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There are no big names who have disabilities, critics say – but casting directors won’t give unknowns a chance
From Eddie Redmayne in The Theory of Everything to Daniel Day-Lewis in My Left Foot, non-disabled actors playing disabled characters is not only accepted, but often seen as the celebrated peak of their career.
Related: Disability rights group criticizes casting of Alec Baldwin as blind character
Related: From braille to Be My Eyes – there's a revolution happening in tech for the blind
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- Hannah Ellis-Petersen
When Daniel Day-Lewis, the greatest screen actor of his generation, announced this week that he would be retiring from acting, I had the same initial thought that, I assume, most everyone else did. After a few befuddled seconds of “Why?” I prayed that his announcement wasn’t the euphemism for a health crisis. Once I decided that it probably wasn’t (this is, after all, the actor who took an open-ended sabbatical to build furniture), a conviction began to settle over me. While I had no clear idea why an artist as passionate and celebrated as Daniel Day-Lewis would want to cut his ties to acting (I was going to add “when he’s at the top of his game,” though when has Daniel Day-Lewis not been at the top of his game?), every bone in my body told me that he’d be back. At some point. In some eccentric Daniel Day-Lewis fashion. He »
- Owen Gleiberman
July 14 marks a special occasion for Kumail Nanjiani and Emily V. Gordon. Not only is it their 10-year wedding anniversary — it’s the day the film about their courtship, “The Big Sick,” opens nationwide.
The movie, directed by Michael Showalter and starring Nanjiani, Zoe Kazan as Emily and Holly Hunter and Ray Romano as her parents, premiered to rave reviews at this year’s Sundance Film Festival. Written by Nanjiani and Gordon, the film also sparked a bidding war, with Amazon Studios acquiring the rights for $12 million. “The Big Sick” manages to be both broad in its comedy (Judd Apatow is one of the producers) and intensely personal, tackling topics not usually seen in summer comedies, like illness, religion and race relations. And, of course, it’s a passion project for the couple, whose real-life story lent itself to good cinematic material.
In many ways, their anniversary shouldn’t be happening. For starters, Nanjiani had promised his parents he would enter into an arranged marriage with a Pakistani woman. Then, three months before what would prove to be Nanjiani and Gordon’s wedding date, Gordon was placed in a medically induced coma after abruptly falling gravely ill.
Prior to the coma, Nanjiani and Gordon were casually dating, both thinking the relationship could ultimately go nowhere. Everything changed when she became sick and Nanjiani found himself thrust into the role of caretaker, along with her visiting parents, whom he had only briefly met once before. Time by her bedside changed the nature of the relationship between Gordon and Nanjiani, who proposed shortly after she recovered. Or, as Gordon jokes, “I went to sleep with a casual boyfriend and woke up with a guy ready to be married.”
When the pair wed a decade ago, it was an informal event.
“We walked into a courthouse in Chicago and got matching tattoos because we didn’t have money for wedding rings,” Nanjiani reveals. Today, they share a home in the Hollywood area with their cat, Bagel. Nanjiani is best known for his role as computer programmer Dinesh on HBO’s heralded series “Silicon Valley.” Gordon, who was a therapist when they met, has been published in The New York Times and The Atlantic and has written for “Another Period” and “The Carmichael Show.”
Jose Mandojana for Variety
The process of scripting “The Big Sick” began in 2012, after Nanjiani appeared on a live taping of the podcast “You Made It Weird” alongside Apatow.
He pitched Apatow several ideas for a script, and the producer homed in on the true story of the unusual relationship between the then struggling stand-up comic and his wife. “It was one of those stories you can’t believe happened,” Apatow recalls.
Though Gordon had executive produced Nanjiani’s show “The Meltdown With Jonah and Kumail” and they’d shared a podcast, the pair had never worked together as writers. “We would split up scenes and write our own version of the scene and then swap it and rewrite and rewrite,” Gordon says. Nanjiani adds that his wife’s work ethic helped spur him on. “I’d be playing video games and would get an email from her with completed scenes and go, ‘Oh man, she’s showing me up. I have to get on this.’”
They knew from the start that since the project wasn’t a documentary, certain elements would be invented or changed. “It’s not really exciting when you hang out at the hospital all day,” Nanjiani notes. “You show up in the morning, get coffee, then plan to meet the hematologist at 2 p.m., then the pulmonologist — it’s a lot of waiting and sitting around.” Echoes Gordon, “Nobody wants to see that movie.”
Another significant alteration: In the film, the pair break up before Emily goes into her coma. Notes Gordon, “It’s interesting to be at your casual girlfriend’s side when she gets sick. But it’s even more interesting to be at your recent ex-girlfriend’s side.”
