#some of the most iconic lines from the book sharp objects by Gillian Flynn

[missolitude]

hi! so it seems that i’m highkey stanning patricia clarkson and i was wondering if you had any movie/show recommendations with her in them? (i’ve only seen lars & the real girl, sharp objects, and easy a oop)

Heyia! I happen to be a highkey Patricia stan too and I’m always happy to talk about her so you’ve come to the right woman 😁😘

These are some of my faves, Sharp Objects in particular! If you enjoyed her character and are curious to know more about her I absolutely recommend reading the book by Gillian Flynn as well. I feel like the show adaptation made some unnecessary changes and left some really relevant parts out, presumably because they wouldn’t translate well on screen. There is a lot more to Adora and her background than the show reveals.

As for recommendations (descriptions all spoiler free of course):

Cairo Time: A beautiful, enchanting (and nonetheless unconventional) romance that pulls at the heartstrings. Patricia’s charismatic aura and her character carry the movie every step of the way. Her performance is captivating and tantalizing and it will forever stay with me.

Learning to Drive: A movie about love and friendship, and how two people that, at first glance, have nothing in common but end up enriching each other’s lives in the most unpredictable of ways. It is very moving and touching, a totally rare gem and again, unconventional.

Elegy: The main story might interest you or not, but I’ve enjoyed this movie long before I’ve stanned Patricia because it has such a beautiful love story at its center. Patricia only has a couple of small but meaningful appearances in it but her role is extremely saucy and unconventionally sexual and she has some very hot scenes in it.

Out of Blue: The most recent of her films. It might be your cup of tea, might not. Patricia plays a detective that must solve a murder case. This is compelling for a number of reasons: Her character is queer coded, she has one sapphic scene in it, and she almost gives me soft butch vibes in this. Apart from this, Patricia carries the entire movie completely alone, personally I couldn’t take my eyes off of her. The movie is very mysterious and slowly unfolds and always keeps you guessing. If you found any of this interesting please give it a watch.

Jonathan: A sci fi movie with a really cool concept and a brilliant execution. A boy called Jonathan goes to bed every night. Every morning he wakes up and there is a breakfast prepared for him along with a video telling him about the second part of his day. Does that sound intriguing to you? Please check it out, it’s as interesting as it sounds. Patricia has some minor but meaningful appearances and they get more and more frequent as the movie unfolds.

Delirium: It was the movie that originally made me research about her. It’s a very well executed horror thriller but not the overly scary variety. It’s very psychological and character driven and there are a couple of really cool twists. Honestly check out that movie it’s so underrated. Patricia’s role is extremely badass and she only has a couple of minor appearances but they were oh so worth it.

The Party: Basically it’s a movie that more or less resembles a theatre piece, a couple of people, who all have their own problems, come together one evening and drama unfolds. Patricia looks like a Hollywood Goddess all the way through it and has the most sardonic and witty lines. And there’s an age gap lesbian relationship with Cherry Jones and Emily Mortimer, just to mention that as well. Not overly brilliant but it happened.

House of Cards: Now this is a problematic show that will leave you broken hearted at the end, because they did Patricia’s character so dirty and in the last season the writing is abhorrent. But I truly enjoyed it up to that point! If you just wanna watch it for Patricia’s scenes it is worth it. (Her first appearance is S5 Ep8) If you are a completionist like me you can watch the show from the beginning for more context because the writing is complex, but you don’t have to. Jane Davis is one of the most intriguing, multi-faceted roles she has ever played and there is a lot of sapphic tension going on. It often left me baffled to the point where I needed to rewind just because I couldn’t believe that these things actually happened. So it is more than worth it, just brace yourself for a broken heart.

These are the main recommendations that I would give to anyone who wants to watch the crème de la crème of her filmography.

Memorable mentions: Shutter Island, because the movie is brilliant but her tiny appearance is barely worth the mention. The Green Mile: again, a classic but don’t watch it just for Patricia. Her appearances are very memorable and emotional and she’s exceptional but they are short. The Station Agent: She is adorable in it and she has the lead! Really a classic and a fave of mine. October Gale: A really cool movie and she was badass in it, she also said in an interview that she worked out for that one and it shows! Last Weekend: Loved her performance more than the movie itself but her character is dear to my heart. Parcs and Recreation: She has two tiny but memorable and hilarious appearances, extremely lighthearted and funny. It’s Getting Late: It’s just a short movie and it’s basically just eye candy but she looks ICONIC in it and she also has a couple of scenes were she looks at a lady in the not so straight way. High Art: Patricia plays a German lesbian heroin addict, and she has some saucy sapphic make out sessions. It was the movie that eventually led to her career break through because the role was so unlike anything she had ever played before. She often mentions this role to this day and I think it’s worth knowing and watching.

