I was already excited to see Billie Eilish heading to the cinemas in a big way in a couple of months when her 3D concert movie with James Cameron lands on the 2026 movie schedule. But, I've just learned that the 24-year-old pop star has even more plans to be in the movies, and as a longtime fan of the singer, I think the project is a totally great idea for her first leading role in a film.

The Upcoming Movie Billie Eilish Could Star In

So, a new report from Deadline has revealed that Billie Eilish is in “advanced talks” to be the lead actress in an adaptation of the classic novel, The Bell Jar, from poet Sylvia Plath. The movie will come from writer/director Sarah Polley, who previously made the critically-acclaimed 2022 film Women Talking and the 2017 Netflix miniseries Alias Grace. Focus Features is the studio behind distributing the project alongside Plan B Entertainment and StudioCanal, producing it.

The book itself follows a 19-year-old college student named Esther Greenwood who earns an internship at a magazine in New York City in the year 1953. Esther’s big move to the city leads to her experiencing anxiety and depression while her peers seem to be having the time of their lives.

The Bell Jar is Sylvia Plath’s only novel, and is thought to be semi-autobiographical of her own life. Plath died by suicide at the age of 30, just a month after the release of The Bell Jar, which would go on to become a huge bestseller, most notably in the United States when it came out in 1971.

Why I Think It’s The Perfect Role For Billie Eilish

I would consider Billie Eilish a poet (by means of songwriting) in her own right, who has also happened to suffer from depression throughout her life and written about it in her songs, along with opening up about it in interviews. As she told Rolling Stone in 2024:

The Bell Jar is an important work, but it’s also one that has fallen through in the past when Hollywood has tried to adapt it before, and I understand why. It’s not an easy work to adapt for the screen. However, I think having Billie Eilish on board could not only bring a lot more eyes to it. It could also allow Eilish to channel a piece of art she can likely relate to without it having to be explicitly about her – especially when you consider what else she's said about talking about her mental health:

Between being outed on a red carpet, always dealing with the rumors that come with fame and people frequently commenting on her appearance/fashion choices, I imagine I’d be cathartic for the artist to be part of something where she gets to amplify an important mental health story, and flex some new artistic muscles without being personally in the center of it.

The talks so far don't say she'll be doing the music for the soundtrack, but I think the subject matters in The Bell Jar, which also include conversations about gender roles, societal pressure, identity and coming-of-age, could produce some great new music from her, too.

Plus, the movie comes after she made a stunning acting debut in 2023 by guest-starring on Amazon’s Swarm. She was only in an episode, but she definitely showed promise as an actor, and I’d be really excited to see her lead her own project. I know I’ll be watching this movie among the many upcoming book adaptations on the way now that this report has come out.

Since Seth Rogen’s Matt Remick is the newly-minted head of Continental Studios on The Studio, that obviously means he meets with creative talent in Hollywood on a regular basis, including the blunt Charlize Theron and various directors. In the latter category, Ron Howard, Sarah Polley and Olivia Wilde are among the ones who’ve appeared on this 2025 TV schedule offering, and Alex Gregory, who co-created the Apple TV+ subscription-exclusive series, shared with CinemaBlend the story behind how Rogen recruited these three. I especially got a kick out of Gregory sharing what Howard thought about his “asshole” appearance.

Ron Howard In The Studio

Let’s start with that one first. Howard stopped by during “The Note,” which saw Matt Remick struggling to give the director a note about his movie Alphabet City because of a traumatic experience more than two decades earlier when Howard mocked Matt over a suggestion he made for A Beautiful Mind. While it looked at first like The Studio’s Howard was a nice enough guy, his mean side eventually came out, and Gregory informed me that the filmmaker actually welcomed the opportunity to play himself in this way. In his words:

The Studio’s Ron Howard showed his true colors when he was informed in a meeting by Kathryn Hahn’s Maya Mason that Matt Remick had feedback for Alphabet City. Howard proceeded to embarrass Matt to everyone in the room by telling them how Matt had suggested back in the day that viewers of A Beautiful Mind know from the start that Paul Bettany’s Charles Herman was a figment of Russell Crowe’s John Nash’s imagination from the start. An angry Matt proceeded to tell Howard about how boring the motel sequence in Alphabet City was, and an an altercation ensued.

Ron Howard ultimately agreed to cut the motel sequence, but informed Matt that he’d destroy the film executive if he ever crossed him again. So the Howard in The Studio’s world is definitely not a nice guy, but the real deal relished the opportunity to play an “asshole.” Like Alex Gregory mentioned, he may not be that way in real life, but that doesn’t mean he feels like a nice guy all the time.

Sarah Polley In The Studio

The week prior to Ron Howard’s appearance, Sarah Polley of Ramona fame appeared in the critically-acclaimed The Studio as herself in “The Oner,” a.k.a. the episode that was entirely one take. She and Seth Rogen had worked together 2011’s Take This Waltz, which Polley directed, and the Apple TV+ show actually marked her first time acting in a decade and a half. But Alex Gregory recalled that Rogen knew she was the right person for this episode:

You could feel Polley’s frustration as Matt Remick kept ruining the oner she was trying right at sunset, as that’s the only time of the day the shot would work. But it was just one thing after another, and by the end of the episode, they weren’t able to get the shot. What was a series of unfortunate events for this Continental Studios production made for hilarious hijinks for the viewer, and both Rogen and Gregory were pleased with how Polley played this fictional version of herself.

Olivia Wilde In The Studio

And then there’s Olivia Wilde, who appeared in the noir-inspired “The Missing Reel.” As the title indicates, the episode revolved around a reel from Wilde’s movie being stolen… only for it to be revealed that Wilde herself was the culprit. It provided the opportunity for Wilde, known from House, Tron: Legacy and Drinking Buddies, among other projects, to play an unhinged version of herself, which she was all too welcome to do. As Alex Gregory told me:

The Studio’s Olivia Wilde stole that reel because she was unhappy with the scene on it and intended to force reshoots. By the end of the episode, she destroyed the reel, and Matt Remick was forced to pay for the reshoots by selling his $2 million car to Zac Efron, one of the movie’s stars. However she may be as a director in real life on set, at least those who are working with her can take comfort knowing she won’t fly off the handle like she did on this series… probably.

We’re now at the halfway mark with The Studio's debut season, so check out the latter five episodes Wednesdays on Apple TV+. Should it return for Season 2, I look forward to seeing what other directors will poke fun at themselves, like perhaps Greta Gerwig considering how Barbie influenced the series, and I’d also welcome seeing Ron Howard exacting revenge on Seth Rogen’s character.

Martin Scorsese, Ron Howard, Sarah Polley and Olivia Wilde. We’re four episodes into The Studio’s run on the 2025 TV schedule, and that’s only a few of the wildly impressive A-list directors Seth Rogen and co. have rounded up to guest star in this show. However, there’s one more director who I think would be a great fit for this series, and I desperately, and I mean desperately, need her to be on this fabulous Apple TV+ series.

Now, the director I’m talking about is Greta Gerwig, and I doubt anyone is really shocked by this choice. The first episode of The Studio is all about Rogen’s Matt Remick trying to secure a director for the Kool-Aid movie, and Barbie and its success are mentioned while talking about how it was an artistic anomaly in the world of IP-driven films. Plus, the Superbad writer has been open about how Gerwig’s movie influenced The Studio.

That alone makes her a great and fitting addition to this show. I mean, to have her come in and enter this ongoing conversation about the state of film would be perfect, based on that one episode alone.

However, I also want you to consider the other directors who have guest-starred on The Studio, because it gives us another reason why Gerwig would be a perfect fit.

Of the four directors I mentioned at the top of this story, three of them are or were also actors. Ron Howard got his big break playing Opie Taylor on the Andy Griffith Show and Richie Cunningham on Happy Days. Then, he went on to direct Apollo 13 and A Beautiful Mind (among many others). Olivia Wilde was on screen in projects like House and Tron: Legacy before she helmed Booksmart. And Sarah Polley acted in films like Dawn of the Dead and Go way before she directed Women Talking.

Gerwig is also an actor-turned-director. You can see her on screen in Frances Ha and Mistress America. However, she’s best known for directing Ladybird, Little Women and Barbie. She’d fit in perfectly with the talent that has been lined up for The Studio, and I just know she’d give an A+ performance.

All this is to say, so far, the director guest stars have been my favorites on The Studio because they are playing themselves, which helps show how relevant this series is, while also getting to show off their skills as performers. Ron Howard playing an absolute diva was hilarious. Sarah Polley getting more and more frustrated over that one-take was incredible. Then, seeing Olivia Wilde freak out about a missing roll of film was really, really funny. So, let’s get Greta Gerwig in the mix.

Her films have played a major role in making the film industry what it is right now, and she’s got the acting history to exceed on camera. Putting her in The Studio would give her a chance to show off both things while also providing a poignant and impactful commentary about the state of movies.

Quite literally, I think she’s the perfect person to get on this series all about making movies in this day and age, so Seth Rogen and Evan Goldberg, can we get on this?

In the meantime, Season 1 of The Studio is in full swing, and it will feature even more iconic directors and writers like Zack Snyder and Aaron Sorkin, as well as TV bosses like Hacks’ Paul W. Downs and Abbott Elementary’s Quinta Brunson (among others). So, make sure you tune in every Wednesday with your Apple TV+ subscription, while I hope and pray that this dream of mine comes true.

For quite some time, there have been actors who not only bring movies to life by acting on the big screen but also play a major role in crafting the stories. Over the years, multiple Best Picture winners have been written by talented thespians, who also happen to be accomplished wordsmiths. From stars who've pieced together films that would earn them their first Academy Award nominations to those penning passion projects, here are 32 successful actors who are also hit screenwriters.

Ben Affleck

In early 1998, Ben Affleck became one of the biggest stars in Hollywood after he and Matt Damon won the Academy Award for Best Original Screenplay for Good Will Hunting. The movie made the longtime friends -- who didn't always work together -- into overnight sensations. Since then, he’s written four additional films: Gone Baby Gone, Live by Night, The Town and The Last Duel, which he co-wrote with Damon.

Matt Damon

As mentioned, Matt Damon took home the Oscar for Best Original Screenplay for Good Will Hunting in 1998. The movie, of course, also featured his Academy Award-worthy performance as a troubled young genius. Since then, he’s co-written two additional Gus Van Sant-directed scripts – Gerry in 2002, Promised Land in 2012 – as well as the Ridley Scott historical epic, The Last Duel, which he penned with Ben Affleck.

Jordan Peele

After finding success with Key & Peele, Jordan Peele turned to more behind-the-scenes work, serving as both a director and screenwriter. From his 2016 comedy, Keanu to 2022’s Nope and Wendell & Wild, Peele has cemented his legacy as one of the strongest voices in Hollywood. He won an Oscar for his Get Out screenplay in 2018 and produced two of the best horror movies in recent memory: Us and Candyman.

Tina Fey

Tina Fey will forever be remembered as one of the best Saturday Night Live cast members, and that experience allowed her to fine-tune her writing and acting skills. In addition to starring in movies like Baby Mama, Date Night and Muppets Most Wanted, Fey famously wrote the screenplay for Mean Girls, which is one of the best movies of the 2000s.

Sylvester Stallone

A handful of the best action movies of all time were written by none other than Sylvester Stallone, who has flexed his muscles in front of the camera and behind the scenes. All of the Rocky films (as well as Creed II) were written by Stallone, as were the Rambo flicks and pretty much most of his best big-screen ventures.

George Clooney

George Clooney has plenty of notable movies like Ocean’s Eleven, Syriana, Michael Clayton and even the over-the-top Batman & Robin. But the Academy Award-winning actor has also penned quite a few screenplays over the years, including the ones for Good Night, and Good Luck, The Ides of March, Leatherheads, The Monuments Men and Suburbicon.