They also took creative license with both sets of parents in the film. Gordon says her mother and father are quite different from the characters played by Hunter and Romano, though they’re thrilled with their doppelgangers. “My family’s favorite movie is ‘Raising Arizona,’ so they could not believe it,” Gordon says with a laugh. “They love the movie — they watched it five times in one day.” And while Nanjiani’s parents did expect him to enter into an arranged marriage, they were living in a different city when he gave them the (still difficult) news.
The pair took pains to present such cultural practices in a fair light. “For a lot of people, arranged marriage here is taken as a joke,” notes Nanjiani. “But it’s a very real thing. All my aunts, uncles, cousins, my parents are in arranged marriages. So we tried to show how it really does work for people.” Gordon adds that before she met Nanjiani, she had a friend in grad school who was entering into an arranged marriage. “I was glad I had a framework of someone who was super happy, not coerced into it,” she says. “And they’ve been together 12 years now.”
For three years, Gordon says, she and Nanjiani kept at the script. “We would work on drafts, take them to Judd every few months, and Judd would rip them to shreds. And then we would go back and rewrite. He is brutal in the best way.” Nanjiani adds that Apatow never pressured them to turn in drafts. “I think he develops a few things, and the ball is in your court to keep it going,” he says. “Though right before we started shooting, he did say, ‘You guys really stuck in there. Most people would have quit!’”
To hear Apatow tell it, the script needed time to develop, much like his films “Bridesmaids” and “Trainwreck,” which also had long gestation periods. “If written badly, it would have been a rough movie to get through,” Apatow admits. “But they found the sense of humor and the warmth to bring it to life. And a lot of that came from bringing on Michael as director and casting Zoe, Ray and Holly.”
Showalter had known Nanjiani for 10 years from the New York comedy scene, and had even cast him in a small role in his feature “Hello, My Name Is Doris.” When he signed on to direct “The Big Sick,” he was also active in helping with the screenplay, which he notes was not traditionally structured. “There aren’t a lot of examples that I could look to where one of the main characters goes missing for the second act,” Showalter points out. “It would be like if in ‘When Harry Met Sally,’ Sally just disappears for an hour.”
Kazan seems to have been a natural choice for Gordon. The playwright-actress had been in films similar to the genre like “What If” and “Ruby Sparks,” the latter of which she also wrote. “I really wasn’t looking to do another romantic comedy, but when I read the script it was so smart and so good,” Kazan admits. “It’s not unlike falling in love; I had a chemical feeling where it just felt like the right fit. Very rarely do I walk out of an audition thinking, ‘Yeah, I fucking nailed that!’ But I was going to be sad if I didn’t get it.”
To hear everyone tell it, Kazan did indeed nail it. “She just blew everybody out of the water,” says Gordon, who concedes that casting was the only time things felt slightly surreal seeing her story play out. “It basically consisted of him flirting with women — literally so many hot actresses,” Gordon recalls. “It was the only time I had to get myself together and remember to be cool with this.”
As it turns out, Gordon and Kazan have much in common. Both are in their 30s, are writers and are in long-term relationships with artists (Kazan has been dating actor Paul Dano since 2007.) They instantly hit it off, with Kazan noting, “I felt a chemistry with her as much as I did with Kumail.” But Kazan didn’t feel the need to do an imitation of Gordon. “We aren’t exactly alike, but we really are so similar. She instantly felt like someone I knew and would be friends with,” Kazan says.
Once Kazan was cast, the hunt began for the parents, and Romano and Hunter had long been on the writers’ minds. When they said yes, there was extra pressure on Nanjiani as an actor; he had been attached to star even before “Silicon Valley” hit TV screens. Yet there was never any question he would play the role. “This is by far the biggest part I’ve ever had in a movie, and Emily and I had never written a movie, and from the start Judd was like, ‘Yeah, you’ll write the movie and you’ll be the guy,’” Nanjiani recalls. Admits Gordon, “You were a gamble.”
Gordon adds that Nanjiani did the most prep she had ever seen him do. He worked with an acting coach, Myra Turley, for the first time ever. “I was starting from scratch,” he says, adding that he practiced with monologues from movies where characters were in a coma, such as “The Fisher King” and “Awakenings.”
Apatow says he was never concerned. “This might be delusional, but when someone is fun to watch in broader comedy or stand-up, I always think they’ll be able to give a great performance in a movie they care deeply about,” he explains. “And he loves his wife so much, and they’re just the best couple, and I knew that that would shine through.”
