She’s gone grey! Meryl Streep suits up and wigs out to join Katie Holmes’ movie ‘The Giver’

This acting legend frequently puts herself in other people’s shoes…and hair.

And Meryl Streep’s latest role as ‘Chief Elder’ in The Giver has the 64-year-old rocking a long, straight grey wig with fringe.

The three-time Oscar winner was all business in a purple skirt suit and white peep-toe wedges on the Cape Town set last Tuesday.

African queen: Meryl Streep's latest role as 'Chief Elder' in The Giver has the 64-year-old rocking a long, straight grey wig with fringeAfrican queen: Meryl Streep’s latest role as ‘Chief Elder’ in The Giver has the 64-year-old rocking a long, straight grey wig with fringe

According to Deadline, the Death Becomes Her diva portrays ‘the authoritarian charged with keeping order in a society that seems utopian.’

The Giver is based on Lois Lowry’s 1993 children’s novel about a society which has ‘gone to great – and sinister – extremes to make everything equal and peaceful.’

The sci-fi drama – coming out August 15 – also stars Jeff Bridges, Katie Holmes, Alexander Skarsgard, and country starlet Taylor Swift.

Wigging out: The three-time Oscar winner was all business in a purple skirt suit and white peep-toe wedges on the Cape Town set last TuesdayWigging out: The three-time Oscar winner was all business in a purple skirt suit and white peep-toe wedges on the Cape Town set last Tuesday

Before/after costume: The Death Becomes Her diva portrays 'the authoritarian charged with keeping order in a society that seems utopian'
Before/after costume: The Death Becomes Her diva portrays 'the authoritarian charged with keeping order in a society that seems utopian'

Before/after costume: The Death Becomes Her diva portrays ‘the authoritarian charged with keeping order in a society that seems utopian’

‘August: Osage County’ spotlights Meryl Streep as a manic matriarch

It seems as if every award season Meryl Streep’s name gets tossed into the ring. Being a world-renowned actress, Meryl Streep has been in a class all of her own, which spans her 30 years as a thespian. Whether she’s playing the intimidating head of a fashion brand in the The Devil Wears Prada, or a distressed survivor of a Nazi concentration camp in Sophie’s Choice, Streep effortlessly seems to understand and capture every human experience.


THE INQUISITR: There’s so many different ways you can read Violet — was she damaged, spiteful, confused, insecure? Do you decide pretty early on what her motivations are? It’s a character that can be played in so many different ways.

MERYL STREEP: John [Wells] and I e-mailed a little bit in preparation for this. One of the things that really interested me was where she was on her painkiller cycle in any given scene. Since we were shooting out of order, I had to map that in a way, just so I would know what to bring to my fellow actors. You know, as an actor you’re supposed to want to go into the house of pain over and over and over again, but I resisted doing the part because of that. On so many levels physically, mentally, spiritually, emotionally, Violet is enraged and/or in pain, or drugged at any given time. That was the main thing and I didn’t doubt that I would go— I don’t want to talk about this! [Laughs].

THE INQUISITR: What was it like for you to work with Chris Cooper again in a much larger capacity?

STREEP: Chris and I worked together, but never in such a substantial way. Chris’ character I felt was someone that he would view with his enormous humanity and his compassion, and I knew that the audience would love him. I knew that they would hate me in equal measure, and that is “the story.” It’s a balance of all these characters. What you give you get and what you get you give from each person. It only works if we’re together. We were so together. When Margo’s character says that she has my back, I felt that she always, always, always felt that, because she made me feel that way. We were very lucky to have each other in making this thing.

THE INQUISITR: How did you bond strong with your co-stars? Was it hard to shake everything off at the end of an emotional scene?

STREEP: We ate a lot. It wasn’t the most joyous experience in my point of view. It was hard to feel that way about everybody. It was miserable, and it was also during the election, and television is very odd out there. You could feel very disembodied in that world so it was important to make a connection beyond and outside of the set. Also I was smoking non stop, which really makes you feel sh—y.

THE INQUISITR: Was there any one particular topic that touched you emotionally?

STREEP: For me one of the most upsetting scenes we shot very early on, and it was with Sam Shepard who is a writer that I’ve always admired, and as an actor too. To look at him close up and see his loathing of me was really hard. You get old and you look old, and you’re just old, and you still think that maybe there’s a spark of love from this person who has gone through everything, and to look in his eyes and realize that he would rather be dead than look at me, that was brutal. That set the tone for how I chose to deal with his death in every scene afterwards.

THE INQUISITR: Did the humor help you deal with the weight of the role?

