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hitchell-mope · 8 months

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Hypothetical titles for season nineteen of 88

Watch what happens. Season premiere. Part one. The precinct teams up with the other precincts all over the state when thousands of expensive Cartier watches get stolen from right under the proprietors noses. First appearance of Divine Love Konadu-Sun as Theo Wilmington.

The art of horology. Season premiere. Part two. Armed with Clyde’s knowledge, and a lot more than a few puns at Lucia’s expense, Thornton leads his team up against The Horologist.

Old mother Hubbard. The remains of a champion Great Dane are found in Central Park. And all signs point to his owner

The testimony of a college bound warlock. A Familiar approaches Findlay to help convince her human to testify at a murder trial. Guest starring Michelle Gomez as Alpine Affleck and Miles Brown as Atticus Alderman

The wrong Holmes. With the help of the deceaseds Spectre. The team investigates a fratricide that turns into a should’ve been assisted sororicide. Guest starring Tia Mowry, Tahj Mowry and Tamera Mowry as Martine, Sherman and Eunice Holmes.

Mumsies the word. Leland’s ex wife and Zoey’s estranged mother Bernadette Sellars (Minnie Driver) stops by for a long overdue visit along with her new fiancé Morton Simmons (Lee Pace)

Four Jews in a room bitching. Lysander takes Tina, Drummond, Odessa, Clyde and David to the bar mitzvah of his favourite Oxford professors son. Where him and the other three men promptly get locked in the coat check room while a robbery’s in progress.

The family disappointment. The real reason for Bernadette and Morton’s nuptials is revealed when an immigration agent drops by Fifth Avenue. First appearance of Paget Brewster as Agent Wilhelmina Wallace.

Condolences. The Five Families of New York gather together once more for the funeral of Jacob’s mother. Second and last appearance of Bellamy Young as Adelaide Spratt

Truth will out. Having had enough of Bernadette’s charade. Delaney tells Zoey the truth about everything.

Hogwarts Holdings. Findlay can’t resist sitting in on one of Clyde’s business meetings. Which surprisingly helps Clyde gain a new ally against his sister. Guest starring Rupert Grint as himself.

Five alarm fire. Midseason finale. Part one. Solaris’s life is endangered when the NYFD headquarters explodes two weeks before Christmas with him a sixty other firefighters inside it.

Tag em and bag em. Midseason premiere. Part two. As Thornton and the team work to save the survivors of the explosion. Jones gets a visit from the director of the New York branch of the FBI. First appearance of Will Estes as FBI Director William Wallace.

The world’s oldest raver. Zoey gets a reality check when she throws her back out after she goes clubbing with Ethan.

Let a story be a story. Findlay finds herself at war with Arlene’s protege who’s trying to get a musical about Henry VIII cancelled on grounds of misogyny. Guest starring Sadie Sink as Chartreuse Addams.

Roulette. Chambers returns to ask Jacob’s help in a court case against a casino owner he owes money to. Guest starring Jack Black as Dionysus Morgan

Saxe Coburg Gotha. Part one. Findlay accompanies Tina back to England when the princess royal and her wife leak some personal news to the international press. Guest starring Rhianne Barreto as Rani Burton, Auli’i Cravalho as Aimee Davenport, Chris Pratt as Emerson Davenport and Meera Syal as the queen mother Nadine Burton

Threat level Hewitt. Part two. The queen mother will do anything to prevent history repeating itself. Even if it means irreparably destroying her relationship with her daughter. Guest starring Jack Whitehall as Tina’s older brother Lord Jasper Downey.

First flight. Theo starts flying independently and runs away after having enough of the fighting between Delaney, Bernadette, Findlay and Kimberly.

Yankees and Redcoats. A game of cat and mouse ensues at a cd signing by Tina’s celebrity crushes. Guest starring Finn Wolfhard as Yannick Keynes, Louis Partridge as his singing partner Radcliffe Coats and Hunter Doohan as their manager Hadley Dawson.

Pieta. Godfrey find himself getting sued by Jesse’s mother and stepfather for millennia of backpay in child support. Guest starring Sakina Jaffrey as Mary Carpenter, Alexander Siddig as Joseph Carpenter and Adria Arjona as Maggie Christensen.

The captain, the slut, her boyfriend and his mother. Thornton takes the lead when Ethan’s mother gets burgled. Meanwhile. The final preparations are underway for Sellers/Simmons “wedding”. Guest starring Catherine Keener as Dorothy Baum.

Who’ll catch the bride? Season finale. Part one. Bernadette and Morton’s sham wedding day arrives. And Delaney has a special present for the blushing schemer.

Why waste a wedding? Season finale. Part two. With Agent Wallace closing in, Bernadette tries to make sure her sham wedding goes off without a hitch. But she doesn’t count on Zoey coming to her senses. And that will be her downfall.

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fyeahcaseyaffleck · 3 years

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Casey posted today about his son Atticus’ 13th birthday 🥳

#casey affleck #atticus affleck #instagram #fyeahcaseyaffleck #♡

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rachrosenrock · 10 years

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Technically Missing.

#Rosamund Pike #ben affleck #gone girl #david fincher #2014 #Trent Reznor #atticus ross #academy awards #amazing amy

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aboutcaseyaffleck · 7 years

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Thank You Cam at the Oscars with Casey Affleck

#casey affleck #the casey tag #oscars #indiana affleck #atticus affleck #video #posted by us

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mannyblacque · 3 years

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Source

#gone girl #gone with the wind #david fincher #ben affleck #rosamund pike #trent reznor and atticus ross #gillian flynn #neil patrick harris #tyler perry

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satinedream · 7 years

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youtube

The beard is gonee!!! Yeaaaah!

But this moustache...lol.... love his curls btw.

#casey affleck #indiana affleck #atticus affleck #vacation #cuties

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filmista · 6 years

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Gone Girl (2014) dir. David Fincher

- You fucking cunt!

- I'm the cunt you married. The only time you liked yourself was when you were trying to be someone this cunt might like. I'm not a quitter, I'm that cunt.

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phantomofthepairofdice · 3 years

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The Rosscars 2020

Wow. It’s that time of year again, only this time it’s different because it’s on a blog that no one will read! (hold for applause) Welcome to the first annual online publication for the Rosscars (hold for applause while the reader acknowledges how positively droll it is that I combined my name with “Oscars”). Who can forget such indelible Rosscar memories like when Steven Soderbergh surprised us all and won Best Director for Out of Sight or Bill Irwin’s beautiful speech upon winning Best Supporting Actor for Rachel Getting Married?! The Rosscars mean something different to everyone, but we all know that they mean quality choices made by a committee of one schmuck. This year’s Rosscars are bizarre because in an effort to be more like the Academy guidelines, film’s nominated have been released between January 1, 2020 and February 28, 2021. As usual, theatrical windows be damned, streamers are welcome. Of course, I have my gripes. I like categorizing movies by release year – specifically, when they become available to the plain old public like yours truly – not at festivals, limited runs in NYC and LA. Well, the Oscars are still weeks away and I feel like everybody wants to forget about last year and move onto this one that we’re already three months into - So here are my awards for the films, performers, and craftspeople that stood out in a pretty exceptional year for movies even though distribution was stranger than ever.

**A few caveats and guidelines to Rosscar newcomers (which I imagine is just a formality since we all know the Rosscars so well)**

The rules and categories are a little different around here. First, not every category is honored directly. That’s for a few reasons, chiefly that I don’t feel qualified to reward the technical categories properly – I suppose I should say that I feel less qualified to do so than the “above the line” categories. In keeping with the Academy standard, there are five nominees in each category, except for Best Picture, Best Non-Fiction/Documentary Feature, and Best Ensemble Cast which allow up to ten. Every category, save those three, will have the possibility of honorable mentions, because I want to highlight some things that just barely missed the cut. The narrowing down of a lot of these categories was awfully tough.

