Keira Knightley Interview Magazine

Too Beautiful to Act?

I had a conversation with a young, exceedingly good-looking actor last night about a script of mine that is currently in development.  He’d read it at his own request—it’s still a few drafts away from being camera ready, so not in wide circulation—after he heard me talking about it at a dinner party and realized that the description of the male lead was perfect for him: it’s about a guy in his mid-twenties, of German descent, from the Midwest.  Even though I promised to have him read for the role when the time comes, in my mind I am pretty sure I’m not going to cast him.  I can’t: I just don’t see this particular character as being that beautiful—someone who looks like that would be unlikely to suffer the same way as my hero.

Joaquin Phoenix

REVIEW: ‘The Master’ Bewitches but Deceives

As readers of these pages know, insanity and religion are Siamese-twin subjects with which I have a nearly obsessive-compulsive fascination.  Back when this was still a blog—or a ‘contrablog,’ as my friend Jen Swallow coined it the other day—I ran a Schizo of the Week item every Friday that featured a character either in the news or from the streets of Hollywood who was affected by symptoms of schizophrenia, the one personality type (I am loath to use the word ‘disorder’) that specifically holds me in its thrall.

Having prefaced with that, it would be impossible for me not to be equally fascinated by Paul Thomas Anderson’s new film The Master, which comes out today in the U.S.; it is mostly about the symbiotic relationship between religion and insanity, with a subtext of the crypto-romantic relationship between a master and his favorite disciple, and how that obsession on the master’s part affects others in his inner circle.

Philip Seymour Hoffman The Master