Check Out This Year’s Best Actress Roundtable with Amy Adams, Naomi Watts, and More

Don’t get me wrong, I love Naomi Watts and Rachel Weisz just as much as any once-aspiring actress and film fanatic—but would it be too much to ask to see some new faces around here? Last week we talked about the top screenplay contender roundtable with Michael Haneke and John Krasinski, and now, thanks to The Hollywood Reporter, we have the full interview from the women who look to be this year’s contenders for best actress and best supporting actress. The conversation consisted of such acclaimed ladies as: Anne Hathaway for the upcoming Les Miserables, Amy Adams for her role in The Master, Lincoln’s Sally Field, Rachel Weisz for The Deep Blue Sea, Helen Hunt for The Sessions, and Marion Cotillard for Rust & Bone

But does it kind of feel like something is missing? There’s no doubt that these women are dynamic, talented individuals who have delivered some of the year’s best performances but how about a little diversity in age, race, level of celebrity, something? The point of these things is to create an interesting discussion, putting those who we wouldn’t normally ever see together in one setting, allowing for an interesting dialogue to occur. If it were me, I would have included Jennifer Lawrence, who definitely gave her best performance to date in Silver Linings Playbook. How about Kerry Washington, who is about to be in one of the biggest films of the year, Tarantino’s Django Unchained? Or what about Helen Mirren for Hitchcock (or for just being Helen Mirren?) What about Naomie Harris who starred in one of the best-selling Bond movies ever? Even Emmanuelle Riva for Haneke’s Amour!  Oh well, just food for thought.



Oscar Buzz Watch: Helen Hunt Is Definitely Getting Another Oscar Nomination

Okay, here’s how it’s going to go: you’re going to start hearing a lot of craaaazy talk in the upcoming weeks about Academy Award-winner Helen Hunt. About how she’s in a movie again, and that she’s actually really good, and that she’s on her way to a second career nomination. And your first instinct is going to be to not believe it. Not Helen Hunt! She’s history’s greatest monster! She won the 1997 Best Actress award for As Good As It Gets for being a prickly but warm-hearted waitress who had the good fortune to be the object of Jack Nicholson’s OCD affections. She beat such actresses as Judi Dench, Kate Winslet, Helena Bonham-Carter (back when she was a respectable star of English dramas and not an eccentric thatch of brambles), and Julie Christie.

At the time, it was not all that controversial a victory. As Good As It Gets was a crowd-pleaser and Hunt held her own with Nicholson (who also won the Oscar). She was also critically acclaimed for her TV work on Mad About You, and believe it or not, she had been considered overdue for an Emmy by the time she won in 1996. Of course, that was the first of four consecutive Emmys, and combined with four Golden Globes and that Oscar, it’s not all that surprising that the worm turned on her popularity. That Oscar win was looking more and more suspect. What did she even do in that movie besides sass at Jack and care for her sick kid? And what about the homerism of the one American in that category besting four Brits? Typical, right?

By the time 2000 rolled around and Hunt struck out on four high-profile releases in the final three months of the year, she had become something of a punch line among Serious Movie People and her Oscar win an object of scorn. That 2000 quartet is an interesting case study. Hunt ended up starring in two of the top five box-office hits of the year! How did it end up killing her career?? Well, her character in Cast Away wasn’t likeable, and it’s not like you could pin the success of that movie on anyone but Tom Hanks. Her chemistry with Mel Gibson was nonexistent in What Women Want, and back then, nobody could chalk that up to Gibson being a misogynist psychopath. Dr. T and the Women was a forgettable Robert Altman effort, though hardly worth sinking a career. But Pay It Forward… wow. Pay It Forward was such a complete flop commercially and critically that it sucked Hunt’s entire narrative down the toilet. The rest of the aughts saw her in only four more movies, five if you count the HBO adaptation of Empire Falls. As career nose-dives go, it was pretty dramatic, and it was proof positive for Hunt’s many detractors that she could neither act nor pick a good role.

Starting this weekend, Helen Hunt is back in theaters with The Sessions, Ben Lewin’s new movie about a polio-stricken John Hawkes who hires a "sex surrogate" (Hunt) to help him lose his virginity. It was a big ol’ hit at Sundance, and Hunt in particular got rave reviews. The positive critical notices continued at the Toronto and London film festivals, and what do you know? That old friend Oscar Buzz is back. This sounds, frankly, insane. Helen Hunt, who starred in the worst movie Woody Allen ever made (Curse of the Jade Scorpion), who cast herself in her directorial debut as Bette Midler’s daughter (the widely ignored Then She Found Me, though it should be noted that Rex Reed loved it!), is now Oscar-worthy, and possibly on a track to win her second Oscar?

