Toni Collette

Preview: The 45th Chicago International Film Festival, Week Two

BrianTT — Wed, 14 Oct 2009 09:41:14 -0600

CHICAGO – The second week of The 45th Chicago Film Festival kicks off tonight (or tomorrow depending on how you look at the fest that runs from the 8th to the 22nd) and the upcoming weekend features just as much and arguably more interesting films unspooling at the AMC River East than the first. Highlights include one of the best animated films of the year, a bittersweet romance starring two living legends, a remastered classic, and works from a few of the best voices in international cinema today.

We’ve worked our way through dozens of films this year, but even we couldn’t get to all of them and a few weren’t even shown in the screening room in time for our deadline. So this week’s CIFF preview works a little differently. The first page features the best of what we’ve seen. Take our word. These are worth your time. The second page features films we didn’t get to or weren’t offered but that we’re hoping to catch up with soon. Maybe we’ll see you at the theater this weekend.

The top tier of second week offerings includes, not necessarily in order, a remastered print of Alfred Hitchcock’s “North by Northwest,” Adam Elliott’s “Mary and Max,” Nicholas Fackler’s “Lovely, Still,” Francois Ozon’s “Ricky,” Carlos Carrera’s “Backyard,” Andrea Arnold’s “Fish Tank,” and Maria Prochazkova’s “Who’s Afraid of the Wolf?” With films from the United States, Australia, Mexico, United Kingdom, and the Czech Republic, the second weekend truly displays the international flavor of the fest.

Second week offerings we couldn’t get to but want to see (synopsis and play date info on page two) include, once again in no particular order, Lukas Moodysson’s “Mammoth,” Lee Daniels’ “Precious: Based on the Book ‘Push’ by Sapphire,” Tsai Ming-Liang’s “Face,” Hirokazu Kore-eda’s “Air Doll,” Tom Ford’s “A Single Man,” and the Closing Night film, Jean-Marc Vallee’s “The Young Victoria”.

Mary and Max
Photo credit: The Chicago International Film Festival

“Mary and Max”
October 18th, 6:15pm
October 20th, 6pm

Very few films this year, inside or out of the film festival, will connect with viewers as completely as the lovely “Mary and Max,” a claymation film with grown-up themes featuring voice work by Phillip Seymour Hoffman and Toni Collette. The latter voices Mary Dinkle, an Australian girl with an alcoholic mother and a distant father. She’s lonely, pudgy, and confused about the way the world works with no one to guide her. She randomly grabs an address out of a New York phone book and sends a rambling, inquisitive letter to Mr. Max Horowitz (Hoffman, doing some of the best voice work in the history of the form), a 44-year-old obese, lonely man who happens to have Asperger’s Syndrome. The two form a bond over hundreds of miles that lasts decades and literally shapes the course of their entire lives. Shockingly moving without ever being manipulative, “Mary and Max” is a thing of absolute beauty that will, sadly, probably never play on the big screen in Chicago outside of this weekend. Don’t miss it.

Lovely, Still
Photo credit: The Chicago International Film Festival

“Lovely, Still”
October 17th, 5pm

I’m torn about my response to the overall film that is the poignant “Lovely, Still,” but it undeniably features two of the best performances to come out of this year’s fest from living legends Martin Landau and Ellen Burstyn. Landau is in town for the fest to support a remastered print of “North by Northwest” (more on that below) and he also brings a 2009 film. Think about that for a minute. Unlike a lot of actors, Landau isn’t just relying on his classics. He’s seeking out new, challenging roles, and he gives one of his best performances in a long time as Robert Malone, a man who comes home one night to find a stranger (the still-luminous Ellen Burstyn) in his living room. The two form a sweet, beautiful relationship, seemingly proving that love knows no age. The final act of “Lovely, Still” features a twist that I feel is a little cheap, using something serious in a manipulative way. Storytelling problems aside, Landau and Burstyn do more with one conversation over dinner than most actors do with an entire script. Their work alone warrants a look at “Lovely, Still”.

