The five-time Oscar nominated actor also recreates Warhol’s famous Polaroids of Liza Minelli, Dolly Parton, and Debbie Harry. Photographed by Inez & Vinoodh. Styled by Mel Ottenberg.
By definition, actors assume personas other than their own, but what is special about Adams is how much space within herself she affords her characters. Witnessing the dichotomy between her and the many women she becomes can be unnerving.
Somewhere between carrying the self-consciously irreverent Disney musical Enchanted and playing opposite Meryl Streep twice in two years (Doubt in 2008; Julie & Julia in 2009), Adams became Hollywood’s secret weapon. As Anderson puts it, “She’s never not surprising. The same girl did The Fighter and The Masterand The Muppets? Give me a break. She can do absolutely anything—and better than anyone.”
The next addition to her roster of films will be Backseat. Directed by Adam McKay, it examines Vice President Dick Cheney’s outsize role in the Bush White House, with Adams in the role of Second Lady Lynne Cheney (she is paired again with Bale, who will play the VP). Following The Big Short, this is the second in what Adams calls the director’s “socially relevant filmmaking.” On set, she would have political debates with McKay to get into character, using Lynne’s accent and championing Lynne’s point of view, always in full hair and makeup. During the course of making the movie, she never spoke to the director as herself. “When we wrapped I finally dropped the voice,” she remembers, “and he was like, ‘No, this is too weird! I can’t even talk to you.’”
Before Backseat premieres this fall, Adams will star in HBO’s adaptation of Gillian Flynn’s first novel, Sharp Objects, an eight-episode series directed by Jean-Marc Vallée (of Dallas Buyers Club and, more recently, Big Little Lies) which Adams also produced. She will play a reporter named Camille prone to self-harm, who returns to her hometown to investigate the murder of a young girl. Vallée and Adams were originally set to work together on a Janis Joplin project, which fell through after years in Hollywood limbo. “[Janis and Camille] aren’t the same, but there’s this deep darkness and, well, something hiding in them both. I saw similarities,” she says.
Adams has been nominated for no fewer than five Academy Awards, and the frequency with which her considerably rare talents have been deployed as “the woman behind the man” is staggering; examples include The Fighter, The Master, Charlie Wilson’s War, Man of Steel, and Big Eyes. Audiences tend to reward the construction of a masterly performance—a spot-on accent, a prosthetic nose—but with Adams, you never even see the seams. She is like the emotional scaffolding that holds up the rest of the film. You could say she takes the idea of a supporting role almost literally—but her talents command more. “I’d rather be known as a great actress than a movie star,” goes the famous line from David Lynch’s Mulholland Drive. Adams is something else. Like the icons she inhabits in these photographs, she’s an artist.
Source: Garage/ Mark Guiducci