Word: dunaway
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Dates: during 2000-2000
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...Little Odessa, you worked with Vanessa Redgrave and in this one, you directed Faye Dunaway, both of whom have reputations for being divas. How was it to work with them...
...Dunaway is difficult to work with, not because of the diva thing, but because she always wants to do more, she always wants to be more explosive, more dynamic, more dramatic. And my case is the opposite. I like actors to do less. And I wanted a performance from her that was completely restrained. I put her in these terrible glasses, dyed her hair sort of dark brown and I sort of wanted her to fit into the movie's tapestry. And I think she was at first very resistant to that. I think, actually, her performance was wonderful...
...City's subway car suppliers, The Yards is Gray's second major film, and it will only add to his reputation as an intelligent filmmaker. The cast of Gray's first major film, Little Odessa, included Vanessa Redgrave. This time around he's got names like James Caan, Faye Dunaway, Charlize Theron and Joaquin Phoenix to work with, in addition to Wahlberg...
...trapped and angry without doing much more than making slight adjustments to the muscles on his face. It seems silly to read about, but it works. Much the same thing goes for the rest of the cast. Charlize Theron, ever the chameleon, plays the languid, dark-haired Erika; Faye Dunaway and James Caan are her mother and stepfather. Their acting efforts are helped immensely by Gray's direction. Gray paints every scene in order to give his crew a better idea of his visual style, and he has a definite vision of what the film should be all about, both...
...played by Mark Wahlberg would not seem to be short on glamour: his mother is Ellen Burstyn; his aunt is Faye Dunaway; the girl he left behind is Charlize Theron. But he and the movie do lack drama. This all-star study in blue-collar venality (remember Cop Land?) is both speech- and sight-impaired: the dialogue is all mumbles and whispers; the palette dabbles in blacks and dark browns. The film is so muted it disappears from your view even before it recedes from your memory...