Kristen Wiig

Two of the funniest movies of the past decade-and-a-half – Bridesmaids and Barb and Star Go to Vista Del Mar – not only featured the Saturday Night Live legend Kristen Wiig's on-screen talents, they were also co-written by the actress. And penning those screenplays alongside her was co-star Annie Mumolo.

Tyler Perry

In addition to being a committed philanthropist and all-around great guy, Tyler Perry is also an incredibly successful actor, movie producer, and screenwriter. Throughout his career, Perry has written multiple entries in the Madea film franchise as well as other films like A Jazzman’s Blues, Acrimony, and Why Did I Get Married?, to name a few.

Greta Gerwig

Greta Gerwig has become famous for her Barbie screenplay (which was co-written by Noah Baumbach), but that's only one of the great scripts written by the talented actress. In addition to starring in several dozen movies over the years, Gerwig also penned modern gems like Frances Ha, Lady Bird, Mistress America and Little Women.

Phoebe Waller-Bridge

In addition to being a talented actress with multiple scene-stealing performances in movies like Indiana Jones and the Dial of Destiny and Solo: A Star Wars Story, Phoebe Waller-Bridge is a talented writer. She created and penned the shows Fleabag and Killing Eve and received a partial writing credit for her contributions on No Time to Die.

Justin Theroux

Throughout his career, Justin Theroux has starred in movies like Mulholland Drive, Miami Vice and American Psycho. However, he also has some impressive screenwriting credits to his name. With work on Iron Man 2, Tropic Thunder, Rock of Ages and Zoolander 2, he has quite the body of work.

Emma Thompson

Emma Thompson is an actress with a great filmography, through which she's worked both in front of and behind the camera. In fact, Thompson has Academy Awards for  Best Actress (for Howards End) and Best Adapted Screenplay (for Sense and Sensibility). She’s also penned movies like Bridget Jones’s Baby, Last Christmas and the Nanny McPhee films.

Billy Bob Thornton 

Billy Bob Thornton is another actor who has won an Academy Award for writing, having scored a Best Adapted Screenplay Oscar for his work on Sling Blade, which he also starred in and directed. Over the years, some of Thornton's best movies -- like One False Move, A Family Thing, The Gift and Daddy and Them were also written by the actor himself.

Emerald Fennell 

After finding success with acting roles in movies like Albert Nobbs, Anna Karenina and The Danish Girl, as well as shows like Call the Midwife and The Crown, Emerald Fennell turned her attention to writing and directing. Her feature film debut, Promising Young Woman, earned her a Best Original Screenplay Oscar. She also crafted the script for the drama film Saltburn.

Tom Hanks 

Tom Hanks is another Oscar winner with a number of screenwriting credits to his name. In addition to leading some of the best movies of all time, Hanks has also penned the screenplays for That Thing You Do, Larry Crowne and the 2020 World War II thriller Greyhound.

Kumail Nanjiani 

Kumail Nanjiani has starred in all kinds of movies over the years, with Eternals, Stuber and The Lovebirds being just a few of them. But Nanjiani also wrote the screenplay for The Big Sick, the 2018 romantic comedy inspired by the battles he and wife Emily V. Gordon faced early in their relationship.

Paul Rudd 

Paul Rudd not only starred in one of the best Marvel movies such as Ant-Man, he was also one the writers given credit for its screenplay (alongside Edgar Wright, Joe Cornish, and Adam McKay). But that wasn’t his first or last script, as Rudd contributed to Role Models and Ant-Man and the Wasp.

Ethan Hawke 

Throughout his career, Ethan Hawke has starred in movies like Reality Bites, Boyhood, First Reformed and The Black Phone, among many others. However, the actor has also written his fair share of screenplays as well, with everything from the second and third installments in the Before film franchise to the gripping biopic Blaze featuring his handiwork. 

 Angelina Jolie 

Over the years, Angelina Jolie has become an instantly recognizable face and name thanks to a number of wonderful performances. The actress has also a few screenwriting credits, including In the Land of Blood and Honey, First They Killed My Father and By the Sea.

Kenneth Branagh 

To some Kenneth Branagh is arguably better known as a screenwriter than actor. That's because he won Oscar for Best Original Screenplay for the semi autobiographical coming-of-age drama Belfast and received a nomination for his adaptation of Hamlet back in 1995. The Christopher Nolan collaborator has also written other films like Much Ado About Nothing, In the Bleak Midwinter, Listening and The Magic Flute.

Steve Coogan 

Steve Coogan is famous for his performances in the Night at the Museum movies, Tropic Thunder, 24 Hour Party People, and The Trip, but he’s also a talented writer. Over the years, Coogan has written movies like Philomena, The Lost King, The Parole Officer and Alan Partridge: Alpha Papa.

Sarah Polley 

After making a name for herself as an actress with roles in movies like Go, The Weight of Water and the underrated Dawn of the Dead remake, Sarah Polley turned her jumped into the writer/director seat. One of her most well-known scripts is probably 2022's Women Talking, which earned her an Oscar for Best Adapted Screenplay.

Seth Rogen 

Seth Rogen has written some of the comedies that defined the 2000s, such as Pineapple Express and Superbad, as well as more recent hits like Teenage Mutant Ninja Turtles: Mutant Mayhem. This is on top of appearing in all three of those movies, as well as other classics like The 40-Year-Old Virgin, which totally deserved its R rating.

Taylor Sheridan 

Taylor Sheridan is mostly known for crafting Sicario, Wind River, Hell or High Water and other riveting dramas. But the Yellowstone co-creator also had a decent acting career before making the big shift over the past decade. He appeared on shows like Sons of Anarchy and Veronica Mars.

Lake Bell 

In addition to appearing in movies like No Escape, No Strings Attached, It’s Complicated and Spider-Man: Into the Spider-Verse, Lake Bell has also written and directed a few projects throughout her career. There are the shorts Worst Enemy and El Tonto, which she followed up with feature-length films, In a World… and I Do… Until I Don’t.

Owen Wilson 

When talking about Wes Anderson's collaborators, few names come to mind as quickly as Owen Wilson, who has appeared in a number of the director’s films throughout his career. But on top of appearing in seven of Anderson’s movies, Wilson also helped write three of them: Bottlerocket, Rushmore and The Royal Tenenbaums.

Jason Segel 

When it comes to the movie sphere, Jason Segel is probably best known for his portrayal of Peter Bretter in the 2008 comedy Forgetting Sarah Marshall, but some might not know he also wrote it. After that, Segel penned three additional feature films: The Muppets, The Five-Year Engagement and Sex Tape.

Ricky Gervais

On top of creating and starring on TV shows like the original version of The Office, Episodes and Extras, Ricky Gervais has also written some popular movies throughout his career. The British actor and comedian has crafted The Invention of Lying, Special Correspondents, Cemetery Junction and David Brent: Life on the Road.

Woody Allen 

Throughout his career, which goes back the mid 1950s, Woody Allen has written, directed, and starred in dozens of movies, many of which are incredibly well-received. Over the years, Allen has won four Academy Awards, three of which were for Best Original Screenplay – Annie Hall, Hannah and Her Sisters, and Midnight in Paris – on top of all kinds of other accolades. However, Allen has only appeared in four of his own movies the past 20 years.

John Cusack 

Not only did he star in some of the most iconic comedies of the 1980s, some all-time great ‘90s movies, and experience a great deal of success, John Cusack has written a handful of films throughout his career. This short list also happens to include some of his Cusack's best movies like High Fidelity and Grosse Pointe Blank. His other writing credits include War, Inc. and We Are Not Animals.

Rashida Jones 

Rashida Jones is perhaps best known for her roles on NBC comedy hits The Office and Parks and Recreation, but the actress has also written a few screenplays throughout her career. This includes Celeste and Jesse Forever, the 2018 documentary, Quincy, which is about her dad -- music legend Quicy Jones. She also has a story credit for Toy Story 4 and wrote “Nosedive,” one of the best Black Mirror episodes.

Tom McCarthy 

Tom McCarthy is best known for writing and directing Spotlight, the riveting journalism movie that won Best Picture and Best Original Screenplay at the 88th Academy Awards. But while he was in the process of becoming an award-winning filmmaker, McCarthy put together a decent acting resume that included a memorable turn on The Wire (during the final season), Meet the Parents, Good Night, and Good Luck, Syriana and Michael Clayton.

Each of these nearly three-dozen actors has quite the resume, both in terms of on-screen performances and written work, making them more than deserving of any and all praise.

Many incredible movies created by women are available to watch now, and today, we will discuss the game-changers. Throughout the history of cinema, many notable films have come out that have changed the course of history. From the best fantasy films to the best horror films to so many others – I could talk about them for hours. 

However, today, we will focus on a specific group of fantastic women who have directed game-changing movies. Barbie was released in 2023, directed by Greta Gerwig, and along with this blockbuster, we’re going to go down the list and talk about 12 films that have changed lives forever, some older and some new.

Barbie (2023, Greta Gerwig)

First up on the list is Barbie, directed by Greta Gerwig. If you haven’t seen Barbie yet, I’m unsure what you’re doing because it’s been everywhere the last few months. The film follows Barbie as she enters the real world when she realizes she needs to make the girl playing with her happy again for her to remain a normal Barbie. 

The movie received stellar reviews and became the highest-grossing movie ever directed by a woman, with over $1 billion documented at the box office, it broke major records at Warner Bros. Now, I’m pretty sure everyone wants to be a Barbie. Me included. 

Wonder Woman (2017, Patty Jenkins)

Wonder Woman was released in 2017. The first movie follows the story of Diana Prince, a female warrior known as an Amazon who takes on the role of Wonder Woman when the Amazonian's lives are threatened by outside forces that might be caused by Ares, the Amazonian’s long-time enemy, and who just might be causing World War I.

Wonder Woman is not only one of the few female-centric superhero movies, but it was the first superhero movie directed by a woman, Patty Jenkins. She returned to direct the second film, but it’s unclear if Wonder Woman 3 will happen since the shakeup at DC with James Gunn. Right now, it’s not in the works, but who knows what will happen. 

While the third installment might be in question, there's no denying the power of 2017's Wonder Woman. 

The Hurt Locker (2008, Kathryn Bigelow)

Kathryn Bigelow directed The Hurt Locker. It was an intense and gritty war movie that detailed the journey of an Iraq War Explosive Ordnance Disposal team, from their time in combat to how it affected them afterward and their PTSD. 

With The Hurt Locker, Kathryn Bigelow became the first woman to win the Academy Award for Best Director in 2009. Since then, there have been two other winners – Chloé Zhao (who we will talk about next) and Jane Campion, who directed 2021's The Power of the Dog. Even so, Bigelow was the first ever to win, and that in itself is a huge accomplishment. 

Nomadland (2020, Chloé Zhao)

Nomadland tells the story of a widow who travels around the United States in her van, living her life as a nomad. Chloé Zhao directed the movie, and she was the second woman ever to win Best Director at the Academy Awards.

This film is impressive for so many reasons, but for me, it’s always been the fantastic cinematography that stands out as a true highlight. Zhao put in some tremendous work when making this 2021 Best Picture winner and it shows through its gorgeous imagery and wonderful performance from Frances McDormand.

American Psycho (2000, Mary Harron)

Directed by Mary Harron, American Psycho was a satirical psychological horror film starring Christian Bale. It told the story of an investment banker who spent his nights as a serial killer while keeping it hidden from his everyday life of working in NYC. 

Harron created a classic with American Psycho. Not only is Bale’s performance considered one of the best in horror, but the story itself is full of hilarious black comedy that looks at themes such as yuppie culture, capitalism, and the need to consume the best of everything. There are also some awesome American Psycho behind-the-scenes facts you should check out too that make the movie even better.