Concurs Kazan, “Kumail worked really hard, and I think he’s going to surprise people. He prepared as if he was Daniel Day-Lewis prepping for ‘My Left Foot.’ I even said, ‘I don’t know that you need to prepare this much; you’ve lived it.’ It was really beautiful to watch him on set stretch his wings and feel his own power as an actor.”
Now it remains to be seen if a smaller romantic comedy can find an audience in the land of “Transformers” and superheroes. Nanjiani and Gordon had input on the trailer, which leans heavily on the comedy. “If you describe it as ‘Muslim guy falls in love with a white woman, then she falls into a coma,’ it sounds so serious,” Nanjiani says. Adds Gordon, “It sounds pretentious. As a movie lover, I would not want to watch a movie described to me the way that our movie is. So I wanted to make sure the trailer communicated it’s a comedy.”
Apatow, who has shepherded his share of hits, says that at the end of the day, it’s impossible to predict if the film, which Lionsgate will distribute for Amazon, will connect. “I don’t know if any of us understand why people leave their houses and go to the movie theater anymore,” he says. “We have one thing going for us: The movie is wonderful. It just completely works. Is that enough to get people to put down their remote control? We’ll find out.”
- Jenelle Riley
Three-time Oscar-winner Daniel Day-Lewis has decided to bring the curtain down on his illustrious career, announcing that he will be retiring from acting following the release of his final film, an untitled collaboration with director Paul Thomas Anderson which is set for release on December 25th of this year.
“Daniel Day-Lewis will no longer be working as an actor,” reads a statement from Day-Lewis’ spokesperson Leslee Dart. “He is immensely grateful to all of his collaborators and audiences over the many years. This is a private decision and neither he nor his representatives will make any further comment on this subject.”
Having made his screen debut in 1971’s Sunday, Bloody Sunday, Day-Lewis went on to earn a reputation as one of the finest actors of all-time and is renowned for being extremely dedicated to his craft, often remaining in character off-screen during his roles. He is the only person to win three Best Actor Oscars – for My Left Foot, There Will Be Blood and Lincoln – and was nominated for two further Oscars for Gangs of New York and In the Name of the Father. »
- Gary Collinson
The actor who won three Academy Awards for Best Actor for his performances in 'My Left Foot', 'There Will Be Blood' and 'Lincoln' has announced his retirement at the age of just 60 »
- Geoffrey Macnab
Daniel Day-Lewis has earned many accolades and awards over the last 35 years, but perhaps no one has more perfectly encapsulated this actor's appeal than comedian Paul F. Tompkins. Cast in a tiny part in 2007's There Will Be Blood opposite Day-Lewis, the stand-up comic later related what their first on-set encounter was like. "Now, I had been told that Daniel Day-Lewis was kind of an intense person," Tompkins says. "And he's really not. He's really … The Most Intense Person that has ever lived on Earth. He's not doing anything – he's »
Triple Oscar winner Daniel Day Lewis is reportedly retiring from acting. The screen legend, who won Oscars for his work in My Left Foot, in Paul Thomas Anderson’s superb There Will Be Blood, and most recently in Steven Spielberg’s Lincoln. He was the only performer to receive three Academy Awards. He was nominated a further two times, for Gangs Of New York for Martin Scorsese, and for the brilliant In The Name Of My Father.
A statement has been released by his spokeswoman, Leslee Dart.
“Daniel Day-Lewis will no longer be working as an actor. He is immensely grateful to all of his collaborators and audiences over the many years. This is a private decision and neither he nor his representatives will make any further comment on this subject.”
The actor does have one project left, due for release at the end of the year. The movie in question is Paul Thomas Anderson’s untitled feature set in the world of high fashion that should make its way into cinemas for December.
Such sad news, but what a legacy.
The post Sad news has reached us. Daniel Day Lewis is retiring from acting appeared first on The Hollywood News. »
- Paul Heath
Oscar Award winning actor Daniel Day-Lewis has decided to quit acting. Again. The highly selective British born method actor has taken less roles over the years, but has remained in high demand. Day-Lewis has gained praise for his chameleon like versatility and intense acting chops, often not leaving character, even off-screen. During the filming of Lincoln, cast and crew had to refer to Day-Lewis as Mr. Lincoln while on set. His stage career came to an end in 1990 when he walked out of a performance of Hamlet, claiming that he had seen the ghost of his late father and quit acting in the early 2000s, disillusioned with Hollywood.
