Posted on January 31st, 2018 by admin

Award-winning actress Sarah Paulson was the honoree at the ninth annual Steppenwolf Women in the Arts luncheon Jan. 22 at the Radisson Blu Aqua Hotel. More than 300 supporters from Chicago’s business, civic and arts communities enjoyed a warm and inspiring conversation between Paulson and her longtime friend and collaborator Steppenwolf ensemble member Tracy Letts.

Following a VIP meet-and-greet reception, attendees were welcomed by Amy Eshleman, Steppenwolf trustee and education committee chair. She called Paulson a “ground-breaking actor” and mentioned ensemble members she has collaborated with, including Letts, Lois Smith and Austin Pendleton.

Ensemble member Audrey Francis said, “Our family of playmakers at Steppenwolf strives to be at the front of society’s understanding of itself, to show at every turn, not just who we are, but who it’s possible for us to be.”

She introduced a short video spotlighting the luncheon’s fundraising focus, Steppenwolf’s education and mentorship programs. She added, “This year’s goal is to foster connections with 20,000 teens through unique partnerships with Storycatchers Theatre, the Chicago Public Library, Snow City Arts, Build Inc., Embarc Chicago and more, as we continue to bring theater to youth who need it the most.”

A reel of Paulson’s extensive film work, produced by Donna LaPietra (Steppenwolf trustee) and Kurtis Productions, was presented by ensemble member Amy Morton who said, “Her (Paulson’s) portrayals are always incredibly honest, vulnerable, funny and tragic, and I’m always very moved by what she does.” Clips included highlights from “The Spirit,” “The People v. O.J. Simpson: American Crime Story,” “12 Years a Slave,” “Game Change” and “The Post,” among others.

Morton stated that Paulson, who knew she wanted to act since being “in the womb,” is the first actress to ever receive all five major TV awards in the same award circuit — an Emmy, Golden Globe, Screen Actors Guild, Critics’ Choice Television and the Television Critics Association awards.

During the 90-minute discussion, Letts touched on a variety of topics about Paulson’s impressive career in television, film and stage. Her first job was six months after graduating from a performing arts high school in New York as an understudy in “The Sisters Rosensweig” (1992). An early career project included Letts’ play “Killer Joe” (1993). Paulson and Letts appear together in Stephen Spielberg’s most recent film, “The Post.”

Paulson credited her current career success to the series “American Horror Story” and its creator Ryan Murphy for allowing her to showcase her acting range. She acknowledged fellow actors Diane Keaton, Jessica Lange and Jill Clayburgh, as well as Robyn Goodman, co-founder of New York’s Second Stage Theater, as early mentors.

Paulson’s Emmy win for outstanding lead actress in a miniseries or movie was for her portrayal of attorney Marcia Clark in the critically acclaimed miniseries “The People v. O.J. Simpson: American Crime Story” on FX. She told Letts that the project was her “favorite thing she’s ever done.” In addition to the Emmy, Paulson won a Golden Globe and Screen Actors Guild award for her role.

Paulson’s advice for young actors was to “allow your timetable to be what it is.” When asked which women inspire her, she said, “Given what we’re experiencing now culturally with the #MeToo and #TimesUp movements, it’s an extraordinary thing that we all in the arts have a great platform and opportunity to speak loudly. … I’m most concerned with having an actual impact. … I would say women in general, or any human being who is of service, is an incredible inspiration to me.”

At the end of the discussion, she turned to Letts and joked, “You’re giving James Lipton a real run for his money.”

The event raised $196,000 for Steppenwolf’s educational and professional development programs, including the nationally recognized Steppenwolf for Young Adults, the School at Steppenwolf and its Professional Leadership Program.

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Posted on January 27th, 2018 by admin

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Home > Film Productions > (2018) Bird Box > On Set


Posted on January 27th, 2018 by admin

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Home > Public Appearances > 2018 > “The Post” Premiere in Washington


Posted on January 27th, 2018 by admin

The highly anticipated adaptation of Donna Tartt’s 2013 novel The Goldfinch began filming in Greenwich Village this Friday, with film crews taking over sections of 11th and 12th streets between 5th Avenue and University Place. In case you were living under a rock in 2014, The Goldfinch won the Pulitzer Prize for fiction that year, and was selected as one of the 10 best books of 2013 by the New York Times Book Review.

