Emily Jean Stone was born on Nov. 6, 1988 in Scottsdale, AZ. At age 11, she joined a local children’s theater where she performed in numerous plays and was part of an improv troop – an experience that sparked Stone’s interest in becoming a comedic actress. When she was 14, the then-budding comic ingeniously made a PowerPoint presentation titled “Project Hollywood 2004” set to the Madonna song “Hollywood” (2003) to convince her parents to allow her to move to Los Angeles.
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Emma Stone and Dave McCary have postponed their wedding due to the coronavirus pandemic, Page Six has learned.
The Oscar-winning actress, 31, and McCary, 34, were set to tie the knot in Los Angeles this past weekend, but are holding off for now. As Page Six previously reported, the couple didn’t reveal the location of the planned nuptials on their wedding invitation.
We’re told they haven’t set a new date.
The pair announced their engagement in December after two years of dating. Stone first met McCary, a former segment director on “Saturday Night Live,” when she hosted the show in 2016. They were first romantically linked in October 2017.
The Favourite director Yorgos Lanthimos has started shooting in Greece on a new short that will star Emma Stone and Damien Bonnard. Plot details are under wraps. The project will combine visual arts and classical music and will be screened as part of an installation, accompanied by live orchestral ensembles, on May 22, 23 and 27, 2020, at the Stavros Niarchos Hall of the Greek National Opera at SNFCC. The film is the second commission in the series The Artist on the Composer, a collaboration between the Greek National Opera and non-profit art organization NEON. The first was made by Greek artist Nikos Navridis. They are funded by grants from the Stavros Niarchos Foundation (SNF), which is looking to enhance the Greek National Opera’s artistic outreach.
This year’s Glasgow Film Festival has unveiled its lineup, featuring nine world premieres. Films making their debuts include Scotland-based director Anthony Baxter’s new pic Flint, which chronicles the situation in Flint, Michigan, and Julian Jarrold’s biopic Sulphur & White, starring Mark Stanley as mountaineer and charity campaigner David Tait. Also screening for the first time is Roy’s World: Barry Gifford’s Chicago, which brings to life beat poet and screenwriter Barry Gifford’s autobiographical story collection with archive footage, animation and narration by Willem Dafoe, Lili Taylor and Matt Dillon. This year’s festival runs February 26 to March 8 and closes on International Women’s Day; it will mark the date by having every film screened either directed or written by a woman, or starring a female lead.
We can reveal that Rusty Mutt, the post-production company led by Cary Flaum, is partnering with producer Greg Lauritano of Black Magic to expand its post work and also offer financing for independent films. Lauritano will assume the title Head of Production at the New York-based company, which will manage post services on several of the producer’s upcoming films. The outfit has started accepting submissions for post-production/equity financing deals, and it will also be looking to harness the New York State Tax Incentive. Flaum and Lauritano met when working together on Brian Petsos’s Big Gold Brick – Rusty Mutt is supervising post-production on the film. “In an age where non-formulaic films are becoming more difficult to finance, we’re aiming to create relationships with visionary filmmakers who want to break boundaries and tell thought-provoking stories that keep audiences on the tips of their toes,” said Lauritano.
Emma Stone hosted Saturday Night Live for the fourth time. In her monologue, she referenced the Five Timers Club, a milestone that’s celebrated for recurring hosts of the show. Since she was one episode short, Stone jokingly tried to get the cast to still do special things for her.
In one sketch, the actress played personified versions of raunchy posters hanging in a teenage boy’s bedroom, played by Pete Davidson.
Stone also played Jenny McCarthy in a View parody.
She also appeared in a commercial parody for a brand called Fashion Coward with plain clothing. “My story is, ‘I’m a stranger to myself,’” Stone said in the commercial when explaining how her fashion is a story.
In a digital short, the La La Land actress appeared with Melissa Villaseñor in what devolved into a rap video about hobbies. Another musical sketch featured Stone alongside most of the cast singing an ’80s-style song called “Ladies Room.”
Another digital short featured Stone as a very serious method actress playing a secondary character in a porno. She also did a purposefully bad Italian accent in an ad for cheap wine.
Emma Stone stopped by The Tonight Show Starring Jimmy Fallon on Thursday (April 11) and gushed about hosting Saturday Night Live with BTS as the musical guest!
“I just saw their sound check today,” the Oscar-winning expressed, “and I involuntarily screamed. I’m actually not kidding. It came out of my body. There’s like a chemical reaction that happens.”
“They’re incredible, they’re cool,” Emma concluded.
Emma also talked about Olivia Colman winning the Oscar for Best Actress for their film The Favourite, wrapping Zombieland: Double Tap, her love for karaoke, and explained how fans can win a chance to party at a Spice Girls concert with her and HAIM.
Emma Stone Stars as a Suburban Dog Lady, Directed by Yorgos Lanthimos in the new issue of W Magazine.