"Daniel Day-Lewis will no longer be working as an actor. He is immensely grateful to all of his collaborators and audiences over the many years. »
Daniel Day-Lewis, the English-born star who won Best Actor Oscars for his roles in My Left Foot, There Will Be Blood and Lincoln, is retiring from acting, according to Variety. A spokesperson produced a short statement expressing his gratitude to his collaborators and audiences and noting that this was a private decision on which there will be no further comment.
Day-Lewis, who made a splash early on in his career with supporting roles in films like My Beautiful Laundrette and A Room With A View, has previously expressed concern about the level of press intrusion he has faced because of his profession. His final film, Phantom Thread, is directed by Paul Thomas Anderson and will be released later this year. »
- Jennie Kermode
Daniel Day-Lewis dropped a bombshell on fans of his work worldwide when he announced that he would be retiring from acting, just a few months before the release of his purported last role, in Paul Thomas-Anderson’s upcoming “Phantom Thread.” One of the world’s most coveted actors has a surprisingly nimble filmography. Even as it stretches back to the early eighties, Day-Lewis didn’t become a big name until his breakout role in Stephen Frears’ 1985 “My Beautiful Laundrette,” followed by a series of acclaimed roles in “A Room With a View,” “The Unbearable Lightness of Being,” and “My Left Foot,” which won him the first of three Academy Awards. The other Oscars arrived for back-to-back roles in “There Will Be Blood” and “Lincoln,” leaving no doubt that the versatile performer was still at the top of his game.
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.
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
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
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.
Related storiesDaniel Day-Lewis Announces He Is Retiring From ActingIsabelle Huppert, Mariachi and a History Lesson: Cannes Celebrates Its 70th Year With a Lively NightMark Boal and Annapurna Pictures Are Getting Into the Documentary Business »
- Eric Kohn, Dana Harris, Kate Erbland, Steve Greene and Anne Thompson
Three-time Oscar-winner’s last film will be Phantom Thread.
Daniel Day-Lewis, regarded in some quarters as the greatest film actor of his generation if not of all time, is to quit acting, his spokesperson said in a statement released on Tuesday.
The statement read: “Daniel Day-Lewis will no longer be working as an actor. He is immensely grateful to all of his collaborators and audiences over the many years. This is a private decision and neither he nor his representatives will make any further comment on this subject.”
The three-time Oscar winner is working on what now appears to be his final film, Paul Thomas Anderson’s London haute couture drama Phantom Thread, which is scheduled to open on December 25 through Focus Features. Universal handles international distribution and Annapurna Pictures is producing the project, now in post.
The development immediately transforms Day-Lewis’ reunion with Anderson following his Oscar-winning turn in There Will Be Blood into an even »
- firstname.lastname@example.org (Jeremy Kay)
Daniel Day-Lewis, the Oscar- and BAFTA-winning actor, has announced his retirement. The upcoming Phantom Thread, a drama that Variety reports will focus on the high-fashion industry, will be his last; the Paul Thomas Anderson–directed film will hit theaters on Christmas Day. The actor has not yet disclosed why he is quitting.
"Daniel Day-Lewis will no longer be working as an actor," his spokeswoman told Variety. "He is immensely grateful to all of his collaborators and audiences over the many years. This is a private decision and neither he nor »
He is one of Hollywood’s most respected actors, but Daniel Day-Lewis has announced he is quitting the business.
“Daniel Day-Lewis will no longer be working as an actor. He is immensely grateful to all of his collaborators and audiences over the many years. This is a private decision and neither he nor his representatives will make any further comment on this subject,” his rep Leslee Dart tells People.
- Mia McNiece
After winning three Oscars for his performances in My Left Foot in 1989, There Will Be Blood in 2007 and Lincoln in 2012, not to mention landing nominations for Gangs Of New York in 2002 and In the Name Of The Father in 1993, acclaimed actor Daniel Day-Lewis is retiring from acting, as indicated in an […]
The post Oscar-Winning Actor Daniel Day-Lewis Is Retiring appeared first on /Film. »
- Ethan Anderton
Daniel Day-Lewis is leaving behind an impressive filmography in the wake of the news that he’s retiring from acting.
The actor earned three best actor Oscars through his career — for “Lincoln,” “There Will Be Blood,” and “My Left Foot” — and earned nominations for two others — “Gangs of New York” and “In the Name of the Father.” Other major films include the adventure epic “The Last of the Mohicans,” musical “Nine,” and period drama “The Age of Innocence.”
The 60-year-old star is known throughout the industry as being a master of method acting. He famously confined himself to a wheelchair for his portrayal of Christy Brown in “My Left Foot.” He also committed to learning Czech for his role in “The Unbearable Lightness of Being.”
