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.
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.”
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– Photoshoots & Portraits > 2019 > W Magazine
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.
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– Photoshoots & Portraits > 2019 > Vogue UK
This ain’t your mother’s costume drama as Olivia Colman, Emma Stone and Rachel Weisz preside over a royal spectacle of cunning ladies and dandied-up men with a lot to say about Trump-era power struggles: “We’re disgusting and gorgeous and powerful and weak and filthy and brilliant.”
Rachel Weisz has a few choice words about the c-word. She’s just slid into a chair at an Italian restaurant in New York’s East Village — not far from where she lives with husband Daniel Craig and their new baby girl — and she couldn’t seem more like a picture-perfect new mum. Casually yet fashionably attired in a slouchy gray sweater, leggings and sneakers, she’s elegant and down-to-earth at the same time. But then she starts dropping C-bombs.
“In England, we say it all the time,” admits Weisz, 48, nonchalantly. “If I’m with another Brit, we’ll say, ‘So and so is being such a c—t,’ and laugh. It’s an old English word. Shakespeare used it. Or maybe Chaucer.” The London-born Oscar winner (for supporting actress in 2005’s The Constant Gardener) forks into a plate of kale salad, pausing when she notices my expression. “Why, does that word bother you?”
Of course, in America that word is no laughing matter. On this side of the Atlantic, it may be the second-most-offensive slur in the book (just ask feckless Samantha Bee). But in The Favourite, Fox Searchlight’s $15 million period piece rolling into theaters like a post-feminist grenade Nov. 23 (and going wide to about 600 theaters nationwide in December), just about everybody — including co-stars Emma Stone and Olivia Colman — is slinging the obscenity, as well as a slew of other eyebrow-raising idioms. And that’s hardly the only thing about the movie that’s upending the corset genre.
Perfectly timed for the mixed-up zeitgeist of the #MeToo era — with women making historic gains in the midterms as the U.S. president regularly flings sexist insults like “horse face” — this female-fronted absurdist period piece about a power struggle in 18th century England already is being buzzed about as an awards race, um, favorite. Colman, who has experience playing British royals (she’s now filming the role of Elizabeth II on The Crown, replacing Claire Foy), stars as Queen Anne, arguably the most powerful woman on Earth in the early 1700s. Weisz plays her No. 1 adviser, Sarah Jennings Churchill (Winston’s great-great-grandmother), while Stone is Abigail Masham, Sarah’s scheming cousin who arrives at the court and begins a sexually charged rivalry for the queen’s affections that turns the palace into a snake pit as deceitful as the Trump White House. Rape jokes. Female-on-female violence. Orange-throwing at overweight naked men (more on that later). The film is packed with enough incendiaries that it could blow up gender politics for a generation.
As timely as it may seem, the original screenplay for The Favourite — then titled Balance of Power — was written 20 years ago. British screenwriter Deborah Davis pieced together the partly true, partly made-up story by studying volumes and volumes of letters among Queen Anne, Sarah and Abigail. Somehow an early draft found its way to the desk of British producer Ceci Dempsey, who couldn’t put it down. “It really haunted me,” remembers Dempsey. “Just the passion, the survival instincts of these women, the manipulations and what they did to survive.” Back in 1998, though, it wasn’t so easy to find financing for a historical love triangle with three female leads and virtually no parts of significance for men. Dempsey got a few nibbles but no bites. “[Studios] were like, ‘Oh, wait a minute, this is [lesbian] activity going on here,‘” she recalls of those first pitch meetings. “People were kind of, ‘What’s the demographics of that kind of thing? I don’t think we could really sell that.‘”
It wasn’t until a decade later, when Element Pictures co-founder Ed Guiney (Room) got hold of the script, that The Favourite finally got some traction. “We didn’t want to make just another British costume drama,” he tells THR. “[We wanted] a story that felt contemporary and relevant and vibrant — not something out of a museum.” At the time, Guiney had become familiar with director Yorgos Lanthimos, whose third movie, 2009’s Dogtooth, had just been nominated for a foreign-language Oscar. He brought The Favourite to the quirky Greek filmmaker, who saw cinematic possibilities in Queen Anne and her two backstabbing BFFs, and the director began working closely with Australian TV scribe Tony McNamara on freshening up the script. “These three women possessed power that affected the lives of millions — but it was an intimate story as well,” says Lanthimos, 45. By 2013, financiers were lining up: Film4, Waypoint Entertainment and Fox Searchlight. Meanwhile, Lanthimos went on to make 2015’s The Lobster, his absurdist dystopian comedy starring, among others, Rachel Weisz and Olivia Colman. It ended up winning the Cannes Jury Prize and getting nominated for best original screenplay at the Oscars.
