Nicole Kidman Worked With 19 Female Directors in Eight Years After Vowing to Do So: Things Only Change by ‘Actually Being in the Films of Women'
Nicole Kidman made a vow in 2017 to work with a woman director every 18 months. To say she has made good on that promise would be an understatement. The Oscar winner has teamed up with a women director either as a producer or as an actor 19 times over the last eight years, with more female-directed projects already in the pipeline.
Speaking in a new interview with Time magazine, Kidman explained that one of her reasons behind making the vow is a double standard that women directors face. These filmmakers are under pressure to 'be perfect' when their movies get funded and there's no room for error. Whereas male directors are more likely to get a chance to rebound, female directors are knocked down if they don't deliver a perfect movie.
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'It can be changed,' Kidman said, 'but it can only be changed by actually being in the films of women.'
Kidman's most recent theatrical release was Halina Reijn's 'Babygirl,' and she's now the star of 'Fresh' director Mimi Cave's suburban thriller 'Holland.' Her recent television work has included Lulu Wang's 'Expats' on Amazon Prime Video and Susanne Bier's 'The Perfect Couple' on Netflix.
Time noted that 'Kidman is able to partner with so many female directors in part because she never stops working,' which is somewhat true. In addition to the projects listed above, Kidman also stars in Paramount+'s 'Lioness' and shot the second season of Hulu's 'Nine Perfect Strangers' last year. She's starring with Jamie Lee Curtis in the series 'Scarpetta' and is in development on a sequel to 'Practical Magic.'
Kidman told Variety last year that part of the reason she stays so active as an actor is because 'there are so many opportunities in terms of being able to be of service to the people who are coming up, and using what I have and can do for people like Helena [Reijn].'
'It's very hard for me to go, 'Okay, I'm just going to take care of myself,' because I'm so much about taking care of other people,' she added. 'I'm thinking, 'I can create more work for people. I can create jobs for people.' And also, I love it. I have the passion. I've just got to take care of my body. I wish I had superpowers because I would love to be everywhere.'
Kidman concluded, 'This is what I dreamed of since I was a little girl. I love what I do so I'm going just give it my all, and then I don't go out. I go home to be with my family. We do things together. I'm not going out to nightclubs.'
Next up for Kidman is the SXSW premiere of 'Holland,' co-starring Matthew Macfadyen, Jude Hill and Gael García Bernal. The film is set for release on March 27 from Amazon MGM Studios.
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WIRED
31 minutes ago
- WIRED
'Ballerina' Deserves an Oscar Nod for Stunts—But It'll Never Get One
Jun 6, 2025 7:30 AM The Academy of Motion Picture Arts and Sciences announced a new Oscar category for stunt performers earlier this year. Unfortunately, none of the performers in the latest John Wick movie will qualify. Still from Ballerina. Photograph: Larry D. Horricks/Lionsgate If anyone knows how to take a fall, it's Cara Marie Chooljian. As a stunt performer in everything from Everything Everywhere All at Once to this Friday's Ballerina , she's used to taking blows and getting back up. There's just one blow she wishes she didn't have to take, at least not right now—that she won't win an Oscar. To be clear, it's not that she can't win an Oscar or that she doesn't have the skill. It's that until April of this year there just wasn't a category for stunt performers. The Academy of Motion Picture Arts and Sciences announced a new trophy specifically for stunt design this spring, but no movie will be eligible for the award until 2027—long after Ballerina is out of theaters. 'Kill me,' Chooljian jokes when I ask about the Academy's announcement and the timing of her latest movie. 'I was like, why aren't we pushing it' back? Stunt work has been a part of filmmaking since there have been movies. In an industry where actors are literally worth millions of dollars, there's often someone on set willing to do the really dangerous stuff to save their skin. Many stars—Keanu Reeves, Tom Cruise, Chooljian's Ballerina counterpart Ana de Armas—participate in the stunt work, but for a lot of the big life-or-death action, there's a double. They're named in the credits, but because of the nature of their work, they're also invisible to much of the audience. Going back to the 1990s, stunt performers have been asking for Academy recognition only to be shut down. But when movies like Furious 7, John Wick , and Mad Max: Fury Road started hitting theaters, the stunts were so unbelievable it became more clear that stunt work was as essential to some movies as the script or director. There was no movie without the