent’s final performance will land a spot as well.
“A Room With a View”
It was one of his very last supporting roles, but Daniel Day-Lewis was the embodiment of Cecil Vyse in Merchant Ivory’s 1986 adaptation of E.M. Forster’s “A Room With a View.” In lesser hands, Lucy Honeychurch’s jilted suitor might have been little more than a prissy sad sack; Day-Lewis invested the character with empathy, as if Cecil knew his reach exceeded his grasp. While Lucy may have viewed their match as a prison narrowly escaped, Day-Lewis’ performance suggested a man who couldn’t get beyond his own pince-nez, but loved her so much that he let her go. —Dana Harris
“The Age of Innocence” The emotions in Day-Lewis’s character are often big and ever present. But the performances that best showcase his talent are when he plays a more genteel character – his manner poised, cadence deliberate, body at rest. Yet in playing Newland Archer in Edith Wharton’s rigid 19th Century high society, he is effortless in accessing the desperate yearning that lies beneath his impossibly calm demeanor. His ability to translate complex thoughts, burning emotions and his character’s interior life through a completely placid surface is a marvel. —Chris O’Falt “Gangs of New York”
There’s a titanic force lurking under each of Day-Lewis’ roles, but nowhere was that energy unleashed better than in Martin Scorsese’s 2002 city-spanning epic “Gangs of New York.” Bill the Butcher combined the actor’s ferocity with an unbridled villainous streak, an antagonist as evil as he is charming. Day-Lewis has always excelled in quiet roles, but Bill is a reminder that his flair for the theatrical is rarely equalled. Watching Bill play to an audience inside a rowdy theater or to a gathered crowd of terrified citizens, there’s a twisted thrill in seeing a true performer playing a true performer. —Steve Greene
“The Last of the Mohicans” Arguably the actor’s most dreamy, overtly romantic role, Day-Lewis’ turn in Michael Mann’s 1992 historical action-adventure is both totally swoon-worthy and emotionally satisfying. As the adopted son of the eponymous last of the Mohican tribe, Day-Lewis plays his Hawkeye as a hero in the most classic sense, but aided by the actor’s formidable chops, the role (and the film) take on added dimension and complexity. Mann’s film is a heart-pounding adventure that doesn’t skimp on the tough stuff (people are scalped and burnt alive and commit suicide in order to escape worse fates, and that’s just the wide strokes), and it’s grounded by Day-Lewis’ trademark dedication and sincerity to the essential beats of his characters. Slipping easily between breakneck adventure (few movies contain so many scenes of artful running through the woods as “Mohicans”) and dreamy leading man (his chemistry with Madeleine Stowe all but aches right off the screen), turning in one of his more overlooked performances in a long line of lauded roles. It’s a film, and a part, that satisfies even more than two decades later. —Kate Erbland “Lincoln”
Day-Lewis won this third Best Actor Oscar — more than any actor in history — for playing the title role in Steven Spielberg’s “Lincoln” because the movie is unimaginable without him. It took years for Spielberg to convince the recalcitrant Brit to play the American icon. Always willing to wait years between cherry-picked roles, replenishing his batteries by reengaging with the world, Day-Lewis finally broke down after Tony Kushner’s sprawling script focused on January 1865, when Lincoln maneuvered Congress into passing the Thirteenth Amendment to the Constitution, which ended slavery in America. “The important thing is they got Lincoln,” Lincoln biographer Doris Kearns Goodwin told me at the L.A. premiere, “his stooped walk, his high-pitched voice, his humor.”