On a bright winter afternoon in Burbank, California, a woman named Phyllis was on her front lawn, trying to control five of her 15 dogs. As always, she was dressed in haute leisure wear—in this case, a voluminous floral-print caftan. Her red hair was carefully styled in a bouffant bob, and her lips painted a bright shade of orange. Suddenly, dogs of all sizes began pulling Phyllis across her manicured lawn, her many gold bangles clinking and her frock billowing, but she was never annoyed. “Oh, my babies,” she said lovingly, as she stooped to pick up a yapping pug. “I adore all my babies, even when they’re devils.” Phyllis gave the pug a kiss on his flat snout and placed him gently on the ground with his siblings. “And now, my little ones, let’s go for a walk.”
Phyllis was, in fact, Emma Stone, who approached her character for the shoot seen here with a terrific sense of commitment. The dog family had sprung to life from the imagination of Yorgos Lanthimos, the director of The Favourite, which is nominated for 10 Academy Awards, including best director. (Stone, one of the stars in the film, is nominated for best supporting actress.) “First, we considered spotlighting a woman who loved stuffed animals,” Lanthimos said as he watched Stone trying to wrangle the pack. “I discussed it with Emma. Since she loves dogs a lot, we went from stuffed animals to real, deep animal love: 15 actual dogs.”
Lanthimos smiled. He is a tall man with a bemused yet inscrutable look in his eye. He was dressed in a kind of dark blue French worker’s jacket and navy pants. Since he was taking a turn as a W photographer, he was holding a camera and his pockets were stuffed with equipment. In conversation, Lanthimos, who is 45, is warm and approachable, but not naturally forthcoming. Most directors are loquacious, eager to hold forth on their worldview, but he is shy, even cryptic. His films, beginning with Dogtooth (2009) and continuing with The Lobster (2015) and The Killing of a Sacred Deer (2017), are haunting, unsettling, and disorientingly humorous. Dogtooth, which was made in Greece, Lanthimos’s native country, set the tone: It features three adult siblings who have been isolated their whole lives and kept in a state of perpetual childhood by their parents. The grown kids believe that they can’t leave their cultlike compound until their upper canine teeth (thus Dogtooth) fall out on their own. The scene in which the eldest daughter bashes her tooth with a heavy dumbbell is a chilling statement on the need for freedom—yet, somehow, Lanthimos manages to make it hilarious too.
Similarly, The Lobster, his first English-language movie, is a dystopian comedy about a world in which people must find a romantic partner within 45 days or be transformed into an animal of their choosing. During heavy emotional scenes, a random kangaroo or goat might be hopping or ambling by in the background. Sacred Deer, Lanthimos’s coldest film, is a meditation on the banality of evil: a psychological horror story in which nearly every generous impulse results in an act of devastating violence. The Favourite is also dark, but delightful: a clever, fast-talking duel between rival factions in the court of Queen Anne, who ruled England in the early 18th century.
“When I read the script for The Favourite,” Stone said as she relinquished her dog-walker duties, “I thought, This is like All About Eve.” She plays Abigail Hill, a well-born woman who has fallen on hard times and arrives at Queen Anne’s royal palace as a servant. Soon she is challenging her much grander and more entrenched cousin, Sarah Churchill (played by Rachel Weisz), for the love of the ailing and somewhat deranged Queen Anne (portrayed by Olivia Colman). The cousins plot and scheme and fight for power and supremacy, while maintaining the appearance of courtliness. It is thrilling, in the age of #TimesUp, to witness a world in which men are secondary players.
Stone walked into Phyllis’s living room and paused to absorb the decor. Nearly every piece of furniture was encased in clear vinyl slipcovers, including a few small tables. It was decorated, like the rest of the midcentury ranch-style house, at Lanthimos’s direction, with all manner of dog paintings, toys, statues, pillows, and photographs. “I wanted the room to be completely full of fake dogs,” Lanthimos said. “That way, a viewer will confuse the impostors with the real dogs.” He sounded delighted. “Animals are a part of our lives, which is why they’re prominent in my films. But I find the relationships we have with them quite strange. Such as, there are animals we are okay to eat and animals we wouldn’t dream of eating. So odd. The theories around animals are fascinating.” He paused. “And we all love dogs. But what about a woman who owns and loves 15 dogs? What does that say about her life?”
Lanthimos walked to the back of the house, where the dogs and their handlers were waiting patiently. A large Afghan hound was hanging out on the porch, a brown-and-white Australian shepherd was drinking water near a picnic table, and a Yorkie was being cuddled by her owner. “This dog makes me cry,” Stone said, staring deeply into the eyes of a giant tan bullmastiff.
