Sprinkled throughout history, the worst offenses can be seen with Al Pacino’s supporting actor nominated turn for 1972’s “The Godfather” (which resulted in the actor boycotting the ceremony) or Tatum O’Neal winning supporting actress for 1973’s “Paper Moon,” despite being in just about every scene. There’s been a growing disdain for actors, widely thought of as leading performers, being campaigned for supporting recognition, more widely known as “category fraud.” In best actress history, only five movies have managed to receive double noms in that category – “All About Eve” (1950) with Anne Baxter and Bette Davis, “Suddenly, Last Summer” (1959) with Katharine Hepburn and Elizabeth Taylor, “The Turning Point” (1977) with Anne Bancroft and Shirley MacLaine, “Terms of Endearment” (1983) with MacLaine (who won) and Debra Winger and “Thelma & Louise” (1991) with Geena Davis and Susan Sarandon. So, here’s the thing… how do you campaign such equally talented and charged female roles for Oscar attention? It’s her delivery of a bracing line, “This is what grown-ups do,” towards the end of “May December” that bring all the film’s themes back into focus. But her Hollywood chic barely covers up a certain voyeuristic ruthlessness. At first, Portman’s Elizabeth is ingratiating and unfailingly polite. But tell you what: Any time a poodle or small dog walks by? Carrot loses his mind.The same goes for Portman, who’s picked up three career noms for “Closer” (2004), “Jackie” (2016) and her best actress winning “Black Swan” (2010). He’s always engaged with me and looking directly at me. There was a dog named Carrot, and I wrote, “Carrot is so in tune with who he is. I wrote about them as if they were my everyday friends. There was no character limit, so I wrote pages about these dogs. My favorite part about walking dogs was the reviews I would give on the experience I had. Is it true you were a dog walker for the app Wag before you made it? That is very true. Anything you won’t miss? Having to be shirtless and camera-ready is something I’m excited to let go. “Riverdale” is about to end after seven seasons. Like, “What character am I going to be here?” In a way, it felt like hitting a refresh button. Also, always having to assimilate and adapt from one place to the next. That helped inform this curiosity in me to be a part of storytelling. What made you chase acting as a career? Being an Army brat, my father and I used to go to the movies every Friday. My dad was really good at letting go - at trusting that this new chapter would work out for the best. My mother is Korean, and I’m first generation on my mother’s side. How did you prepare? I asked my parents what it was like when I left the house, what kind of conversations they had in their own relationship. Your character is father to almost-adult children. They’ve been in an unconventional relationship for a very long time, and the arrival of Natalie’s character serves as a catalyst for certain awakenings. We really get a lens into our characters Joe and Gracie. What’s the relationship dynamic between you and Julianne in this film? It’s this complex, compounded, voyeuristic experience of the human condition.
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