Nominees are listed alphabetically, and the winners are in bold and italics.

Also, it’s important to keep in mind that I couldn’t see everything (this isn’t a job and it’s still $20 to rent The Father, y’all) and that these are just the opinions of one (self-described) “bozo on the internet.” If you’re a reader and have different picks, feel free to share!

Special Commendations for some things that I want to recognize: • Ludwig Goransson for his Tenet score which is an absolute banger • The costumes of Emma. (Alexandra Byrne), Ma Rainey’s Black Bottom (Ann Roth), and Small Axe (Jaqueline Durran, Sinéad Kidao, and Lisa Duncan) all struck me as exceptional • Trent Reznor and Atticus Ross with their scores for both Soul and Mank. Crazy that Pixar is working with the guy who made “Closer” • The cinematography of Da 5 Bloods (Newton Thomas Sigel), First Cow (Christopher Blauvelt), Beanpole (Kseniya Sereda), and A White, White Day (Maria von Hausswolff)

The Rosscars red carpet was, as usual, a bizarre affair. People filed into the theater and it seemed like the only encounters were awkward ones. Vin Diesel showed up in character as Bloodshot, Aaron Sorkin started getting really verbose about what a lovely night it was, and it became clear that most of the celebrities in attendance didn’t read their invitations closely enough to realize that this was not, in fact, the Academy Awards.

Everyone’s seated, and the show is under way. After a medley about the nominees this year by Common and Seth McFarlane that was more corny but clever than it was funny, the first official category is here, and the presenter is none other than... Ross!

Best Supporting Actor:

1. Chadwick Boseman for Da 5 Bloods

2. Matthew Macfadyen for The Assistant

3. Jesse Plemmons for Judas and the Black Messiah

4. Paul Raci for Sound of Metal

5. Glynn Turman for Ma Rainey’s Black Bottom

Honorable Mentions:

• Lucas Hedges for Let Them All Talk

• Orion Lee for First Cow

• Bill Murray for On the Rocks

Best Supporting Actress:

1. Vanessa Bayer for Barb and Star Go to Vista Del Mar

2. Candice Bergen for Let Them All Talk

3. Gina Rodriguez for Kajillionaire

4. Amanda Seyfried for Mank

5. Yuon Yuh-jung for Minari

Honorable Mentions:

• Jane Adams for She Dies Tomorrow

• Charin Alvarez for Saint Frances

• Talia Ryder for Never Rarely Sometimes Always

• Debra Winger for Kajillionaire

Everyone loves a montage. The audience gets comfortable in their seats as the video screens start to show a montage of some of the most famous moments from Hollywood’s most magical movies. Fred Astaire and Ginger Rogers waltz, gliding across a dance floor like two hovering angels. There’s a clip of Leo declaring himself king of the world in Titanic, the flying bicycles in ET, Bogart stares longingly into Bacall’s eyes, and then there’s some scene where Tom Cruise rides a motorcycle from 2010′s Knight and Day. The audience all seems confused how that last one got in there. The John Williams music swells as little Kevin McAllister screams when puts on aftershave. We see clips of Robert De Niro in Taxi Driver, Carrie Fisher’s Princess Leia embrace Harrison Ford’s Han Solo, Bruce Lee smoothly declares that boards don’t hit back and... wait... was that a clip from Michel Gondry’s Green Hornet with Seth Rogen? And that’s a clip from What Happens in Vegas... Bad Teacher... Vanilla Sky... Shrek 2... Any Given Sunday... Everyone is flummoxed. The last clip fades out and a sole editing credit appears: Cameron Diaz. The lights come up and there’s some applause, but mostly confused murmurs.

The ceremony has had a bit of a misstep, but nothing it can’t recover from, especially as the next category is announced over the PA, and it looks like the presenter is... Ross!

Best Ensemble Cast:

1. Bacurau

2. Da 5 Bloods

3. Kajillionaire

4. Let Them All Talk

5. Ma Rainey’s Black Bottom

6. Minari

7. Nomadland

8. Pieces of a Woman

9. Small Axe

Best Original Screenplay:

1. Danny Bilson and Paul Dameo & Spike Lee and Kevin Wilmott for Da 5 Bloods

2. Lee Isaac Chung for Minari

3. Brandon Cronenberg for Possessor

4. Sean Durkin for The Nest

5. Kleber Mendonça Filho and Juliano Dornelles for Bacurau

Honorable Mentions – a very difficult task to weed this down to five.

• Shaka King and Will Berson for Judas and the Black Messiah, from a story by Kenny and Keith Lucas

• Steve McQueen, Alastair Siddons, and Courttia Newland for Small Axe

• Kelly O'Sullivan for Saint Frances

• Thomas Vinterberg and Tobias Lindholm for Another Round

Best Actor:

1. Ben Affleck for The Way Back

2. Chadwick Boseman for Ma Rainey’s Black Bottom

3. Delroy Lindo for Da 5 Bloods

4. John Magaro for First Cow

5. Mads Mikkelsen for Another Round

Honorable Mentions:

• Riz Ahmed for Sound of Metal

• John Boyega for Small Axe

• Daniel Kaluuya for Judas and the Black Messiah

• Hugh Jackman for Bad Education

• Ingvar Eggert Sigurðsson for A White, White Day

We have a break in the action and it looks like Darius Rucker has showed up to perform what he would have nominated for Best Original Song. The crowd is absolutely furious as he starts playing a song that apparently was in Trial of the Chicago Seven. An ocean of sonorous boos and curses overtakes the the once docile crowd. The Rock just ripped his chair from out of the ground. Jane Lynch somehow smuggled in a civil war era flintlock pistol that she’s now pointing at the stage! Suddenly, the crowd unifies around what started as a confident chant of one lone audience member - John C Reilly. It’s growing... Ja Ja Ding Dong, Ja Ja Ding Dong, Ja Ja Ding Dong - it’s like the macabre circus performers from Tod Browning’s Freaks, but instead of chanting “Gooble Gobble” they’re clearly pining for Darius to change his tune to the silly and delightful jam from Eurovision Song Contest: The Story of Fire Saga. Darius, scared for his life, leaves the stage, but here come Will Ferrell and Rachel McAdams to deliver the goods. Busy Philips and Michelle Williams burst into tears. Tom Hanks nods in approval. A segment saved by brave artists placating a toxic group of fans... we’ve just witnessed a live version of the Snyder Cut, folks.

Jack Nicholson seems completely unfazed, giving a thumbs up to the camera and blowing a kiss to the next presenter. Coming to the stage is... Ross... again...

Best Actress:

1. Jessie Buckley for i’m thinking of ending things

2. Carrie Coon for The Nest

3. Han Ye-ri for Minari

4. Sidney Flanagan for Never Rarely Sometimes Always

5. Vasilisa Perelygina for Beanpole

Honorable Mentions – these cuts were especially painful

• Haley Bennet for Swallow

• Morfydd Clark for Saint Maud

• Frances McDormand for Nomadland

• Christin Milioti for Palm Springs

• Geraldine Viswanathan for Bad Education

Best Adapted Screenplay:

1. Charlie Kaufman for i'm thinking of ending things from Iain Reed's novel

2. Sarah Gubbins for Shirley from Susan Scarf Merrell's novel

3. Kelly Reichardt and John Raymond for First Cow

4. Simon Rich for American Pickle from his short story "Sell Out"

5. Mike Makowsky for Bad Education from Robert Kolker's "The Bad Superintendent"

Best Non-Fiction/Documentary Feature:

1. Boys State

2. Collective

3. David Byrne’s American Utopia

4. Dick Johnson is Dead

5. Feels Good Man

6. In & Of Itself

7. The Painter and the Thief

8. Time

Jimmy Fallon has come out on stage to do a bit about the pandemic and watching movies at home. People are just absolutely not having it. He tries not to laugh at his own jokes while doing what I guess is technically a pretty good impression of Dr. Fauci interviewing James Corden as Martin Scorsese (the less said of this impression, the better) on what is or isn’t cinema. The bit doesn’t track and Fallon is absolutely tanking. The producers cut away from the stage to spare the viewers at home from this monstrosity. We see crowd shots of Millie Bobby Brown shaking her head in dismay, Colin Firth is simultaneously grimacing and trying to stave off laughter, Cynthia Erivo is texting, and director Tom Hooper is taking notes for his next film. Corden yells, “Carpool Karaoke! Remember?!” Ron Howard has fainted. This thing is almost completely off the rails.

