Lawrence Olivier

Simon Curtis’ My Week with Marilyn isn’t really a bio pic. Underneath the core love story of a naive dope, it’s about a clashing of two actors. In one corner, there’s Miss Marilyn Monroe, wanting to be taken seriously. In the other (and more respectful) corner, there’s Sir Laurence Olivier, possibly wanting the fame Marilyn has, at least according to a few characters. Marilyn needs to “find” the character, while Olivier believes it’s all on the page. The veteran actor sticks to his classical roots, while the blonde bombshell attempts more unusual methods. Kenneth Branagh, who portrays an artistically frustrated Olivier, sympathizes with both sides. Underneath their differences, the two portrayals of Monroe and Olivier are similar at heart: they’re both simply trying to create something, but they use the opposite methods. My Week with Marilyn is a deconstruction of what it means to be an actor, and those types of discussions seem to be the kind Branagh revels in. Here’s what Kenneth Branagh had to say about faking the truth, the fright of acting, and how you don’t have to be a murderer to play one.

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With the Academy Awards right around the corner, I’ve had history on the brain. Ever since I bought my mom The History of Oscar in the 11th grade (she’s a lover of Hollywood’s big night), I’ve been curious about Best Picture winners. What made something the Best Picture of its particular year, and how has the criteria for such an award evolved over the years? In an effort to start this journey, I sat down this weekend with four best pics from an era long before my time…

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published: 11.26.2014
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published: 11.26.2014
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published: 11.21.2014
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published: 11.21.2014
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