Lady Bird (2019, Greta Gerwig)

Of course, I’m putting Lady Bird on here. Greta Gerwig’s directorial debut was a solid coming-of-age movie that detailed the life of a young girl trying to live her life, and her complicated relationship with her mother. 

I love this movie. I have for a long time. Gerwig delivered something so raw and perfect with Lady Bird that I find it hard to discover another coming-of-age film close to its greatness. It perfectly details the transition of becoming a young woman and the complex feelings that arise with not only our family but within ourselves. 

The Woman King (2022, Gina Prince-Bythewood) 

The Woman King was released in 2022 and was directed by Gina Prince-Bythewood. The movie is based on a real group of warrior women in Africa called the Agojie that existed between the 17th and 19th centuries, and mainly follows a general as she trains the next generation of warriors against their enemies. 

This film was a snub at the Academy Awards, and it deserved much more recognition. The Woman King cast is stunning, but Viola Davis was the big star. And Prince-Bythewood brought an incredible historical-action film that showed badass women refusing to back down in the face of their enemies. I love it. 

The Babadook (2014, Jennifer Kent) 

Arguably, The Babadook, directed by Jennifer Kent, began a trend of psychological horror movies taking over at the box office years later, such as Ari Aster’s Midsommar or Hereditary. The film tells the story of a single mother dealing with her son seeing a humanoid monster in their home, but it soon turns their lives upside down. 

The movie is just utter perfection in terms of horror. Truthfully, it’s one of the best horror movies of the last 20 years, and I would re-watch it again. Kent built suspense in such a way that now, it’s imitated in many other psychological horror movies that have been released. 

The Farewell (2019, Lulu Wang)

Released in 2019 and directed by Lulu Wang, The Farewell follows the story of a Chinese American family who discovers that their grandma does not have long to live. So, they decide to schedule a family gathering for everyone to celebrate her one last time, instead of telling the older woman of her fate. 

The Farewell is one of those movies that comes once in a lifetime where everything fits perfectly. The film accurately depicts the lives of Asian culture. It features a stellar leading Asian cast, and it highlights Awkwafina's talents as a dramatic actor. She’s going to be in a new movie called Quiz Lady soon, but in my mind, this movie is her best so far.

Marie Antoinette (2006, Sofia Coppola)

Sofia Coppola has been making some headlines for her new film, Priscilla, which will be released later in 2023, but my favorite of hers has always been Marie Antoinette. Released in 2006, the film depicts the life of the famous Queen of France, especially in the years leading up to the French Revolution. 

Not only did the movie win the Academy Award for Best Costume Design, but Coppola gave audiences a movie that had some of the best cinematography for a period piece. Marie Antoinette was a visual spectacle for the eye.

Clueless (1995, Amy Heckerling)

Clueless, directed by Amy Heckerling, was a coming-of-age teen comedy that was loosely based on the Jane Austen novel Emma and took place in Beverly Hills. The movie follows a teenager who decides to start doing more good deeds, but in doing so, she starts to learn more about herself and how much she can change too.

The film has been labeled as one of the most epic teen films ever. You can’t meet someone nowadays who doesn’t at least know a few quotes from the movie. Not to mention, Heckerling also gave audiences a great take on Emma in a hilarious, modern way. 

Women Talking (2022, Sarah Polley)

Lastly, we have Women Talking. The movie, directed by Sarah Polley, is based on the 2018 novel of the same name, and it follows the story of a group of Mennonite women who discuss their future when they find out that the men of their colony have a history of sexually assaulting their women. 

The movie was not only nominated for Best Picture but won the Academy Award for Best Adapted Screenplay for Sarah Polley, who wrote and directed it. The film talks about some serious topics, and it is considered one of the best movies of 2022. It's also pretty funny that Polley's daughter played a prank on her mother, saying that the Academy was asking for her Oscar back -- thankfully, Polley still has her win for this incredible film.

There are so many other notable films that you should watch that women directed, but these are just some that come to mind for me. If you haven’t seen any of them, check them out. 

One of the most embarrassing moments in Academy Awards history was the La La Land/Moonlight Best Picture mixup during the 2017 ceremony. Now, according to Sarah Polley’s 11-year-old daughter, on April Fool’s Day, another mixup like that one has tragically happened, and it involves her mom’s Oscar for Women Talking. So the youngster took it upon herself to inform her mother about the news in the most hilariously savage, well-written April Fool’s Day prank, maybe ever. 

Last month, Sarah Polley won an Oscar for Best Adapted Screenplay for Women Talking. This was such an exciting moment for everyone, especially considering the movie was snubbed in many other categories this year. However, according to Sarah Polley’s daughter (or David Rubin as the letter is “signed”), this was all a mistake, and in actuality, Netflix’s All Quiet on the Western Front was supposed to win the sought-after writing award. The letter goes on to list off the various reasons why Polley needs to return her gold statue, and it is genuinely hilarious. The Women Talking writer posted the note she received from the version of The Academy that’s run by her young child to Instagram for the world to see:

The entire letter is hysterical, however, one of the highlights is for sure this run-on sentence about why Polley is only now learning about how she should not have been among the 2023 Oscar Winners:

She makes a good point, I'd also assume The Academy wouldn't want another "Year of the Moonlight." 

I also enjoyed the self-awareness of the letter, as it noted the fact that Polley recieved it on April Fool’s Day. The meta nature of the note had me laughing out loud, and I love that the 11-year-old felt the need to recognize the “cruel” nature of the date the letter was sent, and was determined to assure her mother “that this is not a joke.” 

This humorous prank played on Polley is not only well-written (for a child) but extremely clever, just like her. The witty nature of the note reminded me a lot of the actress-turned-director’s various acceptance speeches from this year, including her Oscars speech, as well as her goofy post on nomination day about her low Oscars expectations. I’d say the director’s 11-year-old got both her mom’s sense of humor and writing abilities. Many other celebs recognized how well-written the note was for a sixth grader too, and said Polley might have a comedy writer on their hands. Ted Lasso star Brett Goldstein even retweeted the letter, saying he’d consider the little one for a job: 

I for one would agree with the Shrinking co-creator, it seems like this little lady might have a future as a comedy writer. However, she’s only 11, so it’ll be a minute before we see her credits on TV. So, for now, we can all enjoy this witty, and savage letter she wrote to her mother about why she needs to return her Oscar. 

After being snubbed in every acting category and Best Director, Women Talking won the Oscar for Best Adapted Screenplay, and I'm so hyped about it! There's been a lot of talk this award season about female directors being left out of the race, as Aftersun and The Woman King’s leaders were also snubbed. And now, to see Sarah Polley on the stage, as one of the 2023 Oscar winners, accepting an award for her beautiful movie that she wrote and directed brought me so much joy. 

The movie is a vital piece of work that is ingeniously written, and the women in the film deliver Polley's prose beautifully. To see this film represented on the biggest stage in movies is empowering and gives me so much hope for the future. 

Not only was it empowering to see Polley on stage, her speech was also perfect, biting and eloquent. She started by making a joke about The Academy not being offended by the words Women and Talking being in the same title, and then said: 

You can see her full acceptance speech here:

I was so profoundly moved by Women Talking, and I was devastated when Polley didn’t get nominated for the movie, and the cast of Women Talking received no acting nominations. In fact, Polley’s Oscar expectations for her movie being nominated were so low she had an appointment when they were announced, which is so sad. And it was a surprise that movie was nominated for Best Adapted Screenplay and Best Picture. So to see it win, has me so stoked and full of happiness.

I’m so thrilled that this vital story about women making the courageous decision to fight, stay or leave got the recognition it deserved. As a young woman being able to see someone who looks like me on stage is profoundly meaningful, and seeing women on stage at the Oscars for work like Women Talking and standing up for themselves gives me so much hope for the future. 

However, while I’m so hyped for Sarah Polley, and so proud of her, I think it’s still important that we acknowledge how much more this movie deserved. The fact that Claire Foy, Rooney Mara and the ensemble weren’t nominated is devastating, and the fact that Polley as well as many other female directors weren’t represented in the Best Director race shows that there is still work to do. 

While there’s work to do, and a long way to go, Polley’s win is a massive step in the right direction and shows so many women that their voices can be heard, and will be heard. 

The 2023 Oscar nominations have landed, and surprises have popped up on both sides of the spectrum. Writer/director Sarah Polley seemed to have a feeling that her film Women Talking was going to fall totally by the wayside, but the movie ended up nabbing some huge recognition for the next round of Academy Award festivities. 

Strangely enough, Polley’s expectations were so low that she actually scheduled a doctor’s appointment for the same morning her expectations were pleasantly subverted. Showing off the photo proof on Twitter, one of this year’s nominees for Best Adapted Screenplay and Best Picture was indeed convinced that her adaptation of Miriam Toews’ novel was going to go unrecognized. That surprise led to this candid message of surprise: 

While the Academy Award nominations kick off very early for West Coasters, Sarah Polley looks like she's in her Canadian homeland, potentially putting her closer to the East Coast time zone, depending on which part of the country she’s in. Wherever Women Talking’s writer/director may be, it was early enough to make a doctor’s appointment that conflicted with the announcement of her picture’s high honors. 

It’s a scenario that’s still rather bittersweet, as aspects of the film were still among the largest 2023 Oscar snubs seen this morning. More specifically, the lack of acting nominations for Women Talking’s impressive cast, as well as the lack of a nomination for Sarah Polley’s directing work, somewhat prove the point that she was making when planning her Tuesday morning. 

Predictions heading into this year’s Oscars race definitely sided with this sort of outlook, as a terrible awards season for female directors is heading towards its endgame. At the same time, it is a happy upset to those predictions to see Sarah Polley land a nomination for her work adapting Women Talking’s source novel into its screenplay. 

From this point forward, tracking the progress of Women Talking through its awards season journey straight through to the Oscars is bound to have more twists and turns. With nominations at the Screen Actors Guild and Independent Spirit Awards still in the balance, there’s plenty of awards glory that this much buzzed about film can still cash in on. 

Continuing to inspire difficult, but vital social conversations, one can cross their fingers that Sarah Polley’s schedule won’t run into any other surprise difficulties when it comes to those potential victories. Women Talking is currently playing in theaters, and it could potentially expand in its release strategy in a post-nomination climate.

Meanwhile, the 95th Academy Awards will air on ABC at 8 PM ET on Sunday, March 12th. To get a jump on the competition for next year’s awards, you can head over to our schedule of 2023 new movie releases and start making way too early predictions for the next round ahead.

Dear readers, this year’s path to the Oscars has officially kicked off. With the 2023 Academy Award Nominations now freshly released into the world, the endgame of awards season is truly in sight. As usual, some pleasant surprises were to be had, especially with films like All Quiet on the Western Front and Triangle of Sadness earning some dark horse nominations throughout the field. 

But for all of the joy that can come out of 2023’s most surprising Oscar noms, there’s always cases like Tom Cruise, Sarah Polley, and Jordan Peele’s Nope, where the snubs speak just as loudly. It’s time for the conversation that always takes place on Oscar nomination morning, as those are just three of the 13 cases of snubbery we’re about to discuss. Brace yourselves folks, it’s time to wade through the big snubs that came from the 2023 Oscar nods. 

Tom Cruise - Best Actor, Top Gun: Maverick

Top Gun: Maverick was a huge part of helping bring people back to the movies, and the spectacle that nailed its Best Picture nomination was only part of the equation. Tom Cruise’s return to Captain Pete “Maverick” Mitchell was also one for the books, and a performance that really dug deeper into the icon we were introduced to in the late ‘80s. How that was overlooked is beyond me, and it’s only the beginning of the overlooked gems. 

Viola Davis - Best Actress, The Woman King

An unshakable presence in whatever she does, Academy Award winner Viola Davis had people talking about her acting and action prowess with The Woman King. Proving that it’s even hard for a previous winner to land on the ballot, Davis’ performance in director Gina Prince-Blythwood’s historically inspired epic failed to make the final pack. Your guess is as good as ours as to how or why that even happened, as even our own Corey Chichizola saw that promise in our official Woman King review. 