Coming back to the stage is the next presenter, a clearly embarrassed... Ross! He’s in a total flop sweat, but stumbles his way through a joke about how Fallon should try co-hosting the Oscars with James Franco sometime. There are scant chuckles throughout a crowd that mostly just wants to see who won and go home.

Best Director:

1. Christopher Nolan for Tenet

2. Spike Lee for Da 5 Bloods

3. Steve McQueen for Small Axe

4. Kelly Reichardt for First Cow

5. Chloé Zhao for Nomadland

Honorable Mentions:

• Kitty Green for The Assistant

• Eliza Hittman for Never Rarely Sometimes Always

• Charlie Kaufman for i'm thinking of ending things

• Thomas Vinterberg for Another Round

Best Picture

1. Bacurau

2. Barb and Star Go to Vista Del Mar

3. Da 5 Bloods

4. First Cow

5. i'm thinking of ending things

6. Judas and the Black Messiah

7. Never Rarely Sometimes Always

8. Nomadland

9. Small Axe

10. Tenet

Accepting the award for best picture is none other than Eve, the cow actor who played the titular First Cow! The audience is enamored with how graceful she looks in her cow gown, and her speech, though indecipherable, is likely simple, observational, and deeply profound for those who speak cow.

Wow, what a ceremony! Hearts were broken, property was damaged, dreams were fulfilled... blood was shed? Damn it, Meryl Streep came in and mugged Charlie Kaufman before absconding with the trophy. Oddly, she’s a previous winner, so the attack isn’t out of need for hardware. People are reading through articles about production on Adaptation for potential motives. Streep made time for a photo opportunity, but remains at large.

I could go on ad infinitum about all of these nominees and winners themselves and why they did or didn’t make the cut, but that’d be better served in a different piece. For now, my thoughts on most of these can be found on the Best of 2020 write-up and over on my Letterboxd. And, as always, these awards can be revoked and redistributed at will, so don’t get too cozy with that statue, Danny Bilson!

On behalf of the RAOGL (Rosscars Association of One Guy at a Laptop), thanks for reading, and stay tuned as we’re establishing a tip line for anyone has seen Ms. Streep or her stolen valor Rosscar. We’ll see you next year. Keep watching movies, and keep arbitrarily quantifying them in terms of subjective quality!

#awards #movies #film #Rosscars

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doomonfilm · 4 years

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Thoughts : Gone Girl (2014)

I recently hit 500 posts, an achievement I’m very proud of, but it also coincided with a job transition, leading to an unfortunately-timed absence of content. As the transition settled and life begin to reshape itself, I found myself in the doldrums of first quarter releases, some of which did pique my interest, but many of which felt as if they could wait in terms of viewing. With that thought in mind, I dug back into the archives for films that I’ve owned but not viewed, and one contender jumped straight to the top : Gone Girl.

Amy Elliot Dunne (Rosamund Pike) is declared missing on her fifth wedding anniversary after her husband Nick Dunne (Ben Affleck) returns home from The Bar, a local bar he runs with his twin sister Margo (Carrie Coon), to find damage consistent with a kidnapping. Amy’s parents, Marybeth (Lisa Banes) and Rand Elliot (David Clennon), relocate to Missouri from New York to spearhead the missing person campaign, largely due to the family fame connected to the Amazing Amy series of books that the Elliot parents authored, with Amy’s real-life shortcomings serving as the basis for the titular character’s stories. Detective Rhonda Boney (Kim Dickens), the lead investigator on the case, works hard to be impartial, especially in light of her partner Officer James Gilpin‘s (Patrick Fugit) dislike of Nick. As the days roll by, public sentiment begins to sway against Nick and heavily in favor of the beloved Amy, but her famous habit of leaving anniversary ‘clues’ leads Nick to a series of awakenings that forces him, and in turn Amy, to reevaluate everything they thought they understood about their marriage.

David Fincher has always had a penchant for psychological thrillers, but with Gone GIrl, we are given a damning examination of marriage. From Nick’s side, we are shown a man that shoots upward, hitches his wagon to a star and immediately considers his work as a lover and husband done. To him, the chase and the catch were key, and once Amy was ‘his’, any need to inquire about her feelings, her history or her needs took a backseat to his own. The use of a family tragedy offered Nick the chance to emotionally manipulate Amy into leaving her comfort zone and nose-diving into his, only for her to become an accessory to him. This fact, however, does not absolve Amy of her dangerous history and pattern of emotional manipulation, which is heavily based on the entitlement that comes with her fame. While it is tragic that her life centered around objectification from her parents and lovers, the sheer depths that she goes to teach Nick a ‘lesson’ not only come off as extreme, but they put Amy in several dangerous moments.

The twisted chess of manipulation that Fincher presents plays upon familiar film elements, but the extremely natural presentation of the events to both the viewer and the characters in the world of the film makes the examination of Amy’s desperate acts shocking. It could be argued that her character is an updated take on the Black Widow mythos, but the waters are muddied by the aforementioned history of Amy’s lack of autonomy. Despite her being the star of every connection she takes part in, time and again she finds herself as the pawn of someone else’s will. Much like a cornered animal lashes out with surprising amounts of aggression and a disregard for its opponent’s well-being, the trail of destruction that Amy leaves in her wake is extreme and shocking, which makes her natural demeanor ring with a sinister tone.

David Fincher films have always had a distinct, dark look to them, like a version of dramatic neo-noir, and this look works to great impact in Gone Girl, hanging an implied tone right from the beginning of the film that the narrative slowly unveils. The pacing of said narrative, as well as the mix of current-day moments and memories that may not be what they seem upon first glance, flows about as close to a book as film can, making this an extremely successful adaptation. Trent Reznor and Atticus Ross bring their distinct, moody and dark scoring to the table, but manage to use so much restraint and choice of key placements to shine that they become a shadow character, paralleling Fincher’s visual cues with audio ones.

Ben Affleck naturally tows the line between obnoxiously charming and oddly dislikeable, and those qualities are honed in on directly for his role as Nick, with him serving as one of the most complex protagonists committed to film in recent memory in turns of audience trust and compassion. In turn, Rosamund Pike manages to force a sinister charm onto her performance, managing to make viewers consider her side despite a clear and present path of destruction. Carrie Coon helps referee the absurdity, helping to guide the viewer emotionally, though not necessarily on a one-to-one path paralleling the viewer experience, and her pairing with Patrick Fugit helps sell her as the heavy cop in terms of attitude. Tyler Perry, who admittedly is not one of my favorite members of the film world, comes close to stealing the show with his bold, brash, candid and brutally honest performance. Neil Patrick Harris helps anchor down the edginess for the final third of the the film, with his pairing against Pike providing some truly captivating cinema. Appearances by Scoot McNairy, Missi Pyle, Emily Ratajkowski, Lisa Banes, David Clennons and a handful of others keep the high drama alive throughout.

In what will probably be a quote I’m remembered for long after I’m gone, I don’t know why it took me so long to get around to this film. I’ve been a long-time fan of Fincher’s work, and Gone Girl is arguably some of his best. He may have bigger, more well-known and flashier work, but the human element truly shines in this film, and upon its conclusion, we are not only left with a number of questions about the film, but a few about ourselves and the way we connect with others.