There ya go! I hope this was some help to you and that you’ll enjoy the movies 😁💞💞

#missolitude replies #patricia clarkson #dobbypussssyindulgence

[mrmichaelchadler]

Thumbnails 8/28/18

Thumbnails is a roundup of brief excerpts to introduce you to articles from other websites that we found interesting and exciting. We provide links to the original sources for you to read in their entirety.—Chaz Ebert

1. 

"Miranda Harcourt on 'The Changeover' and Whānau Values in New Zealand": At Indie Outlook, I interview the acclaimed actress and acting coach about her terrific new feature that she directed with her husband, Stuart McKenzie. We also discuss her ingenious coaching techniques, clients such as Melanie Lynskey and Nicole Kidman, and her daughter, "Leave No Trace" star Thomasin Harcourt McKenzie.

“I was coaching a few actors via Skype for the role that Thomasin ended up playing in ‘Consent,’ and she was reading a book while listening to our session. After I hung up, Thomasin said in her little voice, ‘I’d like to audition for that role,’ and I went, ‘What? But you hate acting.’ She replied, ‘No, it sounds like a really great story to tell,’ so we did a little read-through of the script right here, exactly where I am sitting right now. I was like, ‘Oh my god, you are amazing.’ It was a great performance, and when she went in for the audition, she got the role. The film was directed by Robert Sarkies, who also made another great New Zealand movie, ‘Out of the Blue.’ Even now, I don’t think Thomasin has seen all of ‘Consent,’ because she wasn’t even allowed to see the bits that she was in. She’s only in the first 17 minutes, but it’s a very intense journey. It took a lot of courage for her to portray a girl who is raped. Francis Biggs, one of my students I taught at Toi Whakaari: New Zealand Drama School, portrayed the rapist with whom Thomasin had to play that scene in ‘Consent.’ We’re both really grateful to Francis because he and Thomasin did ‘hug to connect’ before they played that scene. It enabled Francis and Thomasin to play quite an intense rape scene together so that they are in the flow of telling that story together. They weren’t in opposition, which would’ve been very psychologically damaging, not only to Thomasin, who was 13 at the time, but also to poor old Francis, because it was not a happy job for him. I’ve got a collection of great photographs chronicling the interactions that Thomasin and Francis had in order to build that relationship over a couple of weeks while preparing for the scene. Over the couple of weeks after they did that scene, Thomasin would consistently check in with him and say, ‘Hey Francis! I’m really proud of the work we did together, and I hope you feel good about it too. Just remember—it’s only acting!’”

2. 

"Call it a Comeback: The Inside Story of Elvis Presley's Iconic 1968 Special": As remembered by our contributor Donald Liebenson at Vanity Fair.

“Elvis looms large in the singer’s legend. The live-wire special is featured prominently in two 2018 documentaries, Eugene Jarecki’s ‘The King’ (now in theaters) and Thom Zimny’s ‘The Searcher’ (on HBO). It capped a decade in which Elvis could mostly be seen only in the movies, and, increasingly, not very good movies at that. Taped in June and broadcast on December 3, 1968, it was his first television appearance since 1960, when he guest-starred on ‘Frank Sinatra’s Welcome Home Party for Elvis.’ At the time, he hadn’t performed in front of a live audience in seven years. But Presley and Binder’s creative team delivered. [Steve] Binder, a self-professed ‘West Coast guy into surf music,’ finished the special feeling in awe of Presley. ‘For me, the ‘68 special is seeing a man re-discover himself,’ Binder said. ‘I saw it on his face and in his body language as we progressed.’ Susan Doll, author of Elvis for Dummies, agreed. ‘I think it’s the peak of his career,’ she said. Col. Tom Parker, Presley’s infamously controlling manager, had promised NBC a one-hour special if the network financed Presley’s next film—‘Change of Habit,’ Presley’s screen swan song, released in 1969. He never told Presley about the deal, with good reason: ‘Elvis didn’t want to do television,’ Binder said. ‘He felt he had been burned by it.’ Even Steve Allen, the talk-show host hip enough to give Lenny Bruce a shot on prime time, forced cheese on Presley, putting him in a tuxedo to sing ‘Hound Dog’ to an actual hound dog.”

3.

"'It Was No Gang, It Was One Guy, And He Wasn't Really a Killer': Producer and Star Edward James Olmos on 'The Ballad of Gregorio Cortez": In conversation with Jim Hemphill of Filmmaker Magazine.