The novel is a Dickensian bildungsroman; it tells the story of Theodore Decker, who becomes involved in art theft and forgery after a troubled childhood. Ansel Elgort is reportedly set to play the adult Theodore, while Finn Wolfhard (yes, of Stranger Things fame) has been cast as the younger version of Boris, Theodore’s childhood friend. Sarah Paulson, Luke Wilson, and Jeffrey Wright are all supposedly part of the cast as well.

While the film unfortunately won’t be released until 2019, you might as well get started on the book in the meantime– it’s a whopping 784 pages long.

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Posted on January 25th, 2018 by admin

Ryan Murphy and Sarah Paulson met in 2004 when the actress made a guest appearance in Murphy’s Nip/Tuck. Since then she’s become a muse for the show runner—the good kind, not the Yoko Ono kind—starring in his three groundbreaking anthology series (seven seasons of American Horror Story; as prosecutor Marcia Clark in American Crime Story, for which she won her first Emmy; and Feud). And while the 43-year-old’s career spans decades, it’s her always surprising roles in Murphy’s creative circus—lesbian journalist, heroin-addicted ghost, conjoined twins—that have thrust her into A-list territory, landing her in films opposite Michael Fassbender (12 Years a Slave) and Cate Blanchett (Carol).

Her cinematic oeuvre grows with The Post (December 22), the Steven Spielberg-directed, star-studded drama about the publication of the Pentagon Papers, and with June’s all-female heist flick, Ocean’s Eight. (She’ll team up with Murphy again for his new Netflix show, Ratched, a One Flew Over the Cuckoo’s Nest prequel). But don’t let her diabolical résumé fool you. Deep down Paulson’s just a Julia Roberts fan girl who thinks public bathrooms are gross. She gives us an earful about both—and then some.

 

You once recorded a fan’s voicemail greeting. Angeleno you’d ask to record yours?
Diane Keaton. It would be like, “Oh, hi! Um, hi. Oh, hey! It’s Sarah, please leave a message!” Something charming and perfect and funny. I wish she could do a virtual one, though, so she could greet people in a bowler hat and glasses and gloves.

You’re a nervous flyer. Costar you’d be happiest to see in the cockpit? Most terrified?
John Travolta could be in the cockpit, and I’d feel OK. He’s an actual pilot, so the man can fly me anywhere he’d like. I wouldn’t be excited to see Emma Roberts up there. I trust her with almost anything else, but neither of us are fans of turbulence. So the idea that she’d be navigating that—nope. She’s one of the smartest girls in town, and that is the truth, but in the cockpit, nope.

Three Julia Roberts characters you’d staff at a newspaper?
Erin Brockovich, obvi. Shelby from Steel Magnolias—she’d be the style editor. And then Vivian from Pretty Woman because she wouldn’t tolerate any injustice in the workplace.

Profession you could fake based on the characters you’ve played?
Legitimately? I don’t think I could get away with any of them, honey. But probably a lawyer, because I spent the most time investigating Marcia Clark. I’d do it by cheating and texting Marcia under the table.

If a newspaper hired you as a critic, what would you critique?
Bathroom hygiene etiquette. Listen, you want to squat? Have at it. But if you spray everywhere and don’t take the time to clean up after yourself, you are a vile person. And I could write about it at length.

Song that’d be playing during a montage of your life?
Shawn Colvin’s cover of “This Must Be the Place (Naïve Melody)”. It’s like a walking-slowly-in-the-rain-and-maybe-you’re-on-a-bench-crying type of song. But I’d like the music of my montage to shift, so when I go into different rooms, it’d be “Beast of Burden” by the Rolling Stones.

Three women you could pull off an L.A. heist with?
Sandra Bullock, because if you’ve been heisting with her once, you’d know she’s someone you have to have with you always. I want her with me all the time when I do everything. Michelle Obama, because I miss her, and everything needs a moral center. And my sister, Elizabeth Paulson, because she’s wily. We’d probably try to get some stuff out of the Getty.

Which fake paper would you work for: The Daily PlanetDaily Prophet, orDaily Bugle?
The Daily Planet. I always imagined that I’d know Clark Kent was Superman—the glasses don’t hide that jawline and that hair. I also like the idea of him scooping me up, one fist in the air, and flying into the sky. What girl would be like, “No, thanks”?