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beepbopppfdfd · 5 years

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adam mccarthy / jared padalecki

adolfo villanueva / miguel herran

aidan riordan / jamie dornan

alasdair macmillan / james mcavoy

amelia mckinnon / chris pratt

anderson watts / ricky whittle

andrew holland / armie hammer

asher de rouvroy / dacre montgomery

atticus selwyn / matthew noszka

aurora de rouvroy / chris hemsworth

austin radwell / brant daugherty

benji salazar / froy gutierrez

bradley harrington / zac efron

cain woodhouse / jon bernthal

carlos castilla / alfonso herrera

carter fawcett / james wolk

casper st clair / kj apa

cedric st clair / richard madden

chad maddock / matt barr

charity st clair / kj apa

cheyenne rivers / gavin leatherwood

clint montgomery / murray bartlett

cole macintyre / joe dempsie

colin fleetwood / ryan kwanten

connor fleetwood / william moseley

conrad st clair / michael fassbender

corinna sharp / noah centineo

cormac riordan / colin o'donoghue

cyrus patel / avan jogia

damian dent / finn wittrock

daphne macnamara / chris evans

darcy lockhart / shawn mendes

david chambers / mitchell hope

dean o'callaghan / derek theler

derek o'callaghan / max thieriot

desiree delavergne / charles michael davis

dmitri markov / tom hardy

dominic king / michael b jordan

dorian van dyke / grant gustin

drake summers / cheyenne jackson

duke collins / dwayne johnson

duncan riordan / chris wood

dustin greer / jeremy jordan

elliot burke / sebastian stan

emily riordan / josh dallas

emmett rabnott / aaron tveit

ernest mccarthy / mark ruffalo

ethan fletcher / jacob elordi

evan anthony / luke mitchell

ezra adler / adam brody

felix castilla / alberto rosende

finn sheridan / sean maguire

fletcher o'bryen / taron egerton

flynn maguire / tom holland

frank harrington / jeffrey dean morgan

gareth dearborn / luke evans

garrett khan / zayn malik

gemma bertinelli / beau mirchoff

george hamilton / david harbour

gianni mantovani / dj cotrona

grace zhao / charles melton

graham o'gorham / ben affleck

gregory dobbs / richard harmon

guinevere abbott / matt bomer

harvey frost / Alex Fitzalan

hayden granger / matthew morrison

henry chamberlain / john krasinski

holden cavanaugh / miles heizer

ian mccluskey / dustin milligan

isabella castilla / miguel angel silvestre

jackson platt / gregg sulkin

jakob stark / john barrowman

jared buchanan / andrew lincoln

jasper bertinelli / nico tortorella

jeremy leighton / zachary levi

jeremy wallace / robert downey jr

julian maxwell / david ramsey

justin antwhistle / casey cott

kenneth o'malley / nick zano

killian sheridan / niall horan

kyle armstrong / scott eastwood

lana talbot / ryan reynolds

lance harville / charlie hunnam

lars nystrom / mike vogel

leopold zielinsky /aaron taylor-johnson

lewis birch / hunter parrish

lincoln teller / jai courtney

linus von essen / joseph morgan

lloyd llewellyn / ian bohen

logan preece / elliot fletcher

lucas west / brandon routh

lucrezia de vitis / joe manganiello

lydia pryde / tom ellis

magnus nystrom / dominic sherwood

malcolm brant / dylan mcdermott

marcel de rouvroy / justin hartley

marina grimaldi / justin baldoni

markos apostolidis / theo james

marshall dunbar / michael evans behling

martin abercrombie / penn badgley

matthew fell / dan stevens

max fleming / dylan o'brien

micah rybinski / ross lynch

miles sheppard / dylan minnette

nate rockwell / ben mckenzie

nicolas de rouvroy / logan shroyer

noah benson / liam payne

nolan o'shea / casey deidrick

oliver hawkins / brett dalton

owen lee / markiplier

parker penn / jason ralph

patrick talbot / jason ralph

percival snow / daniel gillies

peter rabnott / robert buckley

peyton summers / cody christian

phillip mccann / paul rudd

piper macnamara / colton haynes

preston macnamara / oliver stark

quentin radcliffe / thomas doherty

quinn o'callaghan / gus kenworthy

rafael cortez / mark consuelos

ramon rosales / oscar isaac

raymond voltoni / milo ventimeglia

reynard payne / rome flynn

roderick macnair / david tennant

roger madison / hugh jackman

romeo grimaldi / nick jonas

roscoe royale / keiynan lonsdale

rowan summers / tyler blackburn

ryan kingsleigh / charlie puth

scott maguire / jake gyllenhaal

sean prewett / tyler hoechlin

sebastian luczynski / antoni porowski

solomon zimmerman / daniel sunjata

sophia platt / henry cavill

stefan nystrom / alexander skarsgrd

sullivan tate / rob kazinsky

teddy farley / wolfgang Novogratz

tim anderson / bob morley

todd salazar / josh segarra

tristan zhao / ross butler

ulysseus khan / rahul kohli

valentino cortez / tyler posey

vicente cortez / michael trevino

victoria fawley / stephen amell

vijay balaji / manish dayal

vishal balaji / arjun gupta

warren vablatsky / matt czuchry

willa rabnott / chace crawford

winston wilcox / charlie cox

wyatt stretton / steven r mcqueen

xavier brady / amadeus serafini

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mellowyknox · 7 years

Video

vimeo

“Gone Girl” Trailer Redux

vimeo

“Gone Girl” Opening Titles

Production: Regency Enterprises Los Angeles Director: David Fincher Cinematographer: Jeff Cronenweth Production Designer: Donald Graham Burt Editor: Kirk Baxter, Angus Wall

Cast: Ben Affleck, Rosamunde Pike, Neil Patrick Harris, Emily Ratajkowski

Music: Trent Reznor, Atticus Ross

Screens:

Year: 2014

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the-lastdragon · 3 years

Text

Masterlist [Pj&albúms]

Anakin Skywalker: Hayden Christensen

Arturo Pendragon: Bradley James

Ascian Lasserre: Dane DeHaan

Atticus Selwyn: Hayden Christensen

Braian Demon: Lorenzo Zurzolo ; Benjamin Wadsworth ; Gavin Leatherwood

Bruce Wayne: Robert Pattinson ; Christian Bale ; Ben Affleck

Bucky Barnes: Sebastian Stan

Cesare Borgia: François Arnaud ; Mark Ryder

Cosimo di Giovanni de' Medici: Richard Madden

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fyeahcaseyaffleck · 3 years

Text

youtube

#casey affleck #jimmy kimmel live #our friend press #fyeahcaseyaffleck #Youtube #atticus affleck #indiana affleck

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aion-rsa · 3 years

Text

Critics Choice Awards Favor Nomadland and Promising Young Woman, Reshape Awards Race

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What a difference a week makes. Seven days ago, the Golden Globes arrived with controversy and allegedly upended the race with some major surprises (and major head scratchers). Is Jodie Foster really a contender for Best Supporting Actress? Was the support for Maria Bakalova just internet hype? There was plenty of hand-wringing, but Sunday night’s 26th annual Critics Choice Awards arrived to recalibrate the state of the awards race—and to give an interesting look at how a singular industry marches on during a pandemic.

The biggest winner of the night was Nomadland, which picked up the Critics Choice Awards for Best Picture and Best Director, making Chloé Zhao an even more concrete frontrunner at the Oscars (ahead of her Marvel debut via Eternals). But after the Golden Globes shut out Emerald Fennell’s Promising Young Woman, the movie’s star Carey Mulligan took home the Best Actress prize at the CCA while Fennell herself won the Best Original Screenplay award. With the pitch black comedy/feminist thriller being one of the most talked about films of 2020—and one that had an honest to God theatrical release—its resurgence at the CCA will counteract last week’s media narrative that it is too outside the box and too hard to categorize (or feminist) for awards voters as the race moves forward toward the guilds.