STREEP: Every character I’ve ever played is about 5’6 and weighs about the same [Laughs] in terms of weightiness. I was trying to look sicker and thinner than I actually am, but I don’t think about things that way. To me one of the most excruciatingly funny pieces in this is the prayer, which is earnestly given by Chris [Cooper] to the best of his ability. It reminded me of church, and there was no laughter like the laughter when you’re in church and the whole pew goes nuts. You talk about how humor is born out of pain. Every single one of these actors came to the reading with the copy of the original play in their back pocket with their laughs that they didn’t want to get cut. You have a sense of what’s going to buy you the attention of people, because otherwise they want to kill themselves with this family. You come together with your friends and say, “I had Thankgiving at my mother’s house and I have to tell you what my mother said!” And you tell the story that was not funny when you were there, but in the tone it’s fabulous, and that’s how you transform your life.


Meryl Streep attends ‘August: Osage County’ Press Conference and Q&A in NYC – November 25, 2013 – Photos and videos; Talks ‘Into the Woods’





Julia Roberts & Dermot Mulroney Talk Working With Meryl Streep In August: Osage County – Video

Q&A photos:

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(Original size – here)

Press conference photos:

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(Original size – here)

‘Into the Woods’ News! What Did Stephen Sondheim Tell Meryl Streep? – Article

Meryl Streep sat down with “Extra’s” Jerry Penacoli to discuss her role in “August: Osage County,” but ended up gushing about working with lyricist/composer Stephen Sondheim on the big-screen adaptation of his hit Broadway musical “Into the Woods.”

‘Into the Woods’ News! What Did Stephen Sondheim Tell Meryl Streep?
Getty Images

Fresh off a flight from London where she had just wrapped shooting “Into the Woods,” Streep revealed Sondheim wrote a new song for her character, The Witch. “I have a new song that Sondheim wrote for me… and when he gave me the manuscript, he wrote on it, “Don’t f**k it up.”

Screen Shot 2013-11-25 at 3.54.16 PM

As for her role as a drug-addicted and dysfunctional mother in “August: Osage County,” Meryl said, “It was an unpleasant place to be in her head… to be in her mind was like being in prison, like in the dining hall of a prison where you hide a shiv in your hair in case you have to cut somebody.”

Video in the article.


Julia, you just worked with Meryl Streep. What surprised you about her?

ROBERTS: She has the great balance. In her life, acting is a very sort of casual element of it. I like that balance.

THOMPSON: I’ve snogged her. (Laughter.) And what I learned was, you have to use tongues even if you’re not a lesbian.

ROBERTS: Tongue-kissing Meryl Streep.

THOMPSON: We had to do a snog. The angel gives her an orgasm in Angels in AmericaMike Nichols can get anyone to do anything.

WINFREY: That’s right, that’s true. I might let the dark side in, just for Mike.


‘August: Osage County’ director, cast on dinner with Meryl Streep

One of the pivotal scenes in “August: Osage County,” the upcoming screen adaptation of Tracy Letts’ Pulitzer Prize-winning play, is an explosive family dinner where barbs are hurled and dark secrets are revealed. For director John Wells and his all-star cast, the scene was central to the film’s themes and narrative, and star Meryl Streep led the way as the sharp-tongued matriarch Violet Weston.

At the Envelope Screening Series, Wells and cast members Julianne Nicholson, Margo Martindale and Chris Cooper talked about shooting the 19-minute scene.

For Wells, the dinner scene speaks to a universal family dynamic. “It doesn’t matter who you are or how old you are,” he said. “You believe that you become someone else away from your home. And you walk back through that door, and you’re suddenly a 14-year-old again saying things that you would never say anywhere other than in the house, and taking on a role that may not be how you perceive yourself. And you suddenly find yourself in the same chair, telling the same old stories.”

Nicholson said of the scene, “It took just about four days to film it, and every day to be sat at that table with those people was a joy and a thrill. And to watch Meryl just bring it every single time — whether she’s on camera or off camera. It was different every time. It was alive every time. It was a master class in acting, and I’ll never forget it.”

Martindale agreed and said Streep’s commitment motivated the other actors to raise their game. “She’s giving 150,000% — and you’d better too,” Martindale said.

Cooper chimed in, “The master class is watching Meryl give us a different take on the scene that we’re doing. She’ll do the drugged-up version, she’ll do the nasty underbelly, she’ll do the comic version, she’ll do so many.”

Wells said Streep’s performance was captivating to the point that sometimes her fellow actors got caught up and dropped their lines. “I was just watching her,” one cast member admitted to Wells after flubbing a line.

“Well, that’s good,” Wells told the actor. “We were all watching her. But you’re in the scene, and you need to say the line.”

For more from the cast and crew of “August: Osage County,” watch the full video above and check back for daily highlights. The film opens Dec. 25.