“When Bob [Young] agreed to do the picture and rewrite the screenplay from scratch, he and I went to the real locations where it all happened. We went to Gonzales, Texas, where they captured and imprisoned Gregorio Cortez, and we found the exact prison. We found his cell. The jail and the courthouse were exactly how they were in 1901, it gave us an authenticity unlike anything I had ever experienced before in film. We had to talk the district court judge in Gonzales into letting us use the courthouse, and when he asked us what kind of movie we were doing, Bob kept speaking in general terms of how important our subject was to Mexican-American people and to the Latino culture, but he wouldn’t say the name because at that time no one knew who Gregorio Cortez was. The judge kept asking, ‘What’s his name?’ and finally Bob says, ‘His name is Gregorio Cortez, but he’s a really important—‘ and this guy says, ‘Stop, stop. I’ve been waiting for you guys for 35 years.’ He opens his filing cabinets, and in these cabinets is every single piece of testimony and every single newspaper article from around the country related to the trial. This judge was the foremost authority on the case in the world, bar none. He felt it was one of the most important cases in U.S. history because it was the first time a Latino had been tried in an American court of law, and with an interpreter, which was unheard of in 1901. This guy had filing cabinets filled with material, because the case was followed all over the country – it involved something like 600 Texas Rangers in hot pursuit of what they thought was a Mexican gang of killers. And it was no gang, it was one guy, and he wasn’t really a killer – it was self-defense. Anyway, discovering all that material was just unbelievable. It was magical. And it allowed us to make what the United States Historical Society claimed to be the most authentic Western ever made in American film, ever.”

4. 

"John McCain, War Hero, Senator, Presidential Contender, Dies at 81": Robert D. McFadden of The New York Times reflects on the honorable legacy of the late politician.

“In a 2018 memoir, ‘The Restless Wave: Good Times, Just Causes, Great Fights and Other Appreciations,’ he defended Ms. Palin’s campaign performance, but expressed regret that he had not instead chosen Senator Joseph I. Lieberman, a Democrat-turned-independent. At some McCain rallies, vitriolic crowds disparaged black people and Muslims, and when a woman said she did not trust Mr. Obama because ‘he’s an Arab,’ Mr. McCain, in one of the most lauded moments of his campaign, replied: ‘No, ma’am. He’s a decent family man, a citizen that I just happen to have disagreements with on fundamental issues.’ Analysts later said that Mr. Obama had engineered a nearly perfect campaign. And Mr. McCain confronted a hostile political environment for Republicans, who were dragged down by President George W. Bush’s dismal approval ratings amid the economic crisis and an unpopular war in Iraq. On Election Day, Mr. McCain lost most of the battleground states and some that were traditionally Republican. Mr. Obama won with 53 percent of the popular vote to Mr. McCain’s 46 percent, and 365 Electoral College votes to Mr. McCain’s 173. ‘Few of us have been tested the way John once was, or required to show the kind of courage that he did,’ Mr. Obama said Saturday. ‘But all of us can aspire to the courage to put the greater good above our own. At John’s best, he showed us what that means.’”

5. 

"Inside Patricia Clarkson's brutal 'Sharp Objects' performance: 'It's dark and nasty and twisted and beautiful'": The actress chats with The Washington Post's Jessica M. Goldstein about her role in HBO's excellent miniseries. 

“In Wind Gap, poison is poured down the throats of unsuspecting children. Baby teeth are pried from little girls’ gums, and skin is sliced until it scars. Yet the most transgressive act of violence in town is the low, almost-whispered delivery of four small words. Over a drink, by candlelight, a mother tells her daughter: ‘I never loved you.’ There’s no shortage of cruelty in ‘Sharp Objects,’ the eight-part HBO miniseries based on Gillian Flynn’s 2006 debut novel, whose women pass trauma from generation to generation like a haunted heirloom. But no one cuts quite like Adora, played by Patricia Clarkson. She’s a matriarch [...] who coolly tells her wayward eldest daughter, Camille (Amy Adams), that she feels nothing for her, save for disappointment and disgust. Clarkson, the 58-year-old New Orleanian actress who sees glimmers of her own grandmother in the best parts of Adora, knows these scenes appear brutal. ‘But I think why they have the impact they do is that I don’t think Adora ever thinks of them as brutal,’ she said by phone from her apartment in New York. ‘I think that was what was essential. When I tell her I never loved her, I think it’s just Adora feeling connected to her for a moment to be as honest as she can be. … Sometimes she was just openly cruel. But other times, I think, when she speaks, she’s actually revealing the truth.’ ‘This is the most violent line in the series,’ said director Jean-Marc Vallée. ‘It’s not something you say to your child. … You just destroyed her! And she’s not realizing that. Or maybe she does, and she’s that cruel, that evil. But we’re not sure. And that’s what’s great about the character: that you try to understand, and you’re not sure.’”

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Robert Redford and Jane Fonda starred in "Barefoot in the Park," the 1967 screen adaptation of the 1963 play, one of four works by the late Neil Simon selected by Vox's Aja Romano to illustrate why he was one of America's greatest playwrights.

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Stella McCartney's profile of David Lynch is a stirring ode to the role intuition plays in one's creative process. Look for cameos by "Moonlight"'s Ashton Sanders and "American Honey"'s Sasha Lane.

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