Similarly, Maria Bakalova got a major bump after she lost in the Golden Globes category she seemed like a shoo-in for (Best Actress in a Musical/Comedy). Prognostications that the chances of the Borat 2 star winning a major award had vanished proved premature, with Bakalova taking home Best Supporting Actress over perceived favorites like Amanda Seyfried for Mank and Olivia Colman for The Father. She also teased us with information that she’d be there in a heartbeat if Sacha Baron Cohen ever decided to make Borat 3.

Overall the awards circuit continues to be strange during the COVID era. Once again stars and filmmakers appeared Zooming from their homes or hotel rooms. Jason Sudeikis, who’s Ted Lasso won Best Comedy Series and Best Actor, once again appeared in a hoodie (this one from the set of Booksmart). Conversely, Anya Taylor-Joy—the breakout star of The Queen’s Gambit who won a Critics Choice Award tonight, as did her show for Best Limited Series—was in an evening gown in the wee small hours of the morning.

“It’s kind of fun dressing up in your own house. I don’t know what it is, but you get to play your own playlist, you just sort swing around, and you get to be in your pajamas in a minute,” Taylor-Joy says about awards Zooming. On the subject of fabled awards after parties, she also notes, “It’s going to be like 2 a.m. in London quite soon, and I have to go to work tomorrow, so I’m going to work! Which I’m really excited about; it’s my favorite place in the world.”

Yet in such strange times, celebrating art that actually entertained or distracted people has perhaps greater merit than ever. And it can bring attention to unique projects. That’s at least one silver lining Andy Samberg, who picked up the Critics Choice Award on behalf of Palm Springs in the Best Comedy Movie category, told us.

“I always hesitate to say this, because there is nothing good about the quarantine and the pandemic, and everything, but I think in a lot of ways it helped people see our movie more because everyone was at home [and] because it went straight to streaming to Hulu in the States,” Samberg says. “It came out really at this moment when movies were just starting to come out again… We were like the first wave of ‘see what happens when you put a movie out!’ It turns out people were just sitting there waiting for new stuff.”

Below is all the new stuff that was awarded by the CCAs. Winners (including a few ties) will be BOLDED.

Critics Choice Awards 2021: Complete Winners List (Film)

Best Picture

Da 5 Bloods (Netflix) Ma Rainey’s Black Bottom (Netflix) Mank (Netflix) Minari (A24) News of the World (Universal) Nomadland (Searchlight) One Night in Miami (Amazon Studios) Promising Young Woman (Focus Features) Sound of Metal (Amazon Studios) The Trial of the Chicago 7 (Netflix)

Best Director

Lee Isaac Chung – Minari (A24) Emerald Fennell – Promising Young Woman (Focus Features) David Fincher – Mank (Netflix) Spike Lee – Da 5 Bloods (Netflix) Regina King – One Night in Miami (Amazon Studios) Aaron Sorkin – The Trial of the Chicago 7 (Netflix) Chloé Zhao – Nomadland (Searchlight Pictures)

Best Actress

Viola Davis – Ma Rainey’s Black Bottom (Netflix) Andra Day – The United States vs. Billie Holiday (Hulu) Sidney Flanigan – Never Rarely Sometimes Always (Focus Features) Vanessa Kirby – Pieces of a Woman (Netflix) Frances McDormand – Nomadland (Searchlight Pictures) Carey Mulligan – Promising Young Woman (Focus Features) Zendaya – Malcolm & Marie (Netflix)

Best Actor

Ben Affleck – The Way Back (Warner Bros.) Riz Ahmed – Sound of Metal (Amazon Studios) Chadwick Boseman – Ma Rainey’s Black Bottom (Netflix) Tom Hanks – News of the World (Universal Pictures) Anthony Hopkins – The Father (Sony Pictures Classics) Delroy Lindo – Da 5 Bloods (Netflix) Gary Oldman – Mank (Netflix) Steven Yeun – Minari (A24)

Best Supporting Actress

Maria Bakalova – Borat Subsequent Moviefilm (Amazon Studios) Ellen Burstyn – Pieces of a Woman (Netflix) Glenn Close – Hillbilly Elegy (Netflix) Olivia Colman – The Father (Sony Pictures Classics) Amanda Seyfried – Mank (Netflix) Yuh-Jung Youn – Minari (A24)

Best Supporting Actor

Daniel Kaluuya – Judas and the Black Messiah (Warner Bros.) Chadwick Boseman – Da 5 Bloods (Netflix) Sacha Baron Cohen – The Trial of the Chicago 7 (Netflix) Bill Murray – On the Rocks (A24/Apple TV+) Leslie Odom, Jr. – One Night in Miami (Amazon Studios) Paul Raci – Sound of Metal (Amazon Studios)

Best Acting Ensemble

The Trial of the Chicago 7 (Netflix) Da 5 Bloods (Netflix) Judas and the Black Messiah (Warner Bros.) Ma Rainey’s Black Bottom (Netflix) Minari (A24) One Night in Miami (Amazon Studios)

Best Original Screenplay

Lee Isaac Chung – Minari (A24) Emerald Fennell – Promising Young Woman (Focus Features) Jack Fincher – Mank (Netflix) Eliza Hittman – Never Rarely Sometimes Always (Focus Features) Darius Marder & Abraham Marder – Sound of Metal (Amazon Studios) Aaron Sorkin – The Trial of the Chicago 7 (Netflix)

Best Adapted Screenplay

Paul Greengrass & Luke Davies – News of the World (Universal Pictures) Christopher Hampton and Florian Zeller – The Father (Sony Pictures Classics) Kemp Powers – One Night in Miami (Amazon Studios) Jon Raymond & Kelly Reichardt – First Cow (A24) Ruben Santiago-Hudson – Ma Rainey’s Black Bottom (Netflix) Chloé Zhao – Nomadland (Searchlight Pictures)

Best Cinematography

Christopher Blauvelt – First Cow (A24) Erik Messerschmidt – Mank (Netflix) Lachlan Milne – Minari (A24) Joshua James Richards – Nomadland (Searchlight Pictures) Newton Thomas Sigel – Da 5 Bloods (Netflix) Hoyte Van Hoytema – Tenet (Warner Bros.) Dariusz Wolski – News of the World (Universal Pictures)

Best Editing

Alan Baumgarten – The Trial of the Chicago 7 (Netflix) (TIE) Kirk Baxter – Mank (Netflix) Jennifer Lame – Tenet (Warner Bros.) Yorgos Lamprinos – The Father (Sony Pictures Classics) Mikkel E. G. Nielsen – Sound of Metal (Amazon Studios) (TIE) Chloé Zhao – Nomadland (Searchlight Pictures)

Best Production Design

Cristina Casali, Charlotte Dirickx – The Personal History of David Copperfield (Searchlight Pictures) David Crank, Elizabeth Keenan – News of the World (Universal Pictures) Nathan Crowley, Kathy Lucas – Tenet (Warner Bros.) Donald Graham Burt, Jan Pascale – Mank (Netflix) Kave Quinn, Stella Fox – Emma (Focus Features) Mark Ricker, Karen O’Hara, Diana Stoughton – Ma Rainey’s Black Bottom (Netflix)

Best Costume Design

Alexandra Byrne – Emma (Focus Features) Bina Daigeler – Mulan (Disney) Suzie Harman & Robert Worley – The Personal History of David Copperfield (Searchlight Pictures) Ann Roth – Ma Rainey’s Black Bottom (Netflix) Nancy Steiner – Promising Young Woman (Focus Features) Trish Summerville – Mank (Netflix)

Best Hair and Makeup

Emma (Focus Features) Hillbilly Elegy (Netflix) Ma Rainey’s Black Bottom (Netflix) Mank (Netflix) Promising Young Woman (Focus Features) The United States vs. Billie Holiday (Hulu)

Best Visual Effects

Greyhound (Apple TV+) The Invisible Man (Universal Pictures) Mank (Netflix) The Midnight Sky (Netflix) Mulan (Disney) Tenet (Warner Bros.) Wonder Woman 1984 (Warner Bros.)

