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“Sydney/Edith” drives the action and fully personifies the theme of the movie: how everyone plays roles—at home and at work—to survive. Adams admits she had a rough time and almost went into “panic mode” during rehearsals for the scene in where her character witnesses Sister Aloysius (Meryl Streep) confronting Father Flynn (Hoffman).Russell lavishes praise on Adams, calling her both “soulful” and “wildly sexy.” The admiration shows up on-screen as well. When asked about Adams’s anxiety, Hoffman answers, “What she’s admitting to is her humility.“I get excited for people when I know I should be competitive. I want to The idea is raised that it might help Adams’s career if she started a feud with another actor. “I can’t imagine starting a feud—that’s the funniest thing! His list of influences includes Yves Tanguy, Magritte, Bill Plympton, and Ralph Steadman’s pen-and-ink work.I’d say in an audition, ‘I don’t think I’m right for this, but you know who you should get? Because she is really wonderful.”Throughout the interview, the praise flows freely for colleagues she has worked with … Christian Bale: “I’m completely in love with him.”Jessica Chastain: “One of the most amazing actresses.”Mark Wahlberg: “He’s fun. ‘Wicked smaht.’ ”Laura Linney: *“*I just love her so much.”Joaquin Phoenix: “I think he’s one of the most genuine and honest people.”Jessie Mueller: “A startling talent.”Jennifer Lawrence: “She’s such a powerhouse. Adams and Le Gallo’s partnership makes both their artistic lives possible.Instead, she fleshes them out from the inside, using a technique she began studying at Warner Loughlin Studios in 1998.

Adams recalls how she once took a business trip while Le Gallo stayed home with Aviana, prompting surprise. “I know he’s completely capable and lovely, and beautiful, and offers something I could never hope to offer just in the nature of his being,” she explains to a world that should not require an explanation.Adams does the hard work and, increasingly, is invited to be part of the character-development process early on.“David was thinking it would be nice for me to get to hang with the boys, to get to be a real player,” says Adams.Two summers ago, Adams went full theater nerd in the Public Theater’s Central Park production of Stephen Sondheim’s As the Baker’s Wife, she heads off to gather items for a spell to make herself pregnant and ends up having a quickie with a prince. Adams seems to embrace a similar philosophy in her career, choosing a variety of roles—some “less,” some “more,” some “plain,” some “grand.” She’s been a nun “It’s why you’re able to be surprised by her and taken in by her. Because I’m not tan, so that was fun to play with.”As the title suggests, Adams’s character is in constant motion, and her slinky wardrobe—all plunging necklines, no bra—required two things: confidence and “sort of a laissez-faire attitude about what your breasts are doing.” In Adams remains mostly stationary, so there’s no need to give her breasts a second thought—they are buried deep inside a pastel-peach sweater over a white shirt buttoned to the top.Before leaving the woods, she takes a moment to reflect on the joys of surprise Either plain or grand? She becomes the part she’s playing.”Even within her range, she shows range. I like my men like Adams cultivated a “hungry and tan” look, losing weight to attain a 70s-era svelteness that she shows off while dancing in a white swimsuit. As for Adams’s hair, Russell wanted long, loose curls and the natural color darkened.

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