Posted on January 25th, 2018 by admin

They recently finished working on heist thriller Ocean’s Eight together. But Sarah Paulson and Sandra Bullock are set to join forces once again in new horror film Bird Box, which will be released on Netflix.

The first-look pictures of them in their roles gives a hint of the film’s setting, but not the terrors that are in store for their characters.

Sarah, was seen walking out of her trailer in a red tartan dress, which was paired with a light brown felt jacket for the unnamed character’s look. Her wig was tied-up into a loose side ponytail, and her make-up was kept simple and natural.

 

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Home > Film Productions > (2018) Bird Box > On Set


Posted on January 25th, 2018 by admin

Home > Photoshoots > 2018 > Town & Country Magazine, February 2018 Issue

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Posted on January 25th, 2018 by admin

Hollywood’s hardest working woman is finally enjoying her view from the top.

 

It’s difficult to imagine anything that would intimidate Sarah Paulson. She’s an actress who seems to choose roles for their audacity, and she inhabits her characters fearlessly– whether she’s playing Marcia Clark in American Crime Story, a brutal salve owner in Twelve Years a Slave, or conjoined twins in American Horror Story. Yet when Paulson arrived on set for The Post, Steven Spielberg’s film about the late Washington Post publisher Katharine Graham (Meryl Streep) and the legal battle around the Pentagon Papers, Paulson admits that she began “totally freaking out.”

“This movie, for all of its historical importance, is so much more than a history lesson,” says Paulson, who plays Tony Bradlee, the wife of Post editor Ben Bradlee (Tom Hanks). Indeed, it’s also the first time Spielberg, Hanks, and Streep have collaborated on a project, making it a film landmark as well. “These are arguably the most respected filmmakers and actors of their generation,” Paulson says. “That made it a very extraordinary place to be. It was a pinch-me moment.”

Paulson is having a lot of those moments lately. Following her Emmy-winning performance as Clark in 2016, accolades and offers have been cascading in. Over the coming year, in addition to The Post, she will appear in the all-female spy comedy Ocean’s Eight, the Netflix series Ratched (as Nurse Ratched, of One Flew Over the Cuckoo’s Nest fame), and M. Night Shyamalan’s upcoming thriller Glass. She also recently signed on to the movie adaptation of Donna Tartt’s The Goldfinch.

I’ve got a window, as a woman of 43. Right now it’s cracked this big and I’m trying to keep it open with both hands, as wide as possible, for as long as possible.

“It’s head-spinning,” she says over tea in West Hollywood. Paulson brings her own tea bags and casually slices a chunk of Beauty Butter, a collagen booster, into her cup. (“It’s amazing stuff,” she swears, adding that the butter, not a needle, is her anti-aging weapon; a character actress, mind you, must move her face.) “But part of me is scared. I’ve got a window, as a woman of 43. Right now it’s cracked this big”—she holds her hands inches apart—“and I’m trying to keep it open with both hands, as wide as possible, for as long as possible.”

No one else seems to be worried that Paulson’s window will close anytime soon. Spielberg had to negotiate with American Horror Story co-creator Ryan Murphy to borrow Paulson for The Post (both were shooting at the same time), and The Post co-producer Amy Pascal calls the actress a “guiding light” both in the film and real life. Her castmates seem to adore her (“I loved every minute of working with her,” Hanks says), and she has inspired something akin to universal admiration in Hollywood—quite a feat in a town often driven by furious ambition and envy.

If anything, Paulson has become the emblem of the Real Deal, the rare breed of actress who masters roles so completely that she can make audiences wholly believe in her. “She just transforms herself into another person,” says American Crime Story co-creator Scott Alexander. “When the director says ‘action,’ she drops herself into an emotional moment instantaneously. It’s like science fiction.”

Katharine Graham was deeply reluctant to enter public life, but Paulson occupies the other end of the ambition spectrum. She jokes that she knew she wanted to become an actress while still in utero, and began seeking the spotlight soon after her worldly debut. In the decades since, she has managed to work almost incessantly, starting with an off-Broadway role at age 12 and a guest spot on Law & Order just after she graduated from New York City’s LaGuardia High School, in 1993, where she studied performing arts, before attending the American Academy of Dramatic Arts.

In the years that followed, she became a ubiquitous but background presence. She scored roles on television shows such as American Gothic, Leap of Faith, The D.A., and David Milch’s acclaimed HBO series Deadwood. There was also film and stage work with such co-stars as Diane Keaton, Jessica Lange, and Kathleen Turner, yet Paulson never felt that she was fulfilling her potential.