As we learned with Ben Affleck last time, though, arc is everything in the Oscar race, and Helen Hunt’s comeback story gets better the more unlikely it seems. The prodigal daughter returns. And in The Sessions, she’s got a lot working for her chances at a nomination. She plays a good woman whose role in the film is to help a man achieve greatness, as reliable an Oscar niche as there is. That the "greatness" she helps Hawkes achieve has to do with having sex with a beautiful woman doesn’t hurt. She’s also, as of right now, due to be campaigned in the Supporting Actress category, despite the kind of screen time and story prominence that would support a Lead Actress claim. Ask Jennifer Connelly how that strategy worked out. (OMG, Jennifer Connelly! If Helen Hunt gets to shake off the dust of a terrible post-Oscar decade, won’t that give Jennifer so much hope that she might do the same??)

Here’s another Oscar tendency that works in Hunt’s favor: the Academy tends to hand out backup nominations every now and then, as if to prove that certain questionable award choices were justified. Remember all that grumbling about Marisa Tomei winning for My Cousin Vinny (grumbling that is TOTAL bullshit, by the way; Marisa was amazing in that movie)? Follow-up nominations for In the Bedroom and The Wrestler put that win in a different context. Charlize Theron’s win for Monster gets called a fluke? Follow-up nom for North Country. Hilary Swank and Sally Field managed to win on their follow-up nominations, so don’t think that can’t happen.

By the way, while we’re on the subject of The Sessions, John Hawkes’s chances for a second career nomination aren’t looking too shabby either. If you think the sex surrogate for a polio-stricken man in an iron lung trying to make it through like with dignity and wry humor is a winner of a role, try playing the guy with polio. It might be condescending, it might be tunnel-visioned, it might be cheap, but Oscar voters tend to leap at performances of disabilities.

I’m just saying you might want to be prepared. Try and remember how Helen Hunt looked on red carpets, because she’s coming back. (Does she still pretend to date Hank Azaria? That could be fun!)

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The Return of Helen Hunt

Hers was not the post-Best Actress pathway of comic book movies or prestige bids; she followed up her Oscar performance in As Good As It Gets with, um, Pay It Forward? But more than a decade later, Helen Hunt has somehow managed to top herself.

In Then She Found Me, which Hunt produced, co-wrote, and directed, she stars as middle-aged schoolteacher April Epner, just married to man-child Ben (Matthew Broderick) and desperately seeking spawn. When Ben quickly deems the hasty nuptials to be a “mistake,” April returns to the drawing board. When her adopted mother suddenly dies, only to be replaced by a feisty talk-show host claiming to be bio-mom (a glammy Bette Midler), April’s life is suddenly in upheaval.

Enter schlubby-yet-somehow-dashing Frank, a single dad (played by Colin Firth) who happens to possess the required British accent for hastily sweeping April off her feet. What transpires is an astonishingly assured debut for Hunt, whose previous directing experience consists of four “Mad About You” episodes. The film is funny, but not in a Harold & Kumar way, and weaves mature stories into a fabric of universal truths. From the top-down stellar cast, Hunt the actress proves to be Hunt the director’s greatest asset, in a performance that possibly tops The Performance.

But Hunt the director only emerged once a worthy story fell into her hands. “I always knew that if I fell in love with a story so much and that I had to be the one to tell it, then I would direct it,” says Hunt. Then She Found Me was a novel written in 1990 by Elinor Lipman, and when Hunt’s producing partner read it (in one night), she thought it a perfect vehicle for her friend. After years of “twists and turns”—and wriggling the rights from the clutches of a stubborn Sigourney Weaver—Hunt finally found herself in front of a blank page, with a movie to write. In the end, she admits to “ravaging” the original novel (Lipman is very supportive of the film), her sole goal to make a funny movie about a painful subject—betrayal.

Apparently she succeeded, attracting her famous costars on the script’s strength alone. “The best movies I know, and the best directors I know, talk about the movie underneath the movie, the secret movie that you are telling.” And when Hunt discovered this secret, she let everyone in on it. “You can only love when you’ve made peace with betrayal” was her mantra in creating this film and its characters, and she made sure everyone—from the cast, to the art department—knew it. But can Helen Hunt the director ever go back to just being Helen Hunt the actress? “If someone wonderful wanted to come along and invite me to sit in my trailer and play with my daughter for an hour, and then step out and act for half an hour, and be brought a sandwich—I mean, I can barely remember what that’s like.”