Best Score

Alexandre Desplat – The Midnight Sky (Netflix) Ludwig Göransson – Tenet (Warner Bros.) James Newton Howard – News of the World (Universal Pictures) Emile Mosseri – Minari (A24) Trent Reznor & Atticus Ross – Mank (Netflix) Trent Reznor & Atticus Ross – Soul (Disney)

Best Song

Everybody Cries – The Outpost (Screen Media Films) Fight for You – Judas and the Black Messiah (Warner Bros.) Husavik (My Home Town) – Eurovision Song Contest: The Story of Fire Saga (Netflix) Io sì (Seen) – The Life Ahead (Netflix) Speak Now – One Night in Miami (Amazon Studios) Tigress & Tweed – The United States vs. Billie Holiday (Hulu)

Best Foreign Language Film

Another Round (Samuel Goldwyn Films) Collective (Magnolia Pictures) La Llorona (Shudder) The Life Ahead (Netflix) Minari (A24) Two of Us (Magnolia Pictures)

Best Comedy

Palm Springs (Hulu and NEON) Borat Subsequent Moviefilm (Amazon Studios) The Forty-Year-Old Version (Netflix) The King of Staten Island (Universal Pictures) On the Rocks (A24/Apple TV+) The Prom (Netflix)

Best Young Actress

Alan Kim – Minari (A24) Ryder Allen – Palmer (Apple TV+) Ibrahima Gueye – The Life Ahead (Netflix) Talia Ryder – Never Rarely Sometimes Always (Focus Features) Caoilinn Springall – The Midnight Sky (Netflix) Helena Zengel – News of the World (Universal Pictures)

Critics Choice Awards 2021: Complete Winners List (TV)

Best Drama Series

Better Call Saul (AMC) The Crown (Netflix) The Good Fight (CBS All Access) Lovecraft Country (HBO) The Mandalorian (Disney+) Ozark (Netflix) Perry Mason (HBO) This Is Us (NBC)

Best Comedy Series

The Flight Attendant (HBO Max) Mom (CBS) PEN15 (Hulu) Ramy (Hulu) Schitt’s Creek (Pop) Ted Lasso (Apple TV+) What We Do in the Shadows (FX)

Best Limited Series

I May Destroy You (HBO) Mrs. America (FX) Normal People (Hulu) The Plot Against America (HBO) The Queen’s Gambit (Netflix) Small Axe (Amazon Studios) The Undoing (HBO) Unorthodox (Netflix)

Best Made for Television Movie

Bad Education (HBO) Between the World and Me (HBO) The Clark Sisters: First Ladies of Gospel (Lifetime) Hamilton (Disney+) Sylvie’s Love (Amazon Studios) What the Constitution Means to Me (Amazon Studios)

Best Actress in a Drama Series

Emma Corrin – The Crown (Netflix) Christine Baranski – The Good Fight (CBS All Access) Olivia Colman – The Crown (Netflix) Claire Danes – Homeland (Showtime) Laura Linney – Ozark (Netflix) Jurnee Smollett – Lovecraft Country (HBO)

Best Actor in a Drama Series

Josh O’Connor – The Crown (Netflix) Jason Bateman – Ozark (Netflix) Sterling K. Brown – This Is Us (NBC) Jonathan Majors – Lovecraft Country (HBO) Bob Odenkirk – Better Call Saul (AMC) Matthew Rhys – Perry Mason (HBO)

Best Supporting Actress in a Drama Series

Gillian Anderson – The Crown (Netflix) Cynthia Erivo – The Outsider (HBO) Julia Garner – Ozark (Netflix) Janet McTeer – Ozark (Netflix) Wunmi Mosaku – Lovecraft Country (HBO) Rhea Seehorn – Better Call Saul (AMC)

Best Supporting Actor in a Drama Series

Michael K. Williams – Lovecraft Country (HBO) Jonathan Banks – Better Call Saul (AMC) Justin Hartley – This Is Us (NBC) John Lithgow – Perry Mason (HBO) Tobias Menzies – The Crown (Netflix) Tom Pelphrey – Ozark (Netflix)

Best Actress in a Comedy Series

Catherine O’Hara – Schitt’s Creek (Pop) Pamela Adlon – Better Things (FX) Christina Applegate – Dead to Me (Netflix) Kaley Cuoco – The Flight Attendant (HBO Max) Natasia Demetriou – What We Do in the Shadows (FX) Issa Rae – Insecure (HBO)

Best Actor in a Comedy Series

Jason Sudeikis – Ted Lasso (Apple TV+) Hank Azaria – Brockmire (IFC) Matt Berry – What We Do in the Shadows (FX) Nicholas Hoult – The Great (Hulu) Eugene Levy – Schitt’s Creek (Pop) Ramy Youssef – Ramy (Hulu)

Best Supporting Actress in a Comedy Series

Hannah Waddingham – Ted Lasso (Apple TV+) Lecy Goranson – The Conners (ABC) Rita Moreno – One Day at a Time (Pop) Annie Murphy – Schitt’s Creek (Pop) Ashley Park – Emily in Paris (Netflix) Jaime Pressly – Mom (CBS)

Best Supporting Actor in a Comedy Series

Daniel Levy – Schitt’s Creek (Pop) William Fichtner – Mom (CBS) Harvey Guillén – What We Do in the Shadows (FX) Alex Newell – Zoey’s Extraordinary Playlist (NBC) Mark Proksch – What We Do in the Shadows (FX) Andrew Rannells – Black Monday (Showtime)

Best Actress in a Limited Series or Made for TV Film

Anya Taylor-Joy – The Queen’s Gambit (Netflix) Cate Blanchett – Mrs. America (FX) Michaela Coel – I May Destroy You (HBO) Daisy Edgar-Jones – Normal People (Hulu) Shira Haas – Unorthodox (Netflix) Tessa Thompson – Sylvie’s Love (Amazon Studios)

Best Actor in a Limited Series or Made for TV Movie

John Boyega – Small Axe (Amazon Studios) Hugh Grant – The Undoing (HBO) Paul Mescal – Normal People (Hulu) Chris Rock – Fargo (FX) Mark Ruffalo – I Know This Much is True (HBO) Morgan Spector – The Plot Against America (HBO)

Best Supporting Actor in a Limited Series or Made for TV Movie

Donald Sutherland – The Undoing (HBO) Daveed Diggs – The Good Lord Bird (Showtime) Joshua Caleb Johnson – The Good Lord Bird (Showtime) Dylan McDermott – Hollywood (Netflix) Glynn Turman – Fargo (FX) John Turturro – The Plot Against America (HBO)

Best Supporting Actress in a Limited Series or Made for TV Movie

Uzo Aduba – Mrs. America (FX) Betsy Brandt – Soulmates (AMC) Marielle Heller – The Queen’s Gambit (Netflix) Margo Martindale – Mrs. America (FX) Winona Ryder – The Plot Against America (HBO) Tracey Ullman – Mrs. America (FX)

Best Talk Show

Desus & Mero (Showtime) Full Frontal with Samantha Bee (TBS) The Kelly Clarkson Show (NBC/Syndicated) Late Night with Seth Meyers (NBC) The Late Show with Stephen Colbert (CBS) Red Table Talk (Facebook Watch)

Best Comedy Special

Jerry Seinfeld: 23 Hours to Kill (Netflix) (TIE) Michelle Buteau: Welcome to Buteaupia (Netflix) (TIE) Fortune Feimster: Sweet & Salty (Netflix) Hannah Gadsby: Douglas (Netflix) Marc Maron: End Times Fun (Netflix) Patton Oswalt: I Love Everything (Netflix)

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aboutcaseyaffleck · 3 years

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Casey Affleck Gets Philosophical About Life, Time & The Whole Damn Thing

“Time,” reflects Casey Affleck, “is something I have been thinking about lately. It is ironic how the older you get, the better you are at being patient. With less time left, people become better at waiting. But this year, I feel much older and a lot less patient. I guess you’ve got to accept that time is never wasted? That doing is no different than not doing? That you can’t kill time no matter what you do, and that no matter what you do you can’t prevent the opposite from happening either? I don’t know. It’s a double-edged sword.”