Five years ago I was a disappointed actress. I was a benched player. I wanted a shot, and I felt I wasn’t getting a shot.

“Five years ago I was a disappointed actress,” she says. “I was a benched player. I wanted a shot, and I felt I wasn’t getting a shot.” How did she break through? “Ryan Murphy,” she says simply. “I got thrown a giant life raft.” Indeed, Murphy—writer, producer, and showrunner (he created or co-created Glee, Feud, and Nip/Tuck, among other successful series)—seems to have found a muse in Paulson. “I have the dream, and then I let her in on the dream, and then we let other people in on the dream,” he said in an interview last year. “But she’s the one I tell first.”

Paulson may have thought of herself as a benched player before her work with Murphy started turning heads in the industry, but the fact is a lot of Hollywood power players had been noticing her performances for years. The American Crime Story co-creators thought that she was the standout of Down with Love back in 2003, and 2012’s Game Change marked what Pascal calls “the first time I became aware of Sarah’s immense talent,” adding that the movie convinced her that Paulson’s range was vast.

For Shyamalan, the recommendations for Paulson were impossible to ignore. “The people in our office are often talking about special things that are rising in the zeitgeist, and Sarah’s name kept coming up,” he says. (Details about the actress’s part in his next film are under wraps.) “So I started watching her more. I think it’s a difficult thing to portray true empathy for the agility of human nature and to truly let yourself be emotionally naked in front of others. Sarah can do that. She’s fierce and comes at things in a way that’s dedicated and intense.”

When Paulson’s 2016 portrayal of prosecutor Marcia Clark in American Crime Story earned her that Emmy, as well as critical acclaim, she knew she had entered a new chapter in her career. So far it has brought her satisfaction—and anxiety, too. “Going to the next level means that you’re at the bottom of the next rung,” she says. She points out that she’s now vying for roles with many top-tier actresses. “Look, many of them have won Academy Awards. I don’t expect to get offered the roles before them, but I still want them.” She smiles. “All it means is that I have to keep working the way I always have, leaving my ego at home and trying to just think about what is true.”

To me, disappearing is everything. I’m not interested in a character’s goodness. I’m interested in what makes them human.

“To me, disappearing is everything,” Paulson says. She couldn’t care less if her characters are likable. “I’m not interested in a character’s goodness. I’m interested in what makes them human.” To portray these personalities, she says that she must put aside her own disdain for them and play the characters unapologetically. The roles she takes may be wildly diverse, but she brings to each a trademark intensity.

“She is ferocious and versatile and deeply real,” says actress Amanda Peet, Paulson’s best friend of 20 years. “But she’s also exquisitely funny. Within seconds of meeting her, I was laughing so hard—the kind of laughing where you’re like, ‘Someone should call an ambulance.’ ” Paulson’s colleagues agree that she can bring humor even to the darkest parts and moments.

Unconventionality is central to Paulson’s allure, both onscreen and off. Her relationship with actress Holland Taylor, who is 30 years older than she, has inspired legions of fans who appear to be seriously invested in the romance. (BuzzFeed recently ran a story on the pair with the headline “Sarah Paulson and Holland Taylor Are Dating and It’s Everything.”) Paulson bristles a little when questioned about public interest in her relationship.

“I do not want to be defined by who I share my bed, my home, my soul with,” she says. “My choices in life have been unconventional, and that’s my business.” Then she pauses. “But I do want to live responsibly and truthfully without hiding. It’s complicated, because there is a lot of hate in this world, and a lot of good can come from quote-unquote normalizing something for people who don’t see it as normal. Our relationship represents a certain amount of hope and risk. Maybe there’s something brave in it. Maybe it encourages others to make brave choices.” She pauses again. “What else can I say? We love each other.”

Our relationship represents a certain amount of hope and risk. Maybe there’s something brave in it. Maybe it encourages others to make brave choices.

An aversion to tradition seems to run in Paulson’s family. Her mother, who gave birth to Paulson in Tampa when she was 21 and to Paulson’s sister when she was 23, decided to uproot the family and move to New York City without Paulson’s father to pursue a writing career alone. “My mother had a cotillion,” Paulson says, “but she wanted to be bohemian.”

