lauren_e_siegel This Saturday! Join me and so many #Others for an all day reading of #Freud civilization and it's discontents. Judson memorial church, 2-7:30pm. #emmastone is #down!
You can order your Kindle copy here viaRT @tracyhmartin inspiring anthology of essays by teens about cancer. Forward by Emma Stone. Edited by @TonyaHurley http://t.co/LqnQObzpnT
— Gilda's Club NYC (@GildasClubNYC) December 18, 2014
Cabaret is heading off Broadway: The stage musical will launch a tour beginning in January 2016 that will include stops in more than 20 North American cities.
Alan Cumming—who won a Tony for his role in 1998—and Emma Stone currently star in the show, which first hit Broadway in 1966 and returned for its Broadway revival earlier this year.
The show, which features music and lyrics by John Kander and Fred Ebb, tells the story of a teenage cabaret performer at the Kit Kat Klub. Stone will be playing the lead of Sally Bowles until Feb. 1, 2015.
Chemistry is one of the most essential but hard-to-describe parts of the filmmaking process. Actors need to get in tune with their costars, just as directors need to find the right way to communicate with their actors. You can’t really force it. It just happens or it doesn’t.
Good chemistry broke out in a big way at this year’s Envelope Roundtable of supporting actresses. Participants Laura Dern (“Wild”) and Patricia Arquette (“Boyhood”) have moved in similar circles for years, while Tilda Swinton (“Snowpiercer”) and Emma Stone (“Birdman”) met — and bonded — for the first time.
EXCLUSIVE: It’s impossible to ignore Emma Stone’s eyes. At least until she begins speaking, but we’ll get to that. First, not to be reductive, but jeepers, creepers. Even, or especially, on a crummy December day, in office lighting at the taste-free conference room where we’ve met, them there eyes make me wonder: Are these the uncredited models for Tim Burton’s Big Eyes? No, those Keane urchins are all pupil, while Stone is all iris, heather blue leaning toward green.
Obviously, the camera loves them: Check out any scene in Birdman, where she plays Sam, the seen-it-all-including-rehab daughter of Michael Keaton, a washed-up movie star desperate to make a comeback in a serious Broadway play. Those eyes play altogether different roles in Sam’s scenes with Keaton, on the one hand, and Edward Norton’s strutting cock-o’-the-walk actor, on the other: In the former, they betray a grown child’s molten mix of anger, regret and revulsion. In the latter, they signal the world-weary flirtatiousness of woman who’s availability is tempered by the fact that she’s heard every line and doesn’t suffer fools or bullshit artists. Well, maybe bullshit artists.