Sarah Polley - Best Director, Women Talking

You could have seen it coming a mile away. While writer/director Sarah Polley was nominated for Best Original Screenplay with her Women Talking script, her lack of a Best Director nod is still pretty glaring. Once again, no female directors are in the running for this competition, and this omission seems like the loudest flub. We questioned if 2023 was going to be another terrible Oscar year for female directors, and to be proven right is something that never feels good.

The Women Talking Acting Ensemble

Let’s just knock this related disappointment out of the park while we’re at it, because the lack of acting nominations for Women Talking is just as upsetting. There were a lot of fantastic choices, as Sarah Polley assembled one hell of an ensemble to tell this particular story with. The fact that even the safe option like Frances McDormand, or blazing performances from Jessie Buckley and Claire Foy were all ignored is pretty crazy for a Best Picture nominee. 

James Cameron - Best Director, Avatar: The Way of Water

No matter what you thought of the movie, you have to admit that James Cameron is a directing madman for the way he tackles movies like Avatar: The Way of Water. To keep all of those plates spinning, over multiple films, and with other duties like being one of the series’ co-writers is something that deserves quite a bit of credit. But somehow, those efforts on the 2022 follow-up, as well as Cameron’s devotion to Cinema weren’t as noteworthy as his 2009 original. 

RRR - Best Picture/Best International Feature Film

Throughout a good portion of 2022 director S. S. Rajamouli’s RRR became a cinematic sensation that was truly a must see. Dazzling visuals, high octane action, and an infectious energy filled the film with a joy that seemed to sweep the land, and nab the catchy “Naatu Naatu” a nomination for Best Original Song. And yet, even with James Cameron himself paying Rajamouli’s film some pretty high praise, this would-be barnstormer missed out on both Best Picture and Best International Film. This may not have ended in bloodshed, but it’s certainly ending in tears. 

Decision To Leave - Best International Feature Film

Director Park Chan-Wook’s “romantic mystery film” Decision To Leave is another project that felt like it would have assuredly gotten a spot in the Best International Feature Film category. Between the pedigree of the Oldboy director, and the solid art house buzz that centered around the film, it was a prospect too good to be ignored.

Michael Giacchino - Best Original Score, The Batman

How deep does the snub for Michael Giacchino’s music for The Batman run? It wasn’t even on the shortlist for the honors of Best Original Score. A rousing sonic reinterpretation of the character often represented in the DC movies canon, words can’t even describe the disappointment that this heavy hitter somehow got forgotten. However, the intro to “A Bat In The Rafters, Pt. 2” would absolutely do the trick. 

“Ciao Papa” - Best Original Song, Guillermo del Toro’s Pinocchio

One movie that’s been pretty consistent with its fortunes has been Guillermo del Toro’s Pinocchio. The good news is that this consistency continued with the Netflix original’s nomination for Best Animated Feature Film. Of course, the bad news is that the stirring yet simple song “Ciao Papa” was not nominated in the Best Original Song category. Consistency only goes so far, we suppose. 

Sadie Sink - Best Supporting Actress, The Whale

Imagine if A24 somehow grabbed four of the five Best Supporting Actress nominations this year. It’s easy, even if you don’t try, because three of the slots went to Hong Chau’s performance in The Whale, as well as Jamie Lee Curtis and Stephanie Hsu’s roles in Everything Everywhere All At Once. The fourth honor could have gone to Sadie Sink, as the Stranger Things star landed quite well with critics in The Whale’s overall ensemble. Alas, Ms. Sink’s snub prevented that well-earned potential from happening; but her crucial experience working in The Whale still remains.

Nope, She Said, And The Menu Were Total Shutouts

The field of snubs above is bad enough to send commentators of all sorts into a frenzy. Yet perhaps the king of all of these omissions has to come from the unpleasant truth that Nope, She Said, and The Menu were all total Oscar shutouts. Nope especially hurts, as its critical and commercial crossroads felt ripe for some goodwill between the audience at home and the dignitaries in the Dolby Theatre. 

Not to mention, She Said and The Menu both felt like timely dives into current issues, and the former option had previous nominee Carey Mulligan feeling like a runaway nomination. As for The Menu, the sleek and cutting satire seemed like it was having a moment with fans reacting to its twisted tale rather enthusiastically. But as we saw with Triangle of Sadness, there was apparently only room for one scathing societal takedown at the table. 

This isn’t nearly all of the snubs that people may have woken up to with this morning’s nominations. It’s only the ones that seemed to cut the deepest and the most surprising. Whomever wins at this year’s Oscars is of course going to be a subject of great debate and discussion. With snubs like these though, that conversation is only going to be all the more heated, as the alternates just might seem like a better choice in the long run. We’ll see how things pan out on Sunday, March 12th, when the 95th Academy Awards air on ABC, at 8 PM ET. 

The history of women being nominated for Best Director at The Academy Awards, and women's movies being nominated for Oscars in general, is a sparse one. While it’s gotten slightly better over the years, there are still Oscar ceremonies where female-led movies aren’t included, and it’s looking like this year's awards might be another one of those. Despite Sarah Polley’s Women Talking, Gina Prince-Bythewood’s The Woman King and Charlotte Wells’ Aftersun being serious Academy contenders, the way the race is shaking out, it looks like the films might not get nominated, meaning it could be another barren year for female directors. 

What Are The Odds Women Talking, The Woman King And Aftersun Will Get Nominated For Oscars?

All three of these movies have a lot going for them, and in many other years, I’d assume all three would be shoe-ins for multiple Oscar nominations. However, in a year filled with movies like Everything Everywhere All at Once, Top Gun: Maverick, The Banshees of Inisherin and Tár, among others, these female-led movies haven't picked up and maintained the same level of momentum this awards season.

Between Sarah Polley’s direction and adapted script as well as stand-out performances from powerhouses like Rooney Mara and Claire Foy I had assumed Women Talking would have been an obvious choice for nominations in numerous categories this year. While it’s possible for Polley’s film to nab a few nods, based on how the awards shows leading up to the ceremony have gone,  I doubt it will happen. Polley did pick up a Golden Globe nomination for her screenplay, as well as a Critics' Choice nomination for Best Picture and Director, the ensemble also got a nomination at the SAG Awards. However, it was left off nomination lists for the Directors and Producers Guilds. 

This film about women deciding if they are going to leave or fight back against their abusive husbands has been critically acclaimed, and it sparked difficult and important conversations among moviegoers. However, it has been left off quite a few major awards lists in categories like best director and best picture which are typically necessary to secure Oscar nominations. 

The women-led, action movie The Woman King is in a similar situation. While Gina Prince-Bythewood was not among the 2022 Golden Globe nominees, Viola Davis, the leader of The Woman King cast was. Also, while the stunt ensemble and Davis picked up SAG nominations, the film as a whole was left off of the lists from the Director’s Guild and Producer’s Guild. What all this means is the action movie hasn't been a mainstay this season, and Academy voters might feel less inclined to recognize it because other bodies of voters didn't include it.

Charlotte Wells’ indie darling Aftersun has also been praised by critics, and it is one of 2022’s most underrated movies. It’s also 100% the dark horse of the 2023 Academy Awards race. Even though Wells herself has only picked up a nomination for best first-time director from the Directors Guild and a BAFTA nomination, pundits, like Variety, are predicting that this little movie might slip in and grab a Best Picture or Director nod. However, since it hasn’t been the biggest of deals this awards season I’m not sure if that will happen. 

The glimmer of hope for Aftersun and The Woman King came with the announcement of the BAFTA nominations. Not only did Davis pick up another nomination for her performance in The Woman King, Prince-Bythewood was also nominated for Best Director. Meanwhile, on the Aftersun front, the movie picked up four nominations, including one for Paul Mescal’s performance and one for Wells, who was nominated for outstanding debut. However, Women Talking received no nominations.

Despite these three movies picking up nominations here and there, they’ve mostly been left off various awards lists' in major categories that help predict the Oscar nominations (like the SAG awards, Golden Globes and BAFTAs). Along with this there are also films that have been nominated for what feels like everything. It appears that movies from male directors like Todd Filed (Tár), Joseph Kosinski (Top Gun: Maverick), The Daniels (Everything Everywhere All at Once) and Martin McDonagh (The Banshees of Inisherin) are likely to make big waves at the Oscars this year, rather than these films from Wells, Prince-Bythewood and Polley. What also adds to this year's awards looking barren for women's movies is the Oscar's history with female-led films.

A Brief History Of Women’s Movies Being Represented At The Academy Awards

Looking at the last two years of Oscar winners in the Best Director category things were moving forward for female directors. Jane Campion was added to the list of 2022 Academy Award winners for her work on The Power of the Dog, and Chloé Zhao made her way onto the Oscars 2021 winners list for her film Nomadland. 

However, 2019 and 2018 were two years where women were left off the Best Director list. While Bong Joon-ho went on to win for Parasite, Greta Gerwig was snubbed for Little Women in 2019, and in 2018 Zhao was snubbed for The Rider, while Alfonso Cuarón got the trophy for Roma. Looking one more year back, 2017 was a great year as Gerwig picked up her first and only director nomination for Lady Bird, which was also well-represented in various other categories too. 

Before that things were really barren for women for the majority of the 2010s because the only other woman to get nominated for (and win) Best Director was Kathryn Bigelow in 2009 for The Hurt Locker. 

Before 2009, there were only three other women who got nominated for Best Director at the Academy Awards, coming in 2004, 1994 (which was Jane Campion’s first nomination) and 1977.  So, having another year without women in the Best Director category emphasizes, in my opinion, the Oscar’s long history of leaving movies directed by women out of the awards race.

Why We Should Stay Cautiously Optimistic About Aftersun, Women Talking And The Woman King 

So, with all that being said, I’m not sure if the films from Sarah Polley, Charlotte Wells and Gina Prince-Bythewood will get the recognition they deserve along with their male counterparts. However, never say never. Nothing is impossible, and there have been more movies from women included in the Academy Awards over the years. While things may look barren now, we really won't know if it will be another year without female directors being recognized until the Oscar nominations are announced. 

With that said I think it’s worth staying cautiously optimistic that these women will be recognized for their work. However, thinking about the 2022 awards season so far, and the history of the Best Director category specifically, I also think we’ll have to really cross our fingers for this year's ladies, and hope that more movies directed by women on the 2023 movie schedule are sure-fire contenders for next year's Academy Awards. 

Sarah Polley’s Women Talking will initiate conversations. The design of the film encourages debate, asking questions that might have answers, as well as those to which the answers aren’t so easy. And because Polley’s adaptation of Miriam Toews’ novel of the same name applies to many layers to its discussions, it’s possible to take the dialogue that’s handed to this fiery cast and apply it to problems that are not addressed directly in the movie. But that’s more of a thought experiment for after you have absorbed this deep and introspective period drama. Women Talking screened as part of the 2022 Toronto International Film Festival. 

Though it looks like it might take place during the Frontier Age on an American prairie, Women Talking in fact is set in 2010. After the women of a strict (but fictional) Mennonite community start to realize that they are being repeatedly drugged and raped by the male members of the religious sect, they meet in private in a remote hayloft to discuss their options. They believe they have three: Do nothing; stay and fight, or; leave the colony. Each choice comes with its own complications, and the women – all from different generations, with unique skin in the game – argue, analyze and hypothesize over the moral and practical steps that need to come following this horrifying realization. 