The family moved into a one-bedroom apartment in Queens; Paulson’s mother took a job as a waitress at the theater district haunt Sardi’s and finagled tuition for a private middle school for Paulson by working in the school’s office. “She was ballsy and brave and refused to take no for an answer,” Paulson says. “I’m the same way. Molecularly, we have that as part of our DNA.”

Paulson says the move undoubtedly raised her career’s trajectory. (If they hadn’t gone to New York, she says, “I’d be doing dinner theater in Florida.”) Yet at times it was a painful existence in which structure and security felt like alien concepts. “My mom worked late, and I was at home a lot by myself,” she remembers. “It was good for my imagination—and bad for it, too.”

To soothe herself to sleep at night, she sometimes imagined that she was in a giant metal bunker: “Nothing cut through it.” Today, her idea of a safe house has evolved. She recently bought a home in the Hollywood Hills, which she’s renovating. “I bought it a year ago, and I’m still not in it. What does that say about me?”

It’s selfish, but I think the word selfish gets a bad rap. —Paulson, on her decision not to have children

Paulson has wrestled with having children of her own. Motherhood can be tricky for an actress, she says, especially for her, because she becomes hyper-responsible for creatures in her care. At one point she owned two dogs—Italian greyhound–Chihuahua mixes named Alice and Millie; their initials are tattooed on her arm—and even they became a distraction. “I don’t want to be torn,” she says. “I don’t want to look at my child and say, ‘You’re the most extraordinary thing that ever happened to me, but also the death knell.’ It was hard for my mother to be everywhere, to come to the school play and make a living. I’ve always known what I wanted out of my professional life, and I didn’t want to turn around and go, ‘If I had only made the choice to just dedicate this time in my life to me.’ It’s selfish, but I think the word selfish gets a bad rap.” She says her children are the characters she has played. “I’ve devoted more time and energy to creating a soft landing for all of them, as much as possible. So I have been of service in a way.”

The pleasure that she has taken in playing those characters is almost palpable. These days her schedule is full, but she does have a wish list of roles she would love to tackle, including Ibsen heroine Hedda Gabler and Mary, Queen of Scots. One gets the sense that more awards are in her future—after all, she received six Emmy nominations for six different characters in the space of five years—but Paulson insists that the purity of the work is still what drives her.

“It’s extraordinary that critics keep noticing my work,” she says. “But the fact is, I got to play all of those incredible characters. And that has to be the reward. The joy is always in the work.”


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Welcome to Sarah Paulson Online your best online source on the actress Sarah PaulsonSarah is best known for her roles in the hit show American Horror Story or other roles such as SerenityMudCarol and the upcoming movie Ocean’s 8. We hope you enjoy your stay at Sarah Paulson Online!

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Current Projects
American Horror Story (2011-)
as Ally Mayfair-Richards
An anthology series that centers on different characters and locations, including a house with a murderous past, an insane asylum, a witch coven, a freak show, and an enigmatic hotel.


Rebel in the Rye (2017)
as Shelby
The life of celebrated but reclusive author, J.D. Salinger, who gained worldwide fame with the publication of his novel, The Catcher in the Rye.


Feud (TV Series) (2017)
as Geraldine Page
Based on the legendary rivalry between Bette Davis and Joan Crawford which began early on their careers,climated on the set of "Whatever Happened to Baby Jane?" and evolved into an Oscar vendetta.


American Crime Story (2015-2018)
as Marcia Clark / Dr. Anna Pou
An anthology series centered around America's most notorious crimes and criminals.


Ocean's Eight (2018)
as Tammy
Debbie Ocean gathers a crew to attempt an impossible heist at New York City's yearly Met Gala.


Lost Girls (201?)
as Unknown
A mother searching for her missing daughter in Long Island makes a horrifying discovery in the woods where the murdered bodies of four girls have been dumped.


Bird Box (201?)
as Unknown
A woman and a pair of children are blindfolded and make their way through a post-apocalyptic setting along a river.


Ratched (2018)
as Nurse Ratched
A young nurse at mental institution becomes jaded, bitter and a downright monster to her patients.


Glass (2019)
as Unknown
The imprisoned Elijah Price holds secrets critical to both David Dunn and Kevin Crumb.


The Goldfinch (2019)
as Xandra
A boy in New York is taken in by a wealthy Upper East Side family after his mother is killed in a bombing at the Metropolitan Museum of Art.

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