To Hear Her Tell It – Meryl Streep reads ‘The Testament of Mary’

Doesn’t it seem inevitable that Meryl Streep would one day play the mother of Christ? Lord knows she’s played just about everybody and everything else: a Holocaust survivor, a chilly Australian housewife who lost a baby to a dingo, Margaret Thatcher and Isak Dinesen and Karen Silkwood, a ­Prada-wearing devil, a nun with a mean ax to grind, and, coming soon to a thea­ter near you, the devouring Oklahoma mama of the Pulitzer Prize-winning play “August: Osage County.”


By Colm Toibin

Read by Meryl Streep

Simon & Schuster Audio.

What’s more, Streep is practically a religious icon herself — or an aesthetic one, anyway. She’s virtually been sanctified as the Greatest Film Actress of her generation, which is why she’s managed to gobble up practically all the juicy roles for women over 45 in Hollywood in the past decade or so. (And blithely stooped to conquer quite a few of the not-so-juicy ones, too, as in “Mamma Mia!”)

Now she’s landed a ripe plum of a different kind, and one that, in my view, provides her with yet another great role. Streep has recorded the audio edition of “The Testament of Mary,” Colm Toibin’s haunting, austere and deeply affecting book written in the voice of a figure who has gone largely voiceless (if hardly ­imageless) throughout the history of Christianity: the Virgin Mary, a.k.a. the Madonna, a.k.a. the woman who gave birth to the man who radically changed the course of Western history.

“The Testament of Mary” is sort of an ideal audiobook. The novel is short, to begin with (just 81 pages), and written in the first person, obviating the sometimes cumbersome chunks of description that can challenge one’s powers of concentration. In fact, Toibin conceived and wrote Mary’s testament as a dramatic monologue, which was performed by the great Irish actress Marie Mullen at the Dublin Theater Festival in 2011. Later Toibin expanded the text into a book published in 2012 and shortlisted for the Man Booker Prize. This past spring, another theatrical interpretation was produced on Broadway, with another great Irish actress, Fiona Shaw, playing the role.

That staging, directed by Shaw’s frequent collaborator Deborah Warner, was to me a frustrating disappointment. Although both actress and director are inventive and highly intelligent artists, the elaborate, fussy production they came up with belied the elemental serenity that is a hallmark of the book. The voice in “The Testament of Mary” is that of a woman recalling events she witnessed — culminating, I need hardly add, in the brutal crucifixion of her own child — with a hard-won and desperately necessary detachment: To fully re-enter the emotion of the experience would lead to the total collapse of the hollowed-out shell this woman has become.

Streep’s voice is familiar to generations of moviegoers, but its beauty as an instrument can be appreciated in this context as it often cannot be in films. Streep has become celebrated for her chameleonic changes, often involving impeccable accents of various kinds. I have to confess I’ve often resisted her film work, admiring her dazzling technical facility while at the same time being distracted by it. Except in some of her lighter comic roles, she’s never been an actress who makes it look effortless; she’s no Fred Astaire of screen-acting technique.

But while the role of Toibin’s Mary is richly specific — that is the marvel of the book, how vividly and complexly human, as opposed to legendary, the figure speaking to us seems — Streep employs no accent, and obviously we are not going to be either enchanted or distracted by her adeptness at physically refashioning herself to suit a character.

The result: simplicity, honesty, a clarity that draws us into the emotional landscape of the book through the beauty of the writing — and it is as beautiful as anything this gifted Irish writer has produced. But often there is also a simmering intensity, as of overwhelming feeling held just barely in check. And there is, again, the sheer beauty of the voice, which has a ­cello-like resonance, slightly dark-­timbred. Streep has an impressive ability to crest the structurally intricate sent­ences Toibin has fashioned, which sometimes have the flowing, rhythmic cadences of certain passages in the Bible itself.

<nyt_text>Not that Mary’s testament lines up with the version of events depicted in the Gospels. On the contrary, her description of the confusion and mystery surrounding the last weeks and months of her son’s life differs in key respects from the version of Christian liturgy. Toibin leaves unanswered the question of whether she believes her son is the Son of God, but the clear implication is that she does not.



By Colm Toibin

Read by Meryl Streep

Simon & Schuster Audio.

When the disciples attempting to re-­educate her into the “official” version of the story say her son had to die so that “everyone in the world will know eternal life,” a bitter note of sarcasm enters Streep’s mostly placid narrative: “Oh, eternal life!” she dryly says. “Oh, every­one in the world!”

From the perspective of a woman who watched her son die in extremes of agony at the hands of brutality such as she could not imagine witnessing and continuing to live, these words are meaningless. At other times Streep infuses her reading with a sense of quiet wonder and surprise: How is it possible that the little boy who behaved like any other grew up to be the remote, slightly grand, inaccessible young man whose stirring up of discontent has so dangerously riled the authorities? When she meets him at the wedding in Cana, she is baffled and distressed when she hears him say he is the Son of God.