Women Talking is An Acting Showcase

Sarah Polley continues to draw spectacular, powerful, and richly human performances from her cast members (her 2006 directorial debut Away From Her made the absolute most of her leads, and counts as one of the best films released that decade). The three realistic options presented before the quorum of women are personified by specific actors. Claire Foy’s angry and resentful Salmone wants to stay in the colony and fight the men who have wronged them, even if she knows they likely will fail. Her daughter was raped by one (or more) of the men, prompting Salmoe to attack one suspect with a scythe, leading to an arrest… but little else. 

Mariche (Jessie Buckley) leans more toward leaving the colony, primarily because she’s in an abusive relationship with Klaas. And Ona (Rooney Mara) quite often plays Devil’s Advocate, provoking both Salome and Mariche with logical questions that need to be answered should the women come to a majority decision. 

These women lose themselves so deeply in their parts once Women Talking starts examining their wounds, especially when these religious women begin to argue the possibility of finding forgiveness for the men who have attacked them. These are deeply religious characters who possess legitimate fear that turning on their men, or refusing to forgive them, will mean that the women spend eternal life in Hell. Not forgiving someone of a crime sounds more serious than the crime itself. 

These are extremely complicated issues that Women Talking embraces, and you find yourself switching allegiances and swaying your own opinions based on how affective Mara, Buckley, or Foy might be in a given scene. The latter might be the picture’s MVP, because of the raw fire she injects into her performance. But honestly, the full ensemble is stellar (though in her latest movie the always dependable Frances McDormand doesn’t get as much to do, as she leaves the quorum early and only resurfaces late in the game). 

There Are No Easy Answers To Women Talking’s Questions

Sarah Polley’s adaptation is a ferocious analysis of the human condition. It’s overly analytical of the women’s state and status, twisting and bending legitimate moral questions to see if they stand up to scrutiny. One minute, you might be siding with a valid argument for the women to leave this colony. How can they stay when there’s no real protection for them from the fear of attack? But then the women take the conversation one step farther and ask, “What kind of community will we establish once we have left? And who can come? Children? What age? What about the kids we have to leave behind?” These problems need solutions, and they’re not easily unearthed. 

The women of Women Talking are fighting for nothing short of the right to exist, for the free will to live in a just society. But before they rush into anything, they are going to debate each possible bump in the road from every direction. Strange as this may seem, the structure and execution of Women Talking called to mind Sidney Lumet’s brilliant adaptation of Reginald Rose’s 12 Angry Men. Both movies take the necessary steps to prove how complicated it can be for various personalities to reach a fair consensus. But where Lumet’s protagonists argued on behalf of an accused murderer, Polley’s conflicted women are fighting for the right to, the need to, and the desire to evolve, to better their living situation, and to not fall victim to the status quo. Powerful stuff, indeed.

When it comes to zombie movies, there are so many films that fans can watch, from classics like Night of the Living Dead to newer tales like Warm Bodies. One of those films, Dawn of the Dead, a 2004 remake of the original George Romero 1978 classic, not only began Zack Snyder's career as a director, but established itself as another great addition to the zombie genre, becoming one of the best horror movies, in my opinion.

Of course Zack Snyder has done much more since his first ever zombie flick - including his latest hits like Zack Snyder’s Justice League and the Netflix original film, Army of the Dead. But, even so, there’s no denying Dawn of the Dead’s impact on zombie culture. But, since it’s been seventeen years since the film released, where exactly has the cast been? Like Sarah Polley? Or Ving Rhames and Ty Burrell? The Dawn of the Dead cast has been all over - here is what they are doing now.

Sarah Polley (Ana Clark)

As the lead in Dawn of the Dead, Ana Clark lost so much in just the first couple minutes of the classic horror film, but soon turned into a gun-wielding badass. Sarah Polley portrayed Ana in the film. She’s mainly stuck to television since then, with a couple of bigger films like Splice and The Secret Life of Words, and also had a role in the miniseries John Adams.

However, Polley has been a lot more active in the producing/writing/directing world. She directed the film Stories We Tell, and the web series, Hey Lady!, as well as an upcoming film titled Women Talking. She’s also produced the films A Better Man, Secret Path, and Alias Grace. I’m eager to see what the star of Dawn of the Dead might be bringing to the table next.

Ving Rhames (Kenneth Rhodes)

If you watched Dawn of the Dead, you had to like Kenneth. This no-nonsense cop who knew how to use a gun and had an attitude for days was the best type of survivor to be around. I can't imagine anyone besides the wonderful Ving Rhames playing him. Since his appearance in the zombie film, Rhames has been in a several films and TV shows, but his most notable role has been in the Mission Impossible series, playing IMF Agent Luther Stickell for all of the films, and is set to reprise the role in the two new Mission Impossible movies.

Ving Rhames also voiced Cobra Bubbles in the Lilo and Stitch films and television show, and has had several guest appearances on television. He had roles in the comedy-drama Gravity, as well as the medical TV series, Monday Mornings.

Jake Weber (Michael Shaunessy)

Michael in Dawn of the Dead was another great survivor that had a truly tragic end, but for the time he was in the film, he was one of the best members of the team. Jake Weber was the perfect guy to play Michael, and since his appearance in Dawn of the Dead, he’s been active in both film and TV.

His biggest film appearances have been in the action film White House Down, the drama Wetlands,and the war film Midway. He also appeared in the Angelina Jolie-led film, Those Who Wish Me Dead. In terms of television, Jake Weber had a series regular role on Medium for seven seasons, and multiple recurring roles, including the controversial series, 13 Reasons Why, the sci-fi series, Star Trek: Discovery, and the drama, Homeland, so there’s no denying that he’s been extremely busy since his zombie days.

Mekhi Phifer (Andre)

While Andre in Dawn of the Dead seemed like he had the street-smarts to survive, he ultimately met his demise after witnessing the death of his wife. However, that doesn’t mean that Mekhi Phifer, the man behind Andre, has had the same demise in his career. Quite the opposite, really.

For several years, Phifer was in the big screen young-adult dystopian series, Divergent, as Max. He was also in the science-fiction thriller film, Pandemic.

Moving into television, prior to his role in Dawn of the Dead, and after its premiere, Phifer starred in the medical series, ER from Seasons 8-14, playing Gregory Pratt. Mekhi Phifer has had guest roles and recurring parts on several popular shows, such as a guest spot on the comedy Curb Your Enthusiasm, a recurring role on Frequency, and a recurring role on Hulu's original coming-of-age series, Love, Victor.

Ty Burrell (Steve Markus)

Steve was someone that we all hated in Dawn of the Dead. I mean, how can you not? He was kind of the epitome of a jerk. Luckily, Ty Burrell is the complete opposite of that, and has had plenty of success since his role in the apocalypse film. His biggest so far has been portraying Phil Dunphy as a part of the Modern Family cast, for the entirety of its run, one he was nominated for several awards for.

However, besides his success in TV, Ty Burrell has done plenty of movies, like his roles in National Treasure 2, Marvel’s The Incredible Hulk, Pixar’s Finding Dory, and the animated film, Storks. Currently, he has a series regular role on the adult animated comedy, Duncanville. It’s almost strange to think that the same man who played Phil Dunphy also played Steve in Dawn of the Dead, but that’s what you call range.

Michael Kelly (C.J.)

I mean, C.J. was the literal worst until he wasn’t anymore - that spot was kind of taken over by Steve as the literal worst survivor in Dawn of the Dead. Michael Kelly, who played C.J. in the film, has moved into several different genres of film and television. In terms of film, he’s has roles in Changeling, Chronicle, DC's Man of Steel, the adventure movie Everest, and several others, and recently made an appearance in the Netflix original movie, Outside the Wire.

Kelly has also been active in TV. He had a role in miniseries Generation Kill, a minor recurring role in the HBO show The Sopranos, a main role in the Amazon original series, Tom Clancy’s Jack Ryan, and a recent role in the political series, The Comey Rule. Hopefully we get to see more of him soon, considering how much he has done.

Kevin Zegers (Terry)

Terry was always the odd one out of the mall security guards in Dawn of the Dead, and because of this, he was a much nicer addition to the group with a bigger heart who actually cared for people, unlike his co-workers. Kevin Zegers played Terry, and has been active since his role.

He’s had a couple of bigger roles in movies, such as a part in the romantic drama, The Jane Austen Book Club, the fantasy The Mortal Instruments: City of Bones, and the thriller, Nighthawks. Zegers also had a recurring role on the hit show, Gossip Girl, as well as a recurring role in the spinoff series, Fear the Walking Dead. Recently, he had on a main role in the crime drama, Rebel.

Lindy Booth (Nicole)

Okay, I’ll admit that at first, I wasn’t the biggest fan of Nicole because she seemed a bit wimpy, but we would all be her in Dawn of the Dead if our dog went out into a crowd of zombies. Lindy Booth portrayed Nicole in the film, and has done plenty since its premiere.

She’s had roles in the action film, Kick-Ass 2, the thriller Dark Honeymoon, and plenty more. She’s also had success in television, as well, including a main role on the dramas October Road and The Philanthropist, in the fantasy series, The Librarians, and a guest role in Grey’s Anatomy. Booth will soon be in an upcoming film, titled Butterscotch, so keep an eye out for her.

Jayne Eastwood (Norma)

Norma in Dawn of the Dead was my favorite character in the film. Not only was she a kick-ass driver, but she went out of her way to save people that she didn’t even know. Jayne Eastwood, who played Norma, has done plenty in Hollywood. She’s been in several films, such as the romantic comedy My Big Fat Greek Wedding and its sequel in 2016. She also had a part in the 2007 musical Hairspray, as well as the Netflix original film, Work It.

Eastwood has also had success in television as well, with several guest, recurring and main roles in shows like the animated series, Ricky Sprocket: Showbiz Boy, the comedy, Little Mosque on the Prairie, the supernatural series, Haven, and recently, the web series, Hey Lady!, as mentioned before, with Sarah Polley. Soon, she will be in a new version of Home Alone, so who knows? We might get to see Jayne Eastwood swing around a gun again at some home intruders.

Boyd Banks (Tucker)

While his role wasn’t that big in Dawn of the Dead, Boyd Banks’ Tucker was still an essential part to the group for the time he was there. Banks hasn’t been super active in movies since Dawn of the Dead, instead focusing a lot of his time in television.

He’s had a guest role in Testees, as well as the comedy series, Star Falls. He’s also had a recurring role in Hotbox, a Candian sketch comedy series, and appeared in Little Mosque on the Prairie, as well. He’s also had a role in the series, Bajillionaires, and is going to be in the upcoming film, All My Puny Sorrows.

With all these upcoming horror films lately, I’m going to need to check to see if any of these awesome actors are going to show up in some. Whatever the case, Dawn of the Dead will continue to be one of my favorite zombie movies, and now, you at least get the chance to see where these actors have been for so long.

Later this week, the mystery thriller The Gift arrives in theaters. Aside from getting fantastic reviews, the film also marks the feature directorial debut of actor Joel Edgerton. He’s helmed at couple of shorts, but this is his first go round in the big chair for a full-length movie. (Edgerton also wrote the script, but has more of a history with that side of things, including coming up with the story for the 2014 post-apocalyptic joint The Rover.)

With this release, Edgerton joins the long list of actors who have moved from in front of the camera to behind. As The Gift is getting high marks from critics (our own review gave the film four out of five stars) and looks like it’s going to wind up being well regarded, we thought we’d take the opportunity to look back and examine the directorial debut of some other actors who killed it their first time out of the gate.

Tom Hanks—That Thing You Do

After starting out in comedies like Bosom Buddies, Bachelor Party, and Splash, Tom Hanks went on to become one of the most celebrated actors in Hollywood. With multiple Oscars in his trophy case, just adding his name to your movie increases the prestige factor a few degrees. In 1996, he made his feature directorial debut with That Thing You Do (which he also wrote). Following a small town band on the road to success in the 1960s, the film turns a critical and satirical eye on show business, wrapped up in a light and fluffy story about friendship, and Hanks manages to skirt cliché and deliver a sweet, delightful debut. He only has one other directorial feature to his name, 2011’s modestly received Larry Crowne.

