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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After 10 years, I'm stepping down as the Observer's film critic. Here are my top films from the decade | Mark Kermode

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As I leave the post, I look back on how cinema has changed since 2013 and, below, pick a favourite movie from each year of my tenure – as well as a turkey

This week, I filed my final column as chief film critic for the Observer. I’m stepping down after exactly 10 years in the role, making way for the brilliant Wendy Ide to take over the reins and put her own inimitable stamp on the paper. A longstanding colleague and friend, Wendy is an exceptional critic and I look forward to reading her insightful and elegant reviews in these pages for years to come. In the meantime, looking back at my own experiences over the past decade, I’m struck by how much the moviegoing landscape has changed.

When I took over from the great Philip French in September 2013, Kathryn Bigelow was still the only woman to have won the Oscar for best director, having made history when she triumphed with her tense war drama The Hurt Locker in 2010. The Academy Awards have, of course, always been inherently ridiculous (remember: Citizen Kane didn’t win best picture, but Driving Miss Daisy did). For better or worse, however, this very American shindig tells us something about the way the mainstream film industry views itself. And since the first Oscars ceremony back in 1929, the Academy has overwhelmingly celebrated and prioritised white male film-makers. Yet in the past 10 years, things have at least begun to shift in encouraging ways.

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