Stockard Channing: ‘I cried at the election of Joe Biden, thinking we were out of the woods. Wrong!’

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The actor on being told she was no Ingrid Bergman, forgetting her lines on stage, and not caring about getting older Born in New York City, Stockard Channing, 82, played Rizzo in the 1978 film Grease. In 1985, she received a Tony for her performance in A Day in the Death of Joe Egg, and in 1994 was Oscar-nominated for her role in the film Six Degrees of Separation. She has three Emmys for her TV work, which includes The West Wing. She makes her directorial debut at the Edinburgh festival with Krapp’s Last Tape, in aid of the Wembley to Soweto Foundation, Upstairs at the Roxy until 31 August. Her latest film is Practical Magic 2. She lives in London. What is your greatest fear? Climate change. Continue reading... from Film | The Guardian https://ift.tt/tU3oZP1 via IFTTT
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‘Life can be complicated’: Rachel Weisz on balancing privacy with stardom

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Her latest TV series calls for her to play both twins in a reworking of Cronenberg’s dark and bloody classic, Dead Ringers. But Rachel Weisz, the famously private Oscar-winner, is used to stepping in and out of roles

There’s quite a lot of blood. There’s really quite a lot of blood in Dead Ringers, but it’s not the blood of bullet holes or stab wounds, or any of the other violences one might expect in a dark psychological thriller like this. It’s blood on knickers and operating tables, and smeared on silk shirts, and the blood as a baby’s head crowns – the bloods of birth and loss, guttural screams, and in the middle of it all, Rachel Weisz, twice.

In David Cronenberg’s original 1988 film, a grisly examination of the relationship between the physical and mental self, Jeremy Irons played twin gynaecologists whose dubious ethics led to all manner of horrors. In this gender-swapped adaptation, in which Weisz stars and exec-produced, she plays those twins identical in every way but character. Dr Beverly Mantle is the shy moral introvert, whose love affair with a patient triggers a psychic unravelling between the sisters, while Elliot is a modern mad scientist, hungry for meat, drugs, conflict, godliness, sex. What could come off as a soapy trick, in Weisz’s Oscar-winning hands becomes camply surreal, uncanny, seductive, a little perverse – joy.

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