action. Still, the creators behind it never got the same Academy recognition as, say, visual effects artists or costume designers. As part of the John Wick franchise, Ballerina was tailor-made for the Oscars' new category. In it, Chooljian and de Armas have to fight in every possible scenario with every possible weapon—plates, flamethrowers, every kind of gun imaginable. There are shoot-outs in clubs and hand-to-hand combat. David Leitch, a former stunt performer who cocreated Wick and went on to direct action-heavy movies like Atomic Blonde and Deadpool , was at the forefront of the campaign to get the Academy to create an award for stunts. If Ballerina was coming out just a bit later, it'd be at the forefront of the pack. Not that it'd be a shoo-in. It's coming out mere weeks after Mission: Impossible—The Final Reckoning , in which Tom Cruise once again hangs off of some flying object that he definitely shouldn't be. But, if anything, the existence of two highly competitive films in the category would prove why it's long overdue. The quest to put stunt performers on the Oscar ballot has been a long one. As Leitch's Wick cocreator Chad Stahelski told Variety in April 'the [stunt] department has been around since the very inception of films' going back to the black-and-white days of Buster Keaton and has never been recognized. Veteran stunt performer Jack Gill has been calling for the Academy to recognize the profession since 1991, getting backing from filmmakers like Steven Spielberg, but it never stuck. 'Every year I think, this is going to be the year,' Gill told The Los Angeles Times in 2015, but the Academy would ultimately not make the move. There aren't enough stunt-filled movies released in a given year for a competitive field, some argued. Others doubted that stunts rose to the level of a movie-making art or science. When the Academy finally announced the creation of the stunt design category, performers like Leitch celebrated the end of a long fight. Fall Guy stunt designer 'Chris O'Hara and I have spent years working to bring this moment to life,' he said in a statement at the time, 'standing on the shoulders of the stunt professionals who've fought tirelessly for recognition over the decades.' For Chooljian the award also promises to highlight what stunt performers actually do. Often, it's not just a matter of putting on a wig and flirting with danger so a more highly paid actor doesn't have to. She notes that often she'll get a script that just says 'fight ensues' and it's her job and that of her colleagues to design and plan that fight. People in the industry don't want to talk about stunt doubles, she continues, 'because they're supposed to be hidden, and if they're not hidden we're not doing our job.' But hidden perhaps shouldn't mean unrecognized. For Ballerina , Chooljian and de Armas, who Choolijan says did quite a bit of her own stunts and 'smashed it,' had to fight off multiple assailants, wield guns, and use ice skates as weapons. Like the other Wick films before, every move seems almost impossible but far more realistic than any action sequence in a superhero movie. Without those scenes, there is no story. It's Oscar-worthy—even if it's technically not.


Cosmopolitan
32 minutes ago
- Cosmopolitan
Sara Waisglass on Max's season of change in Ginny and Georgia S3
There's a scene towards the end of Ginny and Georgia season three, where we are invited into Maxine's internal monologue. It's a rapid firing of a million thoughts and questions at once - her battery is low, the chicken needs to go in the oven, do her friends hate her? Is her brother an alcoholic? Wait, she has homework to do? It's a relatable moment, and one that Sara Waisglass is finding herself experiencing more and more after four years of playing Maxine [Max for short] Baker. 'If I'm with my mum shopping, we'll be like, 'Oh, that shirt is so Max. Or, like, these trousers are so Max. Or, I'll do a mannerism, and my mum will say, 'that is completely Max', which is fun. She pops out at many different moments,' Sara laughs. 'If I'm going into a room with people I don't know, or even doing this interview, I'm going to be honest, some part of me channels her. Her confidence comes out. I think that's the thing I love most about her, her energy. It's a very infectious and loving thing.' After spending just half an hour with Sara, chatting over Zoom, it's clear to see Max's warm infectious energy is most definitely a Sara thing, too. It's early in the morning when I call the 26-year-old in her native Toronto. She's a few minutes late and apologises profusely before gushing about how content she's feeling. "I'm great. I'm super. I'm actually so happy these days," she says when I ask her how her day is going. She's got a lot to be happy about right now, that's for sure. Her long distance boyfriend just arrived into the city and the couple plan to spend a few days together. 