Robert Redford—Ordinary People

By 1980, Robert Redford already had 20 years of on-screen acting credits on his resume, but he had long harbored the desire to direct. Well, he got his chance with Ordinary People, a drama about the dissolution and disintegration of an upper-middle-class family, the Jarretts, after the death of their son. And what at debut it was. Not only was the film heralded as one of the best movies of the year, it walked away with a nice assortment of Oscar hardware, including a statue for Redford as Best Director. Though he continues to direct, and act in movies like All Is Lost and Captain America: The Winter Soldier, not to mention he founded the Sundance Film Festival, none of his subsequent efforts have topped that first one.

Charles Laughton—The Night Of The Hunter

Though it was not a critical or popular success when it was first released in 1955, Charles Laughton’s The Night of the Hunter has continued to grow in esteem and find new fans who recognize it as one of the most viscerally frightening movies of all time. Which isn’t bad considering that Laughton, making his debut behind the camera here, would never direct another film, though he did go on to appear in more, including Spartacus, before his death. With an influence that is still felt today, Hunter is a combination of Expressionist horror and film noir stylistics that still features one of the all time great villainous performances in Robert Mitchum’s Reverend Harry Powell.

Rob Reiner—This Is Spinal Tap

Starting off your career as a director with a movie that has become renowned as one of the funniest, most original comedies of its time, one that has spawned countless imitators, has to be a pretty good feeling. That’s just what happened to former All in the Family star Rob Reiner (he’s come so far from his days playing Meathead) and his initial foray into directing, the mock rockumentary classic This is Spinal Tap. The improv heavy movie follows over-the-top exploits of the eponymous hard rock act comprised of Christopher Guest, Michael McKean, and Harry Shearer, and though this was his first, Reiner has gone on to churn out beloved movies, including Stand By Me, The Princess Bride, and When Harry Met Sally, among others.

Dennis Hopper—Easy Rider

As an actor, Dennis Hopper was a countercultural icon, and his directorial debut, Easy Rider, showed the not-always-pretty, free-wheelin’, on-the-road lifestyle. A touchstone for an entire generation, and beyond, the image of Hopper, who also starred, and Peter Fonda living life on their choppers came to symbolize freedom. The film caught the attention of the nation and dug into the cultural landscape of the late 1960s, including the rise and fall of the free love generation, drug use, communal living, and the tensions that were at war within the culture at the time. Hopper would go on to direct notable movies like The Last Movie and Colors, and not-so-notable movies like Chasers (yeesh), but he would never again hit the same highs as Easy Rider.

Sarah Polley—Away From Her

Still likely best known for her acting roles in films like Go, Splice, and Dawn of the Dead, Canadian born Sarah Polley has made waves as a director. Her first effort, 2006’s drama Away From Her, based on an Alice Munro short story and chronicling the struggles of an older couple being torn apart by the effects of Alzheimer’s Disease, debuted at the Toronto International Film Festival, won tons of critical praise, and marked Polley as a director to keep in eye on. She followed that up with the dramatic comedy Take This Waltz starring Seth Rogen and Michelle Williams in 2011, and the acclaimed documentary Stories We Tell in 2012, which dug into the secrets and storytelling and mythmaking inherent in her own family. She has a long future ahead of her behind the camera, and we can’t wait to see what she does next.

Harold Ramis—Caddyshack

If you turn out just one movie as beloved as Caddyshack in a career, you’re doing pretty well. After all, we’re still watching Harold Ramis' debut and quoting it with our buddies 35 years later. However, the former National Lampoon and SCTV performer wasn’t done with his directorial output, not by a long shot, and though we lost him too soon last year, he left a trail of comedy classics in his wake. He followed up his Saturday Night Live alum-stocked golf comedy with National Lampoon’s Vacation, Groundhog Day, and more, not to mention that he also continued to act, showing up in movies like Ghostbusters (you may have heard of that one) and even small roles in recent films, including Knocked Up and Walk Hard, connecting with a whole new generation of comic filmmakers he helped inspire.

Kevin Costner—Dances With Wolves

Remember that year Kevin Costner won all the Oscars? Remember when his directorial debut, 1990’s Dances With Wolves, beat out Goodfellas for Best Picture? Goodfellas! And not only did Kevin Costner beat out Martin Scorsese for Best Director, check out the rest of his competition that year, you may recognize some of these names: Francis Ford Coppola (The Godfather Part 3), Stephen Frears (The Grifters), and Barbet Schroeder (Reversal of Fortune). Not only did Costner decide to direct his first film, he decided to kick everyone’s ass while he was at it. Though he made a splash right out of the gate, his follow-ups haven’t fared so well. In 1997 there was the post-apocalyptic mailman saga The Postman, which has largely been remembered as a punch line, and 2003’s western Open Range, which is a solid gritty genre picture, if not widely recognized. Fortunately for Costner, he still has his lucrative acting career to fall back on.

Danny DeVito—Throw Momma From The Train

Most recognized as an actor in the likes of Taxi, One Flew Over the Cuckoo’s Nest, and recently It’s Always Sunny in Philadelphia, Danny DeVito kicked off his new career as a director in 1987 with the blackly comic riff on Alfred Hitchcock’s Strangers on a Train, Throw Momma from the Train, in which he co-starred with Billy Crystal and the late, great Anne Ramsey. From there he went on to a varied career behind the camera with the dramatic comedy The War of the Roses, family film Matilda, and even the crime biopic Hoffa, not to mention the criminally underappreciated Death to Smoochy. Lately he’s mostly been directing shorts, though he does have a thriller called St. Sebastian in post-production, and we can always watch him as Frank on reruns of It’s Always Sunny when we need a fix.

Ben Affleck—Gone Baby Gone

Though he has gone on to greater success for helming The Town and the Oscar-winning Argo, Ben Affleck’s first feature film as director, 2007’s Gone Baby Gone, laid the groundwork for a successful side-career just in case that whole playing Batman thing doesn’t work out. And he got to put his little brother, Casey Affleck, in a movie. That has to earn him some points in the successful Hollywood version of a mother telling you to "let your brother play, too." The neo-noir crime story, based on the Dennis Lehane novel of the same name, Gone Baby Gone won a slew of awards, gathered near universal critical praise, and wound up on a bunch of best-of-the-year lists. Not only did it mark Affleck as a talent in a third area of filmmaking—in addition to his acting accolades, he also won an Oscar for writing Good Will Hunting—he used it as a stepping stone to even bigger things, including the upcoming Live by Night, another Lehane adaptation, and he’ll reportedly take the helm on an as-yet-untitled solo Batman film. Not bad for a kid from Boston.

It's been more than 20 years since Hollywood last took a whack at a big screen adaptation of author Louisa May Alcott's classic novel Little Women, but the time has come around again. A new version of the story is now in the works at Sony Pictures, and new reports have revealed that Sarah Polley has been assigned to write the new film.

This news comes to us from The Wrap, which adds that former Sony executive Amy Pascal is on board the project to produce. At this time, Polley is only attached to write the Little Women script and not necessarily direct, and an insider has said she won't even consider the helm of the project until after she has finished writing her screenplay.

First published back in the late 1860s, Louisa May Alcott's Little Women tells the story of four young girls - Jo, Meg, Beth, and Amy - who grow up with their mother while their father is away fighting in the Civil War. The period plot follows them from childhood to adulthood, and considered one of the great coming of age tales of all time. It was notably last brought to the big screen in 1994, when director Gillian Armstrong made an adaptation starring the likes of Winona Ryder, Gabriel Byrne, Kirsten Dunst, Claire Danes, Christian Bale, Eric Stoltz, John Neville and Susan Sarandon. Obviously that's a pretty crazy cast for this new version to compete with, but previous Hollywood adaptations have starred Katharine Hepburn (in the George Cukor-directed 1933 version) and Elizabeth Taylor (in the Mervyn LeRoy-directed 1949 version).

As pointed out in The Wrap's piece, it's interesting to note that this project continues a wave of female-led projects starting to be developed over at Sony Pictures. After all, this is the same studio that will soon be bringing us Paul Feig's all-women Ghostbusters reboot, and a Chloe Moretz-starring sci-fi film titled The 5th Wave. Little Women alone has three female producers attached - with Denise Di Novi and Robin Swicord working with Amy Pascal - a female screenwriter, and source material written by a woman.

While Sarah Polley has never directed anything really like Little Women before, it honestly would be fascinating to see her take on the material. Over the last decade she has proven herself to be one of the most talented female filmmakers working in the industry, as films like Away With Her, Take This Waltz and the documentary Stories We Tell were released to rave reviews in 2007, 2012, and 2013, respectively. She doesn't seem to currently have a project set up as her next movie to direct, so hopefully she'll feel positive coming off of the experience adapting Little Women and will get Sony to take a chance on her also helming it.

Earlier this month, John Green went from a YA Author to a serious force in Hollywood when The Fault In Our Stars, Josh Boone's adaptation of Green's widely loved novel, topped the box office with a whopping $48 million opening. And that's without the aid of major stars or giant nostalgia-driven robots. Naturally, it shouldn't surprise anyone that filmmakers are eying Green's other novels for inspiration, chief among them Sarah Polley.

EW reports Sarah Polley is now set to write and direct Looking For Alaska, a film based on John Green's debut novel of the same name from 2005. For his part, Green couldn't be happier about this development. He shared his joy on Twitter saying:

Looking For Alaska was not only Green's first novel but also his first New York Times best seller. At the center of this popular YA book is sixteen-year-old Florida native Miles Halter, whose decided in his junior year to switch from public school to boarding school, specifically Culver Creek Preparatory High School in Alabama. There he befriends a poor but brilliant classmate named Chip, and the mesmerizing and reckless dream girl Alaska Young. Young love, pranks, and growing up all play a part in Green's novel, and will likely be well-translated by Polley, who has shown a unique gift for vulnerability in her filmmaking.

For those unfamiliar with her, Sarah Polley is a Canadian actress best known for the Dawn of the Dead remake and the disturbing sci-fi thriller Splice. She helmed her first feature film in 2002, but gained major notice for her follow-up, 2006's Away From Her, which notably earned Polley a Best Screenplay nod at the Academy Awards. Next came the polarizing late-bloomer romance Take This Waltz, then the critically heralded documentary Stories We Tell, in which Polley blurred the lines of fact and fiction to tell the story of her own life and her mother's. Stories We Tell is now streaming on Netflix.

If Polley is able to tell Miles' story with half the grace and insightfulness that she managed in her last film, John Green fans will have plenty of reason to look forward to Looking For Alaska.

Thanks to Super Bowl XLVIII, there was not a new episode of True Detective last night. Girls and Looking moved to Saturday to avoid the big game but HBO's (not true-)crime story decided it best to skip this week altogether and just air the fourth installment, "Who Goes There," next Sunday instead.

There was, however, still some good True Detective related news this week with the network signing creator Nic Pizzolatto to a two year deal. It probably goes without saying that Pizzolatto inking with HBO means a second series of the anthology is all but guaranteed. So in the critically acclaimed show's absence this week, I thought of five directors who might be up to the challenge of taking over from Cary Joji Fukunaga. That is, if the network reinvests in the one director model after he departs at season's end. I think they should, the result speaks for themselves. Not that I know what any of these artist want to do with their time but some considerations came into play when selecting Fukunaga’s replacement. That’s why there are no big names like Darren Aronofsky or Christopher Nolan on the list even though they’d kill. And maybe they would do it but I picked these filmmakers because, on top of being perfect for the job, I think HBO could possibly nab them. Here are the five...