It’s a Wednesday afternoon in early January, and Affleck and I are doing the Zoom thing, ostensibly to discuss his two new movies, the recently released indie Our Friend and the upcoming 19th-century period drama The World to Come. Yet our virtual tête-à-tête has become far more interesting, jumping wildly from his love of trains and travel to weightier topics like family, the future and the search for something more, something meaningful.

“I like the idea that time is an illusion. That past, present and future are all happening at once. I like it even though I can’t totally get my head around it. But either way, the me in the mirror gets older every day.”

Like most of us, he’s not only had plenty of time on his hands in recent months, housebound in L.A., but he’s tried to use his downtime wisely. “I tried to use this year of quarantine constructively,” the 45-year-old Oscar winner says. “I tried to see it as a winter season for shutting down and restoring something inside, but I just couldn’t. I’m not that evolved, I guess. I didn’t take up a new hobby or learn an instrument or get better at ‘self-care.’ If anything, I let my better habits and routines fall off. It was all I could do to keep my head above water and help buoy my friends and children when I could.”

As a guy with two teenagers at home — Indiana, 16, and Atticus, 13 — it hasn’t been easy, but he’s doing his best. He tried taking his sons on their annual camping road trip over the summer, but it was short-lived. Instead, he’s been focusing on making a happy home. “My kids don’t get to see their friends a lot, so I’m doing a lot more stuff with them, coming up with activities for the three of us, which they mostly hate, and I mostly let drop. And then I try again with the same outcome 90 percent of the time.”

While trying to create innovative plans to sustain his boys, he came up with one he thought might do some good, too. In June, he launched Stories from Tomorrow, a social-media initiative focused on creative writing by kids.

“At the beginning of all this last March, the first thing that occurred to me was that the quarantine would have a big impact on young people’s emotional well-being — the disruption they’re going to feel is really going to affect their mental health more than anyone else,” he says. “When I would sit down to write creatively, I felt better. But I couldn’t get my sons to journal or do creative writing much. I didn’t want to twist their arms about it. So I was like, ‘I’ll make a social media platform that inspires young people to write creatively, because it is such a good way of working out difficult feelings. And the way I will do that is have well-known people read the kids’ writing publicly.’ I knew that hearing your own writing read was exciting. I thought it would be really inspiring, that creative writing would be a great outlet for kids stuck at home.”

He enlisted some of the biggest names in Hollywood, including Robert Redford, Matt Damon, Don Cheadle, Jon Hamm, Matthew Broderick, Kyle Chandler and Danny Glover, as well as two current costars, Vanessa Kirby and Jason Segel, and arranged for donations made through the program to go to children’s hunger nonprofit Feeding America and Room to Read, which supports female education. He reached out to schools in Africa, Asia, the Middle East and Haiti, hoping to create a global community.

Affleck was excited to make progress, to have done some good, but the initiative didn’t take off as planned. “In the end, an Instagram account for creative writing by tweens just couldn’t possibly compete with the quintillion bytes of daily data generated online. I don’t know. But I tried! And anyway, since then lots of other organizations started doing basically the same thing, and they are more organized than I am, and they have done a better job. So be it.”

Yet, adults have been disrupted, too, including Affleck himself, who is aware that, relatively speaking, he has gotten through mostly unscathed. “Am I happy? I mean, I’m relatively okay. It’s been a hard time to find balance and to keep it. I would say it’s been a hard time in my life, but I know that it’s been harder for other folks. So far we haven’t lost anyone, and we haven’t lost our house. And I rediscovered that when you’re feeling bad, there’s nothing better to do than to try to help other people. Being of service not only helps others but is a great way of getting outside of yourself. Also — and I really believe this — I think this time will be remembered as one when our country made leaps and bounds in the right direction; we are changing and growing and it’s uncomfortable, but we will be much, much better. I wish I could see the next couple hundred years. It’s going to be amazing.”

At the end of the day, it’s family that’s keeping him going. “Having my kids around and being able to spend so much time with them has been amazing. It is the brightest silver lining in all of this. They are what gives me the most joy. They are funny and smart and interesting and interested. They are just the best company ever,” he says. “Anytime I try to parent out some ‘teaching moment,’ I find they are two steps ahead. They help me make sense of stuff just as much I help them, if not more. I don’t have any answers, but batting the questions around, back and forth, is a good way of coping.”

CALEB CASEY MCGUIRE AFFLECK-BOLDT feels he is luckier than most. Although he and many of his peers have gone jobless for a full year, he spent 2019 working hard. He had not one but three films done and dusted prior to the start of the pandemic; the last one wrapped a week before mandatory quarantine. Two of these have back-to-back release dates: the tearjerker indie Our Friend came out in January, and sweeping period drama The World to Come will be released February 12. Thriller Every Breath You Take is slated for later this year. “I am so, so, so glad I spent 2019 working that much. It is what kept us afloat all through 2020,” he says.

The films themselves are radically different, but there are a few common threads. In both of his winter releases, Affleck plays a man who has lost a family member and whose marriage is in shambles. In both, he is a man in pain.

In the LGBTQ masterpiece The World to Come, which revolves around the love that blossoms between two married women on the mid-19th-century American frontier, his character, Dyer, says very little but manages to convey a wealth of emotion with his eyes alone. He may seem stoic, but he is suffering.

“The World to Come is a story about a couple who have lost a baby. They’re dealing with the grief in totally different ways and having a very hard time coming together again,” he explains. “My character wants to heal that by having another, but his wife [played by Katherine Waterson] is coping in a different way. She is severing all emotional attachment to him because it triggers more and more grief. She [only] seems to come alive when she is with their neighbor, a woman on the next farm [played by Vanessa Kirby]. He wants his wife happy, but he also would like her to love him. To me, this is the story of how couples can have their relationship shattered by a sudden loss. And it’s definitely a beautiful story about two women who feel that they have to hide their love and find the courage to love each other anyway.”

Affleck likes layers. He himself has many, so it shouldn’t come as a surprise that he’s drawn to roles written as fully formed characters, not caricatures. With Dyer, that’s abundantly clear. “Crisis is fun to play, [and Dyer] is in an interesting crisis,” he says. “I think he’s a really good person — a really decent, solid, loving person — which is what I loved so much about playing him and what I love so much about the writing. It’s more interesting when there’s no bad guy, just a conflict of circumstances and feelings that get so complicated that it drives two people apart.”

In Our Friend, a different set of circumstances drives the leads apart. Affleck and Dakota Johnson take on the true story of Matthew and Nicole Teague, whose imperfect marriage was strained by his long absences and her affair, neither of which seem at all important when she’s diagnosed with terminal cancer.

“To me, Our Friend is really a story about how petty grievances between people can divide them and then be forgotten when a gigantic tragedy is dropped in their laps. [Matthew] was wronged, it’s true — his wife cheated on him. On the other hand, he wronged her in a bunch of ways; [they] were just more passive and not quite so salacious. He wasn’t around. Matt got to be a dad and he got to travel the world as a journalist. He left her to take care of the kids. She wanted to have a life too, she had dreams of her own — she wanted to be a singer, she wanted to work — but she didn’t get to do that. She just got to be a mom. She was left holding the bag, and it wasn’t fair.”