There were more delays before Lanthimos finally turned his cameras on the project — like shooting his psychological thriller The Killing of a Sacred Deer — but he started thinking about casting The Favourite as early as 2014, when he sent the script to Colman. She was his first and only choice to play Queen Anne, although the famously difficult-to-pin-down director can’t say exactly why. “For me, casting is very instinctive,” he says. “It’s one of those things when you feel you’re right and you need to insist no matter what.” Colman said yes immediately to her third turn as queen: Before she was cast in The Crown in 2017, she’d played Elizabeth the Queen Mother in the 2012 Bill Murray-as-FDR drama Hyde Park on the Hudson. “The main difference,” says Colman of The Favourite, is that “the other queens didn’t get to fall in love with two hot women.”
Lanthimos’ instincts about Stone, however — who hadn’t yet won her best actress Oscar for La La Land — were less certain. All the director knew of her work was her comedic turn as Steve Carell’s daughter in Crazy, Stupid, Love. And for her part, the 30-year-old actress wasn’t so sure she wanted to be in the movie, either — at least not after reading the first 30 pages.
“I was like, ‘Oh, Abigail’s just going to be this sweet kind of girl, the victim, a servant to these people,‘” Stone says of her initial reluctance. It’s a few days after my interview with Weisz, and we’re talking over salads at L.A’.s Sunset Tower Hotel. “But as [I read more], it unfolded, it became All About Eve.” By the time she finished the script, she was “begging” for the part. Lanthimos told her she could audition but only after she had worked with an accent coach for at least a month. “I don’t think he had thought of an American actor in the film at all,” she says. “Or at least for that character.”
Weisz wasn’t his first choice, either. To play Sarah, he’d originally gone to Kate Winslet. When that didn’t pan out (“It was obvious it wouldn’t have worked,” he says vaguely), he moved on to Cate Blanchett. When that fell apart (“Timing problems“), he finally looped back to his other Lobster star, who understood the director’s quirks. “Yorgos never talks about motivation,” says Weisz. “He’d laugh if you asked about Sarah’s motivation.”
Rehearsals, if you can call them that, were classic Lanthimos. They mostly involved crazy-sounding games, like having the actresses fast-walk backward toward one another to see if they crashed. “He wanted to see how much we could sense each other without seeing each other,” explains Stone. Weisz recalls another exercise that involved castmembers linking arms to “build a human pretzel.” Lanthimos, though, insists there is a method to his madness. “It enabled them to not take themselves too seriously, learn the text in a physical way by doing completely irrelevant things to what the scene is about, just be comfortable about making a fool of themselves,” he says.
By the time shooting began in March 2017, Stone certainly was feeling comfortable. During one scene, when Sarah discovers Abigail in bed with Queen Anne, she decided to improvise in a way that shocked even Lanthimos, to say nothing of Colman. “I had the sheet up around me,” recalls Stone of the moment she decided to bare her breasts for the camera for the first time in her career. “And as we were shooting it and we did a few takes, I said, ‘Can I please just be [naked]?’ I think it’s going to give Sarah something to look at when she sees that I’m not just under the sheet covered up. Olivia was like, ‘No, don’t do it!’ Yorgos was like, ‘Are you sure that’s what you want to do?’ And I was like, ‘Absolutely.’ I chose to do it. I was like, this makes sense to me. It’s an absolute [Stone flips the bird] to Sarah.”
Olivia Colman is on the phone from London. She’s not alone. The 44-year-old British actress has agreed to be interviewed only if both Weisz and Stone also are on the line. It’s not entirely clear why, and the logistics of lining up a simultaneous call with three busy stars in three different cities in three different time zones is more than a little tricky, but never mind. After two weeks of scheduling, the phone finally rings.