'We're going to go and look for outfits for him', before travelling to Los Angeles for a full run of Ginny & Georgia press. Oh, that's the other reason to be excited, btw. Netflix's hit drama series Ginny & Georgia returned yesterday for its third season after two years away. Telling the story of a mother and her teenage daughter, the series which debuted in 2021, has had 967.2 million hours viewed across both seasons, and is sure to only explode with the release of its third season. The new series sees Georgia (Brianne Howey) arrested and facing trial for the murder of her neighbour's husband. Meanwhile her daughter Ginny (Antonia Gentry) must deal with the fallout of her mum's crimes and a new romance, all while trying to balance her friendship group. Sara plays Ginny's best friend Max - a loud, outgoing, big-hearted girl with a passion for drama, both on and off the stage. Sara's career began long before Max though. At just six years old she was booking commercials, following a Dove advert she appeared in, thanks to her mum. 'I consider myself half a nepo baby, because my mum was a producer, and she still is for commercials. They're very different industries, but still, she was doing a Dove campaign and she needed real people and my mum was like, 'Well, you're shooting at my house you might as well use my daughter'. At the end of the day, the director came up to my mum and was like, 'Your daughter's pretty directable, you might want to consider getting her an agent.'' Months later, Sara had booked the Disney Channel series Overruled! which she appeared in for three years. Does she feel like a typical Disney kid, I ask? 'I wouldn't say it was one of the hit [shows], but it was really fun, and it shot in Toronto, which was amazing, because I still got to stay here with my family. They just treated me so well, and I got to do such wacky stuff and really get comfortable on a set, which has served me so well over the years.' She ended up taking a break after Overruled!, happy to have skipped having her awkward teenage years caught on camera. 'I got the awkward phase out of the way. I had braces, I had the bad haircuts, so it was a good time to quit.' Skip to a few years and she was helping a friend run lines, and the acting bug caught her again. She began auditioning and landed the role of Frankie Hollingsworth in Degrassi: The Next Generation which she appeared in for four years. The timing worked out well again, as just as she wrapped on Degrassi, she began her four years at university, studying screenwriting at York University in Toronto. In her final year of university, she booked the role of Max. Since Max first burst onto our screens in 2021, she's been both loved and hated by the show's legions of fans. During the early episodes of season one, she is the enigmatic, energetic and supportive friend of Ginny, but as the show progresses the pair's relationship becomes fractured, and in season two they have a full on falling out. That, along with Max's occasionally selfish attitude caused the fans to turn on Max, with many Tweets and TikTok criticising the character. While Sara says she personally didn't experience much backlash, she admits it hurt for her to see the character of Max treated in that way. 'Most people were able to separate it, which is cool, but I care about her so much, and I love her so much, and so seeing her get beaten up by people who don't know her was tough,' she explains. 'But, you know, I also say that that just means I'm doing my job well. And she was supposed to be a little bit of a naughty little demon in season two. She was supposed to be acting out and being dramatic, that was the whole point. And so people calling her 'annoying and overreactive'. It's like, yeah, she is annoying and overreactive, because 15 year old girls can be annoying and overreactive.' Having watched the majority of season three by the time I chat to Sara, I can't help but admire Max's shift in the new season. There's both a newfound vulnerability and a strength she didn't have in the previous two seasons. 'I think what's cool about this season is that she has less of her own issues, but she's really attentive to what Ginny is going through, what her brother [Marcus] is going through, and she just wants to be there for them. She just wants to be that light for them, which I think is really special and a beautiful side of Max that we haven't really explored before,' she agrees. But we also see Max struggle with her friendship group. While Abby and Ginny grow closer, and at points Norah is also brought into the fold, Max is often unintentionally left out of the group. In one scene, Ginny and Abby happen to both be at the same dress shop and send pictures to the group chat trying on dresses together. The pain in Max's face receiving the photo is heartbreaking and instantly relatable. Watching in my late 20s, I was instantly transported back to that teenage girl sting of pain. 