Although Lanthimos and Stone had picked the different breeds together, he was much more interested in them as props for his images rather than as objects of affection. It was as if he felt that showering them with love would be somehow unseemly. In fact, he reacts with similar reticence when attention is focused on him. “After I finish editing a film,” Lanthimos explained, “I rarely watch it again. Years have to pass. When Dogtoothreceived acclaim, it was hard getting my head around the praise. I went back to work. After all, my films are meant to be somewhat disturbing.” He laughed softly. “I prefer to shake things up in an engaging way.”
Stone was now ready for a shot in which the dogs would be exercising with their mistress. A treadmill was set up in the den for the pug, and the Australian shepherd was coaxed into assuming, literally, a downward-dog position. “This one will be so funny,” exclaimed Lanthimos. “Funny” is his word for unique, interesting, provocative; to get to funny is always one of his directorial goals. During the three weeks of rehearsal before shooting The Favourite, he had his three actresses engage in a medley of game-like exercises, such as walking backward toward each other to see if they would crash. He also insisted they link arms and “build a human pretzel.” His goal, like with Stone and the dogs, was to erase any self-consciousness, sense of vanity, or “acting.” This need for naturalness even extended to the pups, which, it turned out, Lanthimos thought were a bit too professional. “The dogs are a bit tired now,” he said, eyeing the pug panting on the treadmill. “And that’s good. Even in the surreal, we need to find the real.”
Emma Stone has united with HAIM for an Omaze campaign in which the winner will get the chance to meet the Spice Girls and see them in concert. Stone, a self-proclaimed ardent Spice Girls fan, and HAIM’s Alana, Danielle and Este announced the competition via a playful video published on Wednesday (Jan. 23).
Performing a synchronized dance that nods to the Spice Girls’ classic “Stop,” the quartet modifies the self-assured lyrics to include their message. “Stop right now, thank you very much, I need — you guys to hear this idea we had,” Stone says. “What if you and a friend came with us to a Spice Girls concert in London?”
“Hey you, always on the run gotta — enter at omaze.com/girlpower, and the best part is every donation goes to support these incredible organizations,” Alana says before the names of each organization pop up.
Donations will support organizations such as PATH, Child Mind Institute, Los Angeles LGBT Center, Global Girls Alliance.
“And think about it you guys, think of how much fun this is going to be, us all together at a freaking Spice Girl concert,” Este says before lip-syncing the final verse and walking off with a smirk.
“Are we sure that we want her to come with us to that?” Stone jokes, as the other girls assure her that Este is just “a little excited.”
Omaze is an online fundraising platform that “connect influencers, nonprofits and donors to create lasting impact,” according to their website. Fans can enter the competition here.
For the February issue, the incandescent Emma Stone took Vogue to the pub in North London, where the La La Land star talked about her life beyond the spotlight, the lessons that come with turning 30, and her most daring role yet: Abigail Masham in Oscar-tipped The Favourite. She also took a moment to share with vogue.co.uk some of the key influences that have shaped her life, from a treasured read to a favourite film.
Raise High the Roof Beam, Carpenters. It’s a super-fast read; you could read it in like a day. It’s two parts – it’s Raise High the Roof Beam, Carpenters and Seymour: An Introduction. It’s the first part I’m talking about. It’s JD Salinger and I sat down and read it in a day seven years ago on a trip and it has stayed with me ever since. It showed me how writing can be very simple and straightforward and still effective. They’re stuck in traffic for the majority of the story. I really like simple stories with great characters and not a lot of plot and heavy lifting. I feel that way with films too.
Last night it was karaoke – “These Boots Are Made For Walking”. But really it’s “Where Do The Children Play” by Cat Stevens. I first saw Harold & Maude when I was in my teens and I loved that whole Cat Stevens soundtrack. My mum had breast cancer when I was 19 and I was listening to a lot of Cat Stevens at that time and this song for some reason was very helpful and effective and soothing, because it’s sad but it’s also just kind of the perfect song. It was very formative in that time in my life. I really loved that song.
OK, piece of advice. Here’s the big news: nobody cares. Nobody is thinking about you. They’re thinking about you for like 15 seconds, then they’re like worried about their own shit. Nobody cares about the dream you had last night – well they do, kind of, but not really. They love you, but they don’t care. I find that very soothing.
The first time I came to London was when I was 18 – it was my boyfriend at the time and he surprised me with this trip. We couldn’t get used to jet lag because I’d never been jet lagged before and so we would stay up all night and then sleep during the day. At this time in my life, I was still afraid of new foods, so I ate at McDonald’s multiple times. We went and saw the Spice Girls at the O2 and it was pretty heavenly. It was the first time I really had been in London; we were in Covent Garden and I was like, “This place is incredible.” Now I’ve spent so much time here and I love it. I didn’t realise this would be a city that would be one of the formative places in my life.
Oh God, I’m trying to think of ones I haven’t talked about extensively – but I think it’s going to have to be Network again. In the same way “Where Do The Children Play” is the perfect song, I think it’s kind of the perfect movie. The way it’s directed, the way it’s written, that script, Faye Dunaway’s performance – it’s literally everything.