Michelle MacLaren

It's only a matter of time before Michelle MacLaren is off directing feature films so HBO should grab her for True Detective while they still can. The longtime television director has quite the resume, including several X-Files and the second ever episode of The Walking Dead, but is probably best known for her work as co-executive producer and eleven-time director on Breaking Bad. MacLaren was an integral part of the AMC drama, coming on board early and making an immediate impression with "4 Days Out" (S2, E9) before eventually being entrusted with Season 5's mid-season finale, "Gliding Over All," as well as the fourth last episode of the series, "To'hajiilee."

It might help her bid if Bryan Cranston and Aaron Paul signed on to be the True Detectives for the second season. The whole idea of the anthology is to allow big actors to partake in the passion project and perhaps the pair would relish the chance to work together again. I know we would. Oh, and it's probably worth noting that MacLaren already has an in at HBO since she recently finished filming her fourth episode of Game of Thrones. It's clear she can handle stepping into another hit show and I'd love to see her take on Pizzolatto's words.

David Gordon Green

The next filmmaker on the list also has an in with HBO since David Gordon Green was a consulting producer and director of twelve episodes of Jody Hill, Ben Best and Danny McBride's Eastbound and Down. Now, if you only know him from his work on the raunchy (albeit rad) series or his big Hollywood comedies like Pineapple Express and Your Highness (or aren't familiar with his name at all and just read these credits) then you're probably wondering why he'd be a great fit for True Detective. Well, all you really need to do is watch the trailer for Joe, his upcoming film starring Nicolas Cage and Tye Sheridan, to understand why I think he'd make a great director for the show's second season. In fact, those aforementioned broad comedies are probably not the best barometer of DGG's work with Joe as well as Prince Avalanche, another recent film of his (featuring Paul Rudd and Emile Hirsch), representing a return to form of sorts.

The director made a name for himself with small, compelling character or regional portraits like George Washington, All The Real Girls, Undertow and Snow Angels. Green's upcoming projects show a renewed interest in a bigger scale, working with Al Pacino on Manglehorn and Chris Pine for In The Line but perhaps he'll want to return to the small-screen after and bring a few of his stars with him? Rudd and Hirsch had wonderful chemistry. Or Cage and Pacino on their game? McBride would be an interesting choice. Maybe with Jonah Hill? As long as we all agree to pretend The Sitter never happened.

Bennett Miller

It might be hard to convince a two-time Academy Award nominee for Best Director to come to television, especially since his third film could be destined for the same fate, but Bennett Miller would undoubtedly produce an incredible season of True Detective. Miller got his Oscar nominations for helming Capote and Moneyball, two true stories that have little in common beyond being based on actual events. Well, as well as the talented filmmaker, the recently deceased Philip Seymour Hoffman and their impeccable quality. Hoffman would also have been a perfect fit for the series because, well, an actor of his caliber is a perfect fit for any project. Sadly, we won't see another collaboration between the two, not that it's important in the grand scheme.

Back to the list. Miller's next film is not only based on real events, again, but Foxcatcher, like Capote, also explores an actual crime with Steve Carell almost unrecognizable in the lead role. The director's affinity for true stories, probably born out of his documentary beginnings (The Cruise), fits the vérité feel of the present storyline of True Detective while his features also contain compositions as beautiful and haunting as any in Fukunaga's first season. Seriously, just watch the opening of Capote, the story behind "In Cold Blood," where Miller's camera explores the crime scene.

Sarah Polley

Similar to Bennett Miller, the next director on the list is not only an Academy Award nominee but has also dabbled in both feature and documentary filmmaking with great success. Sarah Polley worked with Atom Egoyan and David Cronenberg (and, uh, Zack Snyder) as an actress before going behind the camera and earning a Best Adapted Screenplay nomination for Away From Her.

Polley not only proved adept at handling serious drama but also directed the legend Julie Christie to a Best Actress nod. A snowy setting similar to Alice Munro's short story might be a prime location for the second season of True Detective. Don't worry, that's not the only or even a main reason why I think she should take over the HBO series. It's actually Polley's next two films that prompted the choice with Take This Waltz and Stories We Tell ('snubbed' by the Oscars for Best Documentary) working as interesting companion pieces that reminds me of the way the past and present are presented in True Detective. As far as I'm concerned, she could also star in the series or bring some of high profile stars like Michelle Williams to the small screen. Polley and Williams as partners would be pretty rad.

Ben Wheatley

Ben Wheatley, the last entry on the list, might be the least known director of the bunch but Martin Scorsese called his latest film, A Field in England, "audacious and wildly brilliant... a most original and stunning cinematic experience." The director has been gaining notoriety over the last few years thanks to almost universal praise for his bleak yet funny feature films, however, he's also no stranger to the small-screen having worked on a few weird and dark British comedies like The Wrong Door and Ideal (with a feature film adaptation of the latter next on Wheatley's schedule) before his latest hot streak.

Wheatley's Kill List is one of the most intense and scary movies I've seen in years while Sightseers is about as dark as a comedy can get and still be a comedy. Like I said, the director is quickly making a name for himself and it's only a matter of time before he makes his first A-List American project. HBO would be a great place to start if he can fit it into his busy schedule with on his adaptation of J.G. Ballard's High-Rise starring Tom HIddleston on tap. Not to mention a couple episodes of the new Doctor Who he's shooting. As for his potential stars, well, Hiddleston and Hemsworth would be amusing but I'm sure there are also several other actors and actresses in Hollywood itching to work with Wheatley. Especially if it's on something like the second season of True Detective.

True Detective returns with Episode 4, “Who Goes There,” on Sunday, February 9 at 9:00 p.m. ET on HBO. Created (as well as written) by Nic Pizzolatto and directed by Cary Joji Fukunaga, the series stars Matthew McConaughey, Woody Harrelson, Michelle Monaghan, Michael Potts, Tory Kittles, Alexandra Daddario, Elizabeth Reaser and Kevin Dunn.

Sarah Polley had a secret. She had kept it for years, at one point calling a Canadian journalist and begging them, through tears, not to run a story about it. But even years later, when she directed a documentary film and conducted dozens of interviews with her family and friends about this very secret… she kept it to herself. As Stories We Tell prepared to premiere at the Toronto International Film Festival last fall, only handfuls of people knew anything beyond the anodyne description of a documentary described in the festival guide as "a personal essay on the intractable subjects of truth and memory."

Now that the film is fully out there, having traveled the festival circuit for months and now arriving in theaters on a wave of critical acclaim (see theater listings here), Polley is free to talk about its central secret. The actress who doesn't do a lot of interviews, and who freely admits to usually hating them, has found herself as a kind of secret keeper all over again, as journalists and audience members moved by the film tell her their own family secrets-- as she told me when we met at a Manhattan hotel in April, "It turns out that film journalists have the most fucked up families in the world."

There's definitely something about Polley's movies that burrows under the skin, whether it's the restrained and elegant and devastating Away From Her-- her directorial debut, made when she was 28 years old-- or the brash and emotional Take This Waltz, which blew away some of us and infuriated others. The emotions of Stories We Tell aren't quite as intense as those in Take This Waltz, though the stakes are even higher, but preparing to talk to Polley about it requires fine-tuning your emotional antennas a bit, thinking not just about what you want to know from her, but how to speak to someone who is so consistently generous and insightful in the questions she's asked of her characters thus far. When I saw Stories We Tell at Sundance I tweeted "How I wish I could see humans, our foibles and our beauty the way Sarah Polley does."

And then, of course, I sat down with her, a woman not much older than me, who says "I think" often before making a declarative statement, and who still seems amazed that her extraordinary movie has affected anybody at all. It doesn't read like false modesty, though Polley also has a courage of conviction that not many of us do, following through with a wild idea about telling an old family story and making one of the year's best films in the process. It's still best not to know much about the story, or the secret at its center-- suffice it to say that Polley is investigating one of the most frequently re-told stories in her family's history, one that has her at the center and one that has many, many conflicting versions of the truth. If you haven't seen the film yet I'd recommend avoiding this interview, not only because it gets into some reveals that are best hearing yourself, but because it's way more satisfying to hear about the creation of something after you've experienced it on your own first.

When asked recently to list my top 10 directors who had started their careers since 2000, I chose Polley as my #1. As you can imagine, I had a hard time looking through this interview and cutting out many of her responses-- but if you've seen Stories We Tell, I'm betting you're in the same position I was, simply wanting more from the deft, compassionate mind that had created it.

An online review of this suggested you used the word "interrogation" to describe the film because it implies that something is supposed to fall apart. Was that in your mind?

No, I think that actual full line, which I cut half of it, was like I was just joking with my dad and I said, “Dad, this isn’t actually a film. It’s an interrogation. It’s like the Canadian Guantanamo." And we just took out the Guantanamo part because it wasn’t really that funny.” But, I mean, I think it is what it became. I was so desperate to sort of find some kind of truth, to kind of look through all the different lenses I could at this story to find some kind of essence to hang onto or something tangible, and that was such an impossibility. So, I think that in the end, it started to feel like that, like I was interrogating people.

Did you feel bad about that? Interrogation implies kind of negative thing to people that you love.

No, I mean I think I was always full of self-doubt throughout the making of it. I think that it’s a crazy thing to embark on to be asking your family to sort of open up and talk about things that have been buried for so long publicly, so I don’t think I ever was fully comfortable with the project I’d set out to do.

You said it took you five years to make and the you took the break to make Take This Waltz just to get away from it?

It was a very claustrophobic process and there were very few parts of it that I actually enjoyed. I mean, it was really rewarding and a lot that I felt grateful for, but it wasn’t fun, that’s for sure.

There’s clearly an openness in your family, but you’re asking people tough questions that are hard to ask anybody, much less loved ones. Does having directed films give you the skill set you needed to be able to ask those questions of your family?

I think so. I mean, I think that my family is a family that likes talking about the unspoken, likes breaking taboos, that likes pushing the envelope of what’s OK to say and what’s not OK to say and I think all of us are like that to some degree both in our private and our professional lives, so it wasn’t hard to ask them to do this in the same way it might have been with another family, which isn’t to say they didn’t have reservations about it.

You've said that you didn’t do the voice of God narration from your own point of view, because it seemed beside the point. But from the outside, it seems like your point of view is totally central! Why did you think it didn't matter?

I think because the idea of the film is about many different versions and of all of those versions of the same story being treated with respect and without judgement and being given room. If I were to interject my own version voiceover or put out my specific story, in a film I was already making, it would have automatically overridden everybody else’s voice. I think it would have really subtracted from the mess of everybody telling their story to have one clear story that the filmmaker is then telling. I think it would have been disrespectful to all of the other people in the film.

But you also have your dad reading his version and that is kind of the strongest through-line to the whole thing. He has the first word and the last word. Are you kind of privileging his point of view in a way?

I don’t think so, because there are big parts of the story where he isn’t speaking at all. For instance, the part of the story that’s about Harry and his affair with my mom. I mean, that’s almost exclusively told by Harry and that’s his story to tell. But the film did in the end, the through-line we found that worked the best, was this idea of my dad using this as an opportunity to begin writing and to begin telling his story and reexamining his life. So, it made sense to give the film that spine.

With the reenactments, how much of it do you expect us to go along with in thinking that they are real? Do you want everyone to kind of gradually think about it until the reveal happens near the end? Do you want us to buy into them completely?

I didn’t really have an agenda, to be honest. I felt like I wanted people to wonder what was real and what wasn’t at various points. I think I was surprised that some people didn’t know until the end. I wanted there to certainly be a question in people’s minds if what they were seeing was real or fake, but I didn’t have a specific moment that I wanted that to be revealed expect obviously when I show myself behind the scenes.

Why did you want us to wonder what was real and what was fake?

I guess I wanted the audience to have an experience that mirrored my own, when you’re looking into the past and you’re hearing stories and getting new details. It’s very hard to know what to hold onto, especially when some of those details are conflicting. It’s very hard to know what’s imbued with nostalgia and what is really authentic, and I guess I wanted the audience to have those same questions with what they were seeing and to constantly be aware that the film was being constructed and that this isn’t some objective truth. You’re not going to walk out of this film with any answers about what actually happened. It’s simply a collection of versions of the same story.