'There's more of that in the next five episodes, and I think that is actually one of the things I'm most proud about for season three, just because I think that is so extremely relatable for high school girls,' she reflects. 'I remember having those moments and seeing everyone hang out [without you]. Or they would all be talking about a movie they went to see and I'd have to be like, 'Okay, well, was it good?' You try so hard to be cool about it, but it hurts and it's a harsh thing that everyone goes through.' It's a season of change for many of the characters, including Max's friend Abby (Katie Douglas), who begins exploring her sexuality, though not to the disappointment of fans everywhere with Max, but instead with skater girl Tris [Noah Lamanna]. 'The fans have always put Abby and Max together. And I've always been down for that. I always think that's so cool, but we always thought Abby was completely straight, and so it never seemed like a possibility,' she says. 'But now that we're kind of seeing Abby explore maybe a queer identity, it's kind of on the table again, which is cool.' But before you start planning the edits, Sara clarifies this is not a confirmed storyline for season four just yet. As for what else we could see for Max in the already confirmed season four? 'After this season, she ends in a weird place with her friends. And so I hope they can mend that. And I also hope that she can repair her relationship with Marcus,' she says. Though her diary is 24/7 Ginny & Georgia right now, Sara can't play a teenager forever. So what does she plan on next? 'A huge source of inspiration for me is Phoebe Waller Bridge,' she says excitedly. 'Her career and the content that she's brought to the table has been extraordinary. Writing, starring and directing in my own piece of work would be the ultimate goal.' She also cites Benito Skinner's Overcompensating as a recent inspiration. 'I always love people who write their own stuff and star in it, just because they understand the story in a way no one else does,' Sara explains. 'I've worked on a couple films that were written and directed by the same people and when it's the same person, it's just very clear, and I love that, so directing might be something I would want to explore someday. I love what I do. I'm never leaving this industry, it really is the best job in the world, and I'm so lucky.' And we're oh so lucky to have her.
Yahoo
42 minutes ago
- Yahoo
Stop-Motion Animation ‘Tales From the Magic Garden' Sells to Multiple Territories (EXCLUSIVE)
New Europe Film Sales has closed distribution deals for stop-motion animation 'Tales From the Magic Garden' with buyers in multiple territories, ahead of its screenings next week at the Annecy Intl. Animation Film Festival in the Contrechamp Feature Competition. Buyers include Pack Magic in Spain, Hulahop in Croatia, Skalvijos Kino Centras in Lithuania, Falcon in Indonesia, Bear With Me Distribution in Slovakia, Pilot Film in the Czech Rep. and Animateka in Slovenia. Gebeka will release the film in France. Talks in other countries are ongoing. More from Variety Filmax Swoops on 'Jasmine & Jambo,' the Feature Spin-Off From the Multi-Prized and Robustly Sold Catalan Animation Series (EXCLUSIVE) Key Catalan Titles at the 2025 Annecy Animation Festival and MIFA Market 'Olivia and the Invisible Earthquake' Director Irene Iborra on Helping Kids Understand Big Feelings and Life Changes in a 'Luminous, Gentle Way' The film, which had its world premiere in the Berlinale's Generation Kplus section, follows three kids who spend the night at their grandpa's house. To fill the silence after losing their grandma, the family's storyteller, they begin to create their own stories and discover the power of imagination. The film is directed by David Súkup, Patrik Pašš, Leon Vidmar and Jean-Claude Rozec. The screenwriters are Marek Král, Petr Krajíček, Patrik Pašš, Jerneja Kaja Balog, Maja Križnik and Blandine Jet. It is based on a book by Arnošt Goldflam. The producers are Martin Vandas and Alena Vandasová of Czech Republic's Maurfilm; Juraj Krasnohorský and Henrieta Cvangová of Slovakia's Artichoke; Kolja Saksida of Slovakia's ZVVIK; and Jean-François Le Corre and Mathieu Courtois of France's Vivement Lundi! The co-producers are Czech Television, Slovak Television and Radio, RTV Slovenia and Pictanovo, with the support of Région Hauts-de-France and Studio Personne N'est Parfait! Financial support came from Creative Europe MEDIA, Eurimages, Czech Film Fund, Slovak Audiovisual Fund, Slovenian Film Centre, Public Agency of the Republic of Slovenia, Film Studio Viba Film Ljubljana, Région Bretagne/Bretagne Cinéma, Centre National du Cinéma et de l'Image Animée, TVR Tempo – Rennes Métropole, Gebeka Films, Tébéo, TébéSud, France Télévisions – France 3 Bretagne and NuFrame. Best of Variety New Movies Out Now in Theaters: What to See This Week Emmy Predictions: Animated Program — Can Netflix Score Big With 'Arcane,' 'Devil May Cry' and the Final Season of 'Big Mouth?' What's Coming to Netflix in June 2025