Daniel Day-Lewis’ Film Career in Photos
Day-Lewis has played everything from artists and warriors, to presidents and gang leaders in his illustrious — albeit selective — career, »
- Jacob Bryant
Sir Daniel Day-Lewis -- one of the most iconic actors in the last quarter century with 3 Oscars to his name -- has reportedly quit the biz. Daniel's rep released a statement saying he will no longer be working as an actor. She added, "He is immensely grateful to all of his collaborators and audiences over the many years. This is a private decision and neither he nor his representatives will make any further comment on this subject. »
- TMZ Staff
Three-time best actor winner Daniel Day-Lewis is retiring from acting, Variety reports. The 60-year-old star will appear in just one more film, Paul Thomas Anderson’s upcoming drama “Phantom Thread.” The film is set in the world of high fashion and hits theaters on December 25, 2017. Day-Lewis earned his second Oscar for best picture for Anderson’s 2008 film “There Will Be Blood.” His other two best actor wins were for Steven Spielberg’s “Lincoln” in 2013 and 1989’s “My Left Foot.”
Day-Lewis has not given a reason for his retirement, his spokeswoman, Leslee Dart, told Variety. “Daniel Day-Lewis will no longer be working as an actor,” Dart said in a statement. “He is immensely grateful to all of his collaborators and audiences over the many years. This is a private decision and neither he nor his »
- Graham Winfrey
- Jacob Bryant
Three-time Oscar winner Daniel Day-Lewis, widely considered one of the preeminent actors of his generation, is retiring from acting, Variety has learned.
The 60-year-old star, who has played presidents, writers, and gang leaders in a career that has spanned four decades, has one final film awaiting release, an untitled drama set in the world of high fashion. It is scheduled to hit theaters on December 25, 2017 and reunites him with Paul Thomas Anderson, who directed Day-Lewis to a best actor Oscar in 2007’s “There Will Be Blood.” Day-Lewis intends to help promote the movie, according to a person familiar with his plans.
He did not give a reason for his retirement. In a statement, Day-Lewis’ spokeswoman, Leslee Dart, confirmed the news: “Daniel Day-Lewis will no longer be working as an actor. He is immensely grateful to all of his collaborators and audiences over the many years. This is a private decision and neither he nor his representatives will make any further comment on this subject. ”
Daniel Day-Lewis: His 12 Best Films
Day-Lewis is the only performer to ever win three best actor Oscars. He was honored for the title role in Steven Spielberg’s “Lincoln,” for his turn as a rapacious oil man in “There Will Be Blood,” and for his performance as writer and artist Christy Brown in “My Left Foot.” He earned two other Academy Award nominations for “Gangs of New York” and “In the Name of the Father.”
Day-Lewis has been praised for his shape-shifting acting and versatility. He is known for going to extreme lengths for his performances, frequently remaining in character off-screen. He has also starred in musicals (“Nine”), adventure epics (“The Last of the Mohicans“), and period dramas (“The Age of Innocence”).
The method master once learned Czech to play a philandering doctor in “The Unbearable Lightness of Being,” listened to Eminem records to channel rage in “Gangs of New York,” and confined himself to a wheelchair for “My Left Foot” to play Brown, who had cerebral palsy.
Day-Lewis, who is the son of poet Cecil Day-Lewis and English actress Jill Balcon, made his screen debut at the age of 14 in a bit part in 1971’s “Sunday, Bloody Sunday.” He first gained attention on the stage and on television before dazzling critics in 1985 with the one-two punch of “My Beautiful Laundrette” and “A Room With a View,” convincingly playing a street tough and an upper class Edwardian.
Although he has remained in high demand, Day-Lewis is also known as being extremely selective, often waiting years between projects. In the late ’90s and early aughts he appeared to give up acting for a while, reportedly working as a cobbler before Martin Scorsese convinced him to return to the screen for “Gangs of New York.”
Day-Lewis has three children and is married to writer and director Rebecca Miller.
- Brent Lang
With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’ve taken it upon ourselves to highlight the titles that have recently hit platforms. Every week, one will be able to see the cream of the crop (or perhaps some simply interesting picks) of streaming titles (new and old) across platforms such as Netflix, iTunes, Amazon, and more (note: U.S. only). Check out our rundown for this week’s selections below.
The asylum-based film is a fairly interesting mini-genre to deconstruct. These movies almost always deal with perceptions of reality, questions of the self, and an innate fear of those in positions of power who operate in worlds of the ethereal. The question of the protagonist’s madness is almost always central, and the uncertainty over whether their paranoia is unfounded or justified is »
- The Film Stage
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