Streep rises to the heights of the most harrowing passages in the book with a stealth that takes you by surprise, so fluidly does she connect the subtle changes in feeling that overtake Mary as she tells of her confusion at what is happening, her fear when she hears that her son’s death has been ordained, her horror at bearing witness to it.

Even this was not the greatest of her sufferings. That came later, when Mary looks back and recalls the terrible instinct that seized hold of her — the urge to flee, to save her own life, knowing that all Jesus’ followers and those associated with him would be targeted. (The name Jesus does not occur in the text.)

“I must let the words out,” Streep’s Mary says, and you feel the anguish of the necessary release, “that despite the panic, despite the desperation, the shrieking, despite the fact that his heart and his flesh had come from my heart and my flesh, despite the pain I felt, a pain that has never lifted, and will go with me into the grave, despite all of this, the pain was his and not mine.”

Mortal terror for her own life — the instinct to live that even the official version of the Christ story perhaps grants to Jesus when he asks God that the burden be lifted from him — came upon her fierce and irresistible. “I would leave him to die alone if I had to,” Mary says, and Streep’s voice has returned to its rigorously refrigerated tone. “And that is what I did.”

That, of course, is not the version of events that has been passed down through history, in the Bible and in the innumerable paintings that show Mary tending to her dying or dead son at the foot of the Cross.

Toibin’s exquisite book, rendered by Streep with all its detached, quiet, consoling humanity intact, belies those revered images. As Mary says in the final pages, referring to her abandonment of the dying son she had tried so desperately to save, “It is what really happened that is ­unimaginable.”

Actors Hall of Fame Induction – February 9, 2014

The Actors Hall of Fame Foundation today announced that 15 international award winning actors will be inducted into The Actors Hall of Fame on Sunday, February 9, 2014 at 2pm in Culver City.

The 2014 Inductees are: Julie Andrews, Robert DeNiro, Judi Dench, Robert Duvall, Kirk Douglas, Morgan Freeman, Gene Hackman, Anthony Hopkins, Olivia de Havilland, Hal Holbrook, James Earl Jones, Angela Lansbury, William H. Macy, Maggie Smith and Meryl Streep.

A special performance by The Hobart Shakespeareans, a class of 5th graders from Hobart Elementary School in Los Angeles, under the guidance of their National Medal of Arts winning teacher, Ralph Esquith will be one the highlights of the Induction celebration.


Billy Magnussen talks INTO THE WOODS movie & More

PC: Shakespeare to Sondheim: how did you get involved with the big screen version of INTO THE WOODS?

BM: I just auditioned! Like I said, man – you just go in and do it! [Laughs.]

PC: That’s what you say!

BM: But, seriously, I would say that Meryl Streep was a big influence on me getting the job, though. [Sighs.] She is just lovely. I’ve just been doing my scenes with her, and, oh God, she is just awesome! Unfortunately, as you know, I can’t really talk about it, though! [Laughs.]

PC: It’s all being kept pretty hush-hush at this early stage! What can you tell me about Mackenzie Mauzy as your Rapunzel?

BM: She is just lovely, too – a really lovely girl. I loved working with her – it was really great.


PC: Have you gotten to share any time with Johnny Depp onset yet?

BM: Yes. He was a very nice guy – I met him and I could not have been more impressed with how wonderful he was. A really nice guy.

PC: How do you see the place of social media in modern movie publicity and a means to leak information and express ideas? INTO THE WOODS has had pretty extensive social media coverage, clearly.

BM: Well, for me, I don’t do it so much for publicity reasons as I just do it for my friends, you know? I’m not that good with that kind of stuff, really – it’s hard for me because I’m not witty or anything like that. I try.


PC: Have you invited Stephen Sondheim to any of the shows?

BM: I don’t think he’s in town, but we should when we are back in New York.

PC: Have you gotten some one-on-one time with him working on INTO THE WOODS?

BM: Yeah, he was there when we recorded with the orchestra and all the stuff like that.

PC: Did he give you any particular insights?

BM: Well, you know, I think what he wrote is so beautiful and the music informs the story so much – that’s what makes a great writer, I think – and it is all right there in the music and lyrics. But, yeah, he would say things like, “Here – when you are doing this line, just remember: it’s a love song.” But, yeah, he was really cool.

PC: So, filming wraps at the end of this month?

BM: Yep. The end of the month is the end. I’m so glad, too – it’s going to be really cool.

PC: It’s going to be torture waiting 13 months for it to come out!

BM: Yeah, but that’s the fun part! That’s the best thing – to wait for something for a long time and then it happens. I’ve seen it and I think people are going to be impressed. Rob Marshall really knows how to make a beautiful movie…

PC: People have been waiting for 25 years – the time has come! It’s the most anticipated movie musical since LES MISERABLES.

BM: I know! I am very, very, very excited to be a part of it.

Full interview