You talk about your mom’s acting career so much, but the film doesn't talk about your acting career very much at all. When it was just you and your dad, when you were 11, you were acting and you were on television, you had this whole career, but you don’t really talk about how her career reflected yours?

Yeah, I guess I feel like there are so many things in the film that I felt could have been relevant that had to go. I had 200 hours of footage, so there’s actually all kinds of sidebar stories that have a lot of resonance, I think, but if they didn’t feel like they were really integral to the story that was being told, I left them behind. And certainly, my acting career felt like, in a way, who cares? Do you know what I mean? I feel like there is a certain parallel between her and me there, but there are probably lots of others as well that I didn’t include. So, that was something that felt like also put the film in real danger of being really self-indulgent. Know what I mean? Like, “Oh, and also I want to talk about my career and my work.” You know? Like, what kind of jerk makes that movie?

You are clear about a lot of moments of uncertainty throughout the movie, asking yourself “What am I doing? Why am I putting this out there this way?” It doesn’t seem like you ever really did resolve that. I mean, you still don’t know if it’s self-indulgent.

Absolutely, yeah. I mean, I think that you’d be a lunatic to not have major questions about why you’re going to make something so personal and put it out there. So, I don’t know if I’ll ever feel like I fully understand why I did this, except that this part of the process, in terms of actually talking about the film and putting it out there and getting to talk to people about it, it’s like the first time I’ve really enjoyed the process. Because it feels like it’s an extension of the film itself, getting to hear different perspectives and the different questions that arise. It feels like everybody has seen a totally different film and that for me was kind of part of the point of making it.

Well, looking at interviews you did with Take This Waltz, it’s interesting how you rejected people trying to make it autobiographical.

I think that’s what was so frustrating with Take This Waltz. I knew this film was coming out in a few months and I couldn’t say it, because I was keeping the film secret until them. It was kind of like, “Dude, I promise you if I make something autobiographical, it would be so obvious.” It was so frustrating to combat that.

In the film you ask the journalist not to reveal the story personally, because you have really good reasons for your dad, but then right before the film came out, you were keeping the story secret for the sake of the audience, like Hitchcock not wanting to spoil the ending to Psycho. It was a whole different reason for keeping the story secret.

I never thought of it that way but you’re totally right. I think that what happened is I spent five years making this film and it was specifically so that I could have some control over the way the story would be told, not some journalist who had no personal connection to me and then all of a sudden, it was just going to be written about, like what was the point of the five years? Then I became really obsessive about, like no, I want the film to be the way people find out the story.

Do you feel like if you had your druthers, you would have left it like that and not done any interviews.

I think it would have been great. I just don’t think it would have been a fair thing to do and I think it was precious enough to say, “I’m not doing any interviews before the film.” I mean, I think that’s a precious a pretty precious stance.

You’re not Terrence Malick basically.

Exactly and I was pretty lucky people weren’t a lot grumpier about that. I think I was pretty resigned to the fact that I’d be doing interviews and it’s actually kind of been a pleasure. People have really weird stories. It turns out that film journalists have the most fucked up families in the world. Some of the stories are like, holy shit. It makes this story look like the most boring story of all time. I’ve heard stories that give me nightmares at night.

Oh my God. So you’ve been like a therapist.

I know... I definitely feel like, people have gotten a lot off their chest

You said for Take This Waltz, you wanted people to see themselves reflected in it and people totally did, because people went crazy about hating or loving it. Was that a direct goal for you in this as well? It’s such a specific story, but it’s obviously it’s universal if people are telling your their stuff.

The idea was to make not so much a film about myself and my family, as to make a film about why we tell stories and why we need to find the truth in the past and if that’s even possible. l always hoped that would resonate for people in terms of their own lives and their own family stories, but it’s very hard when you look at a film you made that’s so personal to actually have any sense of what other people are going see in it. I watch it and quite honestly I’ll go, “How could this possibly speak to anybody?”

Well, how does that feel compared to your first two movies that are less personal, but it’s the same thing where you’re inside something and you can’t know what people are doing. Is it a similar process of getting outside of it enough to finish the movie?

Yeah, although I feel like with those films I had a better sense of what they were like. Do you know what I mean? With this film it’s very hard to even know what it is when I watch it myself.

What is the feeling when you are standing on set with an actress you have hired to play your own mom?

It makes you feel like you’re having a very expensive nervous breakdown and you’ve involved way too many other people, like other people are being paid to help your nervous breakdown be more elaborate than it should be. It’s totally crazy. It felt like the most self-destructive, crazy nightmarish thing.

Did it ever feel good though, putting yourself in some scenes that you wouldn’t have been in?

Not really. It felt really good when it was over. I have to say it was kind of like the best feeling in the world when it was over, like I’ll never stop feeling free and light as air. That feeling has extended itself for over a year now, just being so happy it’s done.

You said that a critic had told you that your second film was going to be a disappointment, so you could do whatever you wanted. What is that sense of freedom on this, now you’ve made not just your second film, but a third film that’s so personal.

I think in a way I’ve been mining the same territory in those three films and now I’m kind of free to do something totally else. The next film I’m going to make is Alias Grace, based on Margaret Atwood’s book. It’s such a departure and I think that’s sort of where I end up, somewhere totally new and talking about different things and who’s know if I’ll be good at that or not. I have no idea.

It’s very clear that each movie that you do, you pivot to something else to do something different. Take This Waltz and Away from Her are stylistically different even though the themes are the same. It seems like you do seek out a sharp difference from the last thing you did.

I think so. I think it will be many, many years before I’m an experienced enough filmmaker to have a very specific voice that’s recognizable and maybe I’ll never have that. Some of my favorite filmmakers don’t have that all. So, yeah, I would hope that I’m sort of mining different territory now.

Do you feel like avoiding a specific voice keeps you from chasing other peoples' expectations?

Yeah and I also think that at some point you’ll probably get tired of your voice even if it’s a brilliant one. Even if you have a voice that other people don’t tire of, you’ll probably tire of your own, if it’s not evolving and changing.

When people come up to you and say, “Your films are about marriages.” Do you shirk from that?

Not at all because it’s true, and it’s like, I have lots of other ideas, I just don’t go through with them, so there must be something about that subject matter that’s really important to me or unresolved or fascinating and I think there are. I think that’s just true. That’s just fact. That’s what I’ve been interested in more than anything.

Away from Her got this universal wave of praise, because it was your first film. Then Take This Waltz and then this too got very sharper conversations, like everybody talks about it in a very different way. Is that satisfying for you, like do you need to get away from everybody embracing something and fighting a little bit more?

Take This Waltz was a fantastic experience from that point of view, because people really saw such different films in that film.

I’ve gotten in a lot of fights about that movie.

People love it or hate it and I kind of agree with both of them. I mean, I see what’s good about it, but I also see what to hatable about it. I’m actually not sure as an audience member where I would have fallen on that debate if I hadn’t made the film. I mean, I can completely see, the criticisms of that character that drive people crazy, I can’t disagree with. I think what I disagree with in the criticisms is what my intentions were. I didn’t intend for us to like her all of the time and I think that as a female filmmaker people assume that you’re on her side and you’re totally sympathetic. But people create unsympathetic male characters all the time and you don’t think, “Oh, they were trying to get me to love him, but they failed." I do feel like there are issues people have with that film that I don’t disagree with and yeah, I could think of defenses for them, for sure, but I don’t feel that passionate about needing to.

In 2011 Seth Rogen's career took a major step forward. While the actor came up doing raunchy, R-rated comedies, he switched things up with Jonathan Levine's 50/50, which he not only co-starred in but also produced. It was a change of pace for Rogen, not only in that it was a supporting role, but in that it was much more dramatic and heartfelt than his previous work. It likely won't change him as an actor completely and there's a very good chance that he will keep making R-rated comedies for the rest of his career, but it does open previously locked doors for him. Take, for example, Sarah Polley's Take This Waltz, an indie that premiered at the Toronto International Film Festival and, like 50/50, balances both the light and the dark. Now you can take a look at the movie for yourself.

The first trailer has popped up on YouTube and now you can check it out below.

The sophomore effort from Polley, who broke out in 2006 with the Oscar nominated Away From Her, Take This Waltz centers on Margot (Michelle Williams), a conflicted young woman. While she's been married to Lou (Rogen) for five years and they have a happy relationship, she goes on a business trip and meets Daniel (Luke Kirby), an artist who, coincidentally, lives right across the street from her and Lou. The story chronicles Margot's struggle to balance and figure out how to live life being in love with two different men. The film will be in theaters in limited release come June 29th and you can see more from the film in our Blend Film Database.

Sarah Polley can do it all. An accomplished actress, writer and director, the Canadian artist has already been nominated for an Academy Award for her debut feature Away From Her, a wonderful adaptation of Alice Munro's short story "The Bear Came Over The Mountain." While her second feature, Take This Waltz, is finished and scheduled for release late next year, THR reports that Polley has just announced plans for her followup, an adaption of Margaret Atwood's "Alias Grace."

The new project seems like an excellent fit for the writer-director, being another adaptation of a seminal Canadian author. Atwood's "Alias Grace" is a work of historical fiction that traces an 1843 double murder at an estate in Upper Canada. The story is told from the perspective of Grace Marks, the 16 year old housemaid convicted of killing Thomas Kinnear and housekeeper Nancy Montgomery. Sounds like a great story, especially with the unique point of view of the young female killer. The book won the Giller Prize in Canada and was also shortlisted for the prestigious Man Booker Prize for Fiction, so you know that the source material if of the highest quality. I think Sarah Polley is one of our more promising young talents and I can't wait to see what she does with the period setting, the grisly murders and the aforementioned unique point of view.

For Away From Her, Polley was nominated for the Academy Award for Best Original Screenplay (and the lead, Julie Christie, for Best Actress) and I wouldn't be surprised Take This Waltz lands a few nominations next year as well. I saw the film at the Vancouver Film Festival and found it whimsical, gorgeously photographed and very emotionally resonant. Michelle Williams delivers another great performance as a conflicted married woman, unsure if the grass wouldn't be greener with her new neighbour played by Luke Kirby. It would come as a surprise to not see Michelle Williams' name on Oscar ballots next year. And seeing another one of Polley's female leads get an Oscar nomination would certainly make the Grace Marks part in Alias Grace pretty enticing for any young actress, if it isn't already.

For more on Take This Waltz, see how it factors in our Most Anticipated Films of 2012.

Sarah Polley is as a director, known for female-centric indie movies about women, and her next movie Take this Waltz fits into this mold… except without the usual independent movie cast. Michelle Williams is the movie’s lead, and indie movies are her cup of tea, but also in the cast are Seth Rogen and comedienne Sarah Silverman. Not exactly your arthouse theater typicals. But apparently Polley’s put her indie cred to good use on Sarah Silverman, and has her talked not only into doing indie movies, but into getting naked in the name of art as well.

Talking to Moviefone Silverman recently revealed that Take this Waltz will play host to her first nude scene, which she doesn’t think you’ll enjoy at all. She says, “I go totally naked… Full frontal. It's going to be awful. It's so not pretty.” So why’d she decide to do it? Sarah explains, “Sarah Polley is so f--king cool. So kind. She knows exactly what she wants, she knows how to get it.”

Take this Waltz is a dramedy, which explains the strange mix of Michelle Williams seriousness and Seth Rogen/Sarah Silverman hilarity. Williams plays a woman forced to choose between two kinds of love and Sarah, well here’s how our own Katey Rich explained the part she believes Silverman will get when she took a look at the movie’s script a couple of months ago:

Yep, that sounds like a Sarah Silverman nude scene in the making to me.