He spent a fair amount of time immersing himself in the journalist’s life while filming in Fairhope, Ala., in 2019. (The film’s title is taken from Teague’s award-winning Esquire essay, “The Friend: Love Is Not a Big Enough Word.” The friend in question — played by Jason Segel — is a man who puts his life on hold to help the family during their darkest days.) But he did not become Matt Teague, which is an important distinction. “[Director] Gabriella Cowperthwaite asked that we not portray the personality traits of the real people. No accents, no mannerisms. [But] I did steal his style, because I had never seen someone nail the dad look any better than Matt. I say that with affection.”

As for the dreams Nicole gave up for her family, Affleck says, “If you were to ask Matt, I’m sure he would acknowledge that he was neglecting his role. He was neglecting her dreams, and that is a part of marriage, supporting what the other person wants. Like all relationships, it was complicated.”

Like life itself, really. This is why he can identify with both sides. He understands Nicole’s pain about the deference of her dreams as well as Matt’s desire to escape through travel — especially now, when Affleck himself has been completely grounded. Since the age of 17 he’s taken 20 cross-country road trips. His love of driving is secondary only to his enthusiasm for trains: Amtrak is his jam. He even fantasizes about owning his own train car one day.

Immersing himself in each location — whether it’s the sleepy Alabama town of Fairhope or the more exotic locale of Romania, which served as a stand-in for the East Coast of the U.S. in The World to Come — is actually one of the most desirable parts of the acting life, he says. “One of the things I love about working as an actor is that you go to some brand-new place and the community invites you in in a way that they don’t usually if you’re a tourist,” he confides. “You get to see what it’s like to really be there and imagine yourself living there.”

And he has — over the past ten years he’s spent so much time in cities including his hometown of Boston; Vancouver, British Columbia, the location of Light of My Life; Atlanta, where he shot the 2016 action flick Triple 9; Argentina, where he made Gerry; Dallas, for A Ghost Story; Calgary, Alberta, where much of the epic western The Assassination of Jesse James by the Coward Robert Ford was filmed; Our Friend’s Fairhope set; Cincinnati, for The Old Man and the Gun; and Braddock, Pa., where he filmed the 2013 drama Out of the Furnace. “I have loved moving in and settling down and living a character’s life and then moving on. But I feel most at home in places that are struggling to get by. It reminds me of the neighborhood I grew up in. I feel lighter in those places, more relaxed. I feel like myself. I fit in.”

For him, the where is almost as important as the who — immersing himself in the place is imperative to understanding his character. This is part of what makes him such an accomplished actor — he and most of the parts he plays merge. I draw a crappy analogy about how the characters are like a coat, which he very obligingly works with. “You have to build the coat from all of the scraps and pieces of yourself; all these characters are made up of little pieces of me,” he says, noting, “Obviously, sometimes they can’t be. Sometimes I have no connection whatsoever, and those are the jobs I look back on and I either feel nothing for, or worse. But sometimes you have to take the job that is available, like most people in the world. You know? I don’t think my dad wanted to be a janitor. But he did it.”

He’s won an Oscar, a BAFTA, a Critics’ Choice Award, a Golden Globe and an Independent Spirit Award, among others, and appeared in films that run the gamut from box-office juggernauts like the Ocean’s 11 franchise and Tower Heist to indie darlings like brother Ben’s directorial debut Gone Baby Gone and Manchester by the Sea. He has even written and directed, most recently 2019’s Light of My Life, a bizarrely prescient movie about raising children in a pandemic. At this point in his career, he should have his pick of parts. “Not really,” he says. “There are a lot of people out there who have done good work, who are driven, and who have something to share. I have never been someone studios embraced as a ‘movie star,’ never knighted. I have always had to fight for the parts I have gotten. And you know what? That’s fine. Let me fight. It’s how I cut my teeth, and it is how I will keep them sharp. You can’t ask for more than a chance to be in the ring. Also, movies and TV aren’t all I care about. Sometimes I think, ‘Well, jeez, I have to work, and there are two jobs available to me, and the one that isn’t as good is the one that is close to home and I can see the kids, so I guess I am doing that.’ I love movies and really try hard to make them good. I really bust my ass every day when I get the chance to make one. I care more about my family than any movie. It’s not [always] the job I love, but this is the reality of my life. But maybe life will be long enough for a few more chapters.

The forward momentum of his future is an interesting topic. At the moment, he isn’t so much planning for the future as he is exploring it, because Affleck is not someone who likes to live with regret.

“I guess [at the end of the day], regret should be reframed as a reminder to be different,” he observes. And so, with this in mind, he embarked on a personal journey several years ago and decided to go back to college (at the Simon Fraser University in British Columbia). He had completed two years at Columbia University, but he never graduated — his film career kept getting in the way.

“I went back to school because I hadn’t finished, and I wanted to think about new things in a way that school can help you do,” he says. “I couldn’t go in person, so I found a strong online school and got started. You know, I’m 45, and I just thought, ’This is halftime. This is where you hit the locker room and think about how you want the rest of the game to go.’ You know what I mean? Like, ‘Okay, we went out, we played our best, we didn’t know what the other team was going to be like, we made some mistakes, we are in the game, so let’s adjust like this.’ Also, I’m not sure I want to be an actor forever. I had made a small pivot from acting into directing, and into producing more. And I like to direct movies. The most satisfying creative experience I’ve had in a long time was being a director. But ultimately it wasn’t quite enough. So I wanted to go study some of the things I was interested in. I wanted to do more with my life.”

Although he needed general credits to graduate, he found an unexpected passion for juvenile justice along the way, with a particular focus on alternative accountability programs. “I don’t know where this will lead me, or why I am so interested in it, but finding and implementing better systems for addressing harm and conflict among kids, adults too, but mostly young people, is something I care about. And the work that I have done so far has been fascinating and deeply rewarding.”

When I ask if this stems from his own experiences as a troubled kid growing up in Cambridge, Mass., with Christine, a single mom — his parents divorced when he was 9; his father, Timothy, an alcoholic tradesman, checked into a rehab facility in Indio, Calif., when Affleck was just 14 — he muses thoughtfully, “I love my parents and think they both did the very best they could and cared a lot. Period. Did I get into some trouble as a teenager? I got into some trouble when I was a kid, and I struggled a lot through high school with depression and substances, yes. Much of it I didn’t even know wasn’t normal. I don’t know if I was ‘troubled.’ Either way, as an adult, I’ve come to see that, regardless of how I compare to anyone else, I want less conflict in my life. That might be part of the reason why I’ve been so interested in learning about better ways of resolving conflicts, both with children and with grown-ups. It isn’t something they teach in school for some reason. Man, there is a lot they don’t teach you in school, huh? A lot you’ve got to learn on your own.”

And on this journey, mistakes will be made. That’s par for the course, and Affleck is no exception. “I have made so many mistakes, but life is the time for mistakes. I do believe people should hold themselves accountable and repair harm they have caused. That is important to me, and I try hard to do that whenever it is called for: apologize for mistakes and repair them,” he admits.

This is when our conversation, as such conversations are wont to do, comes full circle. Before we say goodbye, Affleck remarks, “You know, I heard Bono talking on Howard Stern’s show, and he said something about Frank Sinatra that was interesting. He said that he heard two versions of Frank singing ‘My Way.’ One version was recorded when Frank was young, and the other version was recorded when Frank was old. Each had the exact same words, same arrangement, same everything. But when Frank was young the line ‘I did it my way’ sounded proud, and when Frank was old it sounded humble. Whatever else time does to a person, I think it also does that.”

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