“A setback for women?” Colman ponders when asked whether a film about females being awful to one another might be considered provocative in the tinderbox of today’s gender politics. “How can it set women back to prove that women fart and vomit and hate and love and do all the things men do? All human beings are the same. We’re all multifaceted, many-layered, disgusting and gorgeous and powerful and weak and filthy and brilliant. That’s what’s nice [about The Favourite]. It doesn’t make women an old-fashioned thing of delicacy.”
She pauses for a beat, trans-Atlantic static crackling on the line. “Blimey,” she says. “I had a proper little rant there.”
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(CNN) – Emma Stone was just seven years old when she had her first panic attack.
She was over at a friend’s house when “all of a sudden I was absolutely convinced that the house was on fire and it was burning down,” the actress told Dr. Harold Koplewicz from the Child Mind Institute, as part of an Advertising Week 2018 panel in New York.
“There was nothing in me that didn’t think we were going to die,” she said. “It was panic but I, of course, didn’t know that. And it just kept going for the next two years.”
Therapy — and later improv and acting — eventually helped Stone manage her anxiety in the years after her disorder first emerged. But she admitted that she still struggles.
“I panicked this morning, y’all,” she said, with a nervous laugh. “I wasn’t expecting to, but I definitely did.”
Stone, who recently starred in Netflix’s “Maniac,” first opened up about her anxiety to friend Jennifer Lawrence in a cover story for Elle magazine.
Stone told Koplewicz, president of the Child Mind Institute, a nonprofit dedicated to helping children and families struggling with mental health and learning disorders, that her motivation for speaking in detail about her struggle was a desire to help others.
According to Koplewicz, one in five American children have a mental health disorder, anxiety being the most common.
“If I can do anything to say, ‘Hey, I get it and I’m there with you and you can still get out there and achieve dreams and form really great relationships and connections,’ I hope I’m able to do that,” said Stone, who manages her disorder with therapy and meditation.
Stone believes she also benefits from the open conversation, which she admitted “is really scary for me but very healing.”
Talking about her anxiety helps her “own it and realize that this is something that is part of me but it’s not who I am,” she added.
After premiering three major Academy Award winners in a row, the world’s oldest film fest is once again Hollywood’s awards-season launchpad.
The past few years, while Toronto bickered with Telluride over which festival could screen which premiere when and where, Venice — after some decidedly lackluster editions — took the high road and worked on improving. The result? It’s back on top after a scorecard that saw successful Oscar wins for Venice premieres three years in a row: Gravity, Birdman and, last year, Spotlight. Hollywood has taken notice. The festival is filled with studio titles this year, which means the red carpet will be filled with A-list talent. The four premieres that already are garnering awards buzz:
With Venice proving to be a good luck charm at the Oscars, one young contender seems to be taking the hint. Damien Chazelle is following up his 2014 best picture nominee Whiplash with festival opener La La Land. The musical stars Ryan Gosling as a jazz pianist who falls in love with an aspiring actress (Emma Stone). The Venice committee, after watching the film, immediately offered Lionsgate the opening slot. “I was so honored to get the invitation to open Venice,” says Chazelle. “It’s the kind of place that seems to belong in a dream. That’s the feeling I wanted to capture with this movie: the way things look and sound in a dream, the magic and the romance of it all.”
Chazelle adds that it was a natural choice to follow up his critically acclaimed Whiplash with the challenging genre of the musical. “The thing I love about musicals is that everything is possible. You can combine all the arts — music, dance, painting, theater — to collectively produce an emotion that can’t be conveyed by words,” he says. “I wanted to try and make a film that told an honest, intimate story but also allowed for that kind of big-screen moviemaking.”
Festival director Alberto Barbera believes that the film, a tribute to old Hollywood musicals, is a natural candidate for the Oscars. “It has all the elements,” he says. “It’s a wonderful story, a classic film. It’s extremely well done with two outstanding lead performances. You have to go back to the ’60s and ’70s to see something that is similar to those performances. It has beautiful music, beautiful dance performances. Everything in the film is definitely outstanding.”
While Lionsgate is planning a big launch at the festival, unfortunately Gosling will not be present, as he couldn’t escape filming duties for Blade Runner 2. Stone will be back in Venice after her 2014 success withBirdman led her to an Oscar nomination.
Read full article on Hollywood Reporter.