Day-Lewis is a draw for moviegoers because when the match is perfect between director and role, when it feels right, he gives his all. He embraces a role so totally that it consumes and overtakes him. He loses himself in the part throughout production. As usual, Day-Lewis’s preparation was intense. He worked in seclusion until he sent Spielberg tape recorder audio of his approximation of the 16h president’s reedy tenor. He nailed his first scene on-set, an eight-minute speech about the Emancipation Proclamation, on the first take with no on-set rehearsal. Day-Lewis stayed in character throughout the shoot, addressed by all as “Mr. President.” No socializing on set saves energy, Day-Lewis has said. It’s fair to say that Day-Lewis is Abraham Lincoln, and the people went to see it because the actor was in it. —Anne Thompson
“My Left Foot: The Story of Christy Brown”
Jim Sheridan’s period drama revolves about Christy Brown, the cerebral palsy-stricken painter who struggles to engage with the family around him until he discovers the one vocation he can control with his foot. However, that summary barely gets to the essence of the movie’s emotional core. It’s a naturally engaging story about perseverance against daunting physical challenges, made all the more heartbreaking by the intolerant times in which it takes place — but it would be nothing without the young Day-Lewis in the lead role, one that few actors could tackle without risking accusations of parody. Instead, he turns Brown into a vibrating, energetic creative figure battling to express his emotions and overcome the pity that surrounds him at every turn. It’s at once heartbreaking and hopeful, a testament to perseverance in which the performance embodies the themes to its core. Day-Lewis won his first Oscar for the role, and even as he continued to tackle new challenges, he already confirmed his mastery at this early stage. —Eric Kohn
“My Beautiful Laundrette”
From the start of his career Day-Lewis showed a penchant for muscular, angry and violent roles, starting with Stephen Frears’s searing 16 mm portrait of Margaret Thatcher’s London, “My Beautiful Laundrette,” which jumped from TV movie to arthouse phenomenon at the Edinburgh Film Festival. “I spent most of my time on the front line of London street life,” Day-Lewis said at the 2013 Santa Barbara Film Festival, “playing soccer, fighting on the school playground, and rebelling against authority and the British class system.” A controversial early exploration of sex, race and class, “My Beautiful Launderette” broke out Lewis, director Frears, rookie screenwriter Hanif Kureishi (who earned an Oscar nomination) and Working Title Films. With swaggering, sexy humor, Day-Lewis played Johnny, the street-tough ex-National Front boyfriend of Omar (Gordon Warnecke), the son of a Pakistani immigrant, who helps his childhood friend to renovate his uncle’s Battersea laundrette. Fears cast Day-Lewis after meeting him and asking him about his South London accent. Frears said: “‘You’re the son of a poet laureate, why are you speaking like that?’ He said he’d been to a comprehensive and had adopted it as a defence. Then he wrote me a letter saying he’d kill me if he wasn’t cast.” No one knew “My Beautiful Laundrette” would become an iconic film about the 1980s. —Anne Thompson
“The Unbearable Lightness of Being” Day-Lewis was a perfect if unexpected choice to play Tomas, the detached lover at the center of this erotically charged adaptation of Czech novelist Milan Kundera’s most famous work. Disciplined in his practice surrounding sex and romantic attachments, Tomas bounces between Sabina (Lena Olin) and Tereza (Juliette Binoche) as both ravenous lover and aloof philosopher. Day-Lewis brings a perfect blend of lithe sexuality and mystery to Tomas, light on his feet and heavy in the head. He famously learned Czech for the part (a notoriously difficult language), and as a result his accent is spot on. What else would you expect from the man who made “method acting” a household term? —Jude Dry “There Will Be Blood”
His voice lowered to a rumbling baritone beneath a scruffy mustache, Daniel Plainview becomes an extraordinary figure of capitalist intensity within a matter of minutes. Paul Thomas-Anderson’s most audacious filmmaking feat was matched by Day-Lewis’ remarkable transformation into the scheming, relentless oil miner and the empire he cobbles together in the heat. From the virtuosic intensity of his early management of a drilling company to the psychotic extremes of his final stage, Plainview is emblematic of the darkness lurking at the center of the American dream — which is why it’s all the more extraordinary that he’s played by an Englishman.
But of course, he’s not just an Englishman, he’s Daniel Day-Lewis, an actor so capable of transforming himself that in “There Will Be Blood” he seems to be reborn before our very eyes. Hovering on the edge of camp, he manages to take a line that on paper sounds patently ridiculous — you know, something about drinking someone else’s milkshake — and turn it into an iconic moment in film history, one loaded with the rage of boundless American greed. He was a lock for Best Actor the moment the cameras stopped rolling.
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The first thing to notice about Kinka Usher’s Twitter account — which we’ll assume is the real deal, even in the absence of a blue check mark — is its profile description: “I directed the movie that actually made All Star by Smash Mouth popular.” As far as legacies go, we can agree this would be an ignoble one, assuming that’s all there was to it. The description does not clarify the movie in question however.
So then, the second thing to notice, after a bit of scrolling, is the title of said movie: Mystery Men. The film, based on marginal superhero characters from an obscure comic book (where my Flaming Carrot fans at?) and released in 1999, stars Ben Stiller, William H. Macy, Janeane Garofalo, and an almost literally unbelievable list of others. Smash Mouth is indeed heard on the soundtrack
According to McGuinness, the idea started with wanting to create a show “about rich people doing terrible things, with yachts, Lamborginis, beautiful clothes, beautiful women, money, art and glamour, reflecting that old line ‘Behind every great fortune is a great crime.’ ”
What they came up with is a family crime drama starring Julia Stiles and Lena Olin set among the rich and...
There’s nothing radical or challenging about “Riviera”: It efficiently combines elements of soap operas, murder mysteries and thrillers, and, as the frosting on top, it gives viewers a peek at the luxurious lives of the oligarch-adjacent global elite. Designer gowns, devastatingly expensive paintings, drop-dead real estate and fast cars are the order of the day, but those baubles are tastefully displayed within a story that appears to have a solid foundation and promising premise. Those who reveled in the similarly glam settings and the morally dubious characters of “The Night Manager” will no doubt enjoy “Riviera,” which features a strong central performance from Julia Stiles.
Stiles’ first challenge is to make the audience care about
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