Ricky
Photo credit: The Chicago International Film Festival

“Ricky”
October 14th, 4pm
October 20th, 5pm

Francois Ozon (“Swimming Pool,” “8 Women”) is an acquired taste. Some love his quirky, cinematic approach to storytelling. The only thing you know for sure going into an Ozon film is that it’s not going to be predictable or dull. And that’s enough for me to love the guy and his work. Earlier this year, Ozon’s “Angel” unspooled at the EU Film Fest and now it’s followed by a clear bookend. Ozon follows a lavish, romantic production called “Angel” with a realistic, darker film about an actual angel called “Ricky”. Featuring great performances (including Sergi Lopez of “Pan’s Labyrinth”), the title character of “Ricky” is a baby who miraculously sprouts wings. Yes, images of a baby circling a grocery store are ridiculous, but there’s something so unique about Ozon’s vision of finding the fantastic in something as mundane as the start of a working class family. “Ricky” is certainly flawed - it feels oddly incomplete and might have played better as a short film - but there’s too much here that works to ignore the film. Like most Ozon.

North by Northwest
Photo credit: The Chicago International Film Festival

“North by Northwest”
October 18th, 5pm

If we need to tell you why a remastered print of “North by Northwest” is a film festival highlight, the sky is a different color in your world. One of the most influential and straight-up enjoyable thrillers ever made, Hitchcock’s film is being released on Blu-Ray on November 3rd (we’ll have a review for you around then) and this screening serves as a prelude to that HD release. It’s the 50th anniversary of this Oscar-nominated thriller that will be accompanied by a retrospective conversation with Martin Landau and Hitchcock historian and biographer John Russell Taylor. Meticulously restored and remastered for this release with Warner Bros. Motion Picture Imaging scanning the original VistaVision production elements in 8K resolution, the resulting presentation reveals a depth of field and clarity never before possible, serving to heighten every thrill-packed moment. We haven’t seen the new print or the Blu-Ray yet, but we’ve seen the movie plenty of times and it’s inclusion in the fest is an undeniable highlight.

Backyard
Photo credit: The Chicago International Film Festival

“Backyard”
October 15th, 6:30pm
October 16th, 9:15pm
October 20th, 3pm

From a classic to a dark, Mexican film that will rattle everyone in the audience, Carlos Carrera’s “Backyard” is a brutal, vicious experience, one that could have as many theater goers running for the doors as the controversial “Antichrist”. The scary thing about this accomplished thriller is that it’s all true. The director of previous fest entry “The Crime of Father Amaro” returns with an expansive, challenging, dense film about the value of life on the border. The fact is that in an area of the world where human beings are basically seen as worthless - used for sex or drug trafficking - women have it worst of all. In the border town of Juarez, literally hundreds of women have gone missing or turned up dead in the desert in the last decade. “Backyard” is a shocking, disturbing true story of a new police captain (Ana de la Reguera) determined to stop the savagery on the border and learning that it runs much deeper than anyone imagined. Jimmy Smits also stars in this film that can sometimes get too complex, runs too long, and is literally hard to watch at times, but it’s an ambitious dark movie unlike any other at this year’s fest. It’s a downer, the emotional opposite of “Mary and Max,” but it’s a well-made one about an important true story.

Fish Tank
Photo credit: The Chicago International Film Festival

“Fish Tank”
October 14th, 8:40pm
October 15th, 6:15pm

If you don’t yet know the name Andrea Arnold than you probably haven’t seen “Red Road”. You should correct that as soon as possible. Arnold follows up that amazing debut by shattering the sophomore slump and telling another dark story of the working class in England. Arnold is one of the most important voices in British cinema today, winning the Oscar for her great short film “Wasp,” and now delivering two nearly-perfect dark dramas. “Fish Tank” stars Katie Jarvis, giving an amazing debut performance, as Mia, a girl bored with life in her very rough Essex housing project. She’s emotional, alienated, and unlike anyone around her. She’s drawn to her mother’s charming new boyfriend Connor (Michael Fassbender, so great in “Hunger” an “Inglourious Basterds” earlier this year). Arnold continues to walk the line between social realism and riveting filmmaking. She’s only made two-and-a-half films, but her output so far is good enough that whenever she brings a film to the fest, it should be considered a highlight.

Who’s Afraid of the Wolf?
Photo credit: The Chicago International Film Festival

“Who’s Afraid of the Wolf?”
October 16th, 5:45pm
October 17th, 4:00pm
October 20th, 4:15pm

We thought we should end the highlight section of our coverage of The 45th Chicago International Film Festival with a film that represents a very important part of the film fest experience - exposure to work from a country that you may not see again and a film that probably won’t play in Chicago outside of this weekend. Even Facets and Siskel don’t program a lot of films from the Czech Republic, although their film industry seems to have been more vibrant in recent years (they played a major role in EU Film Fest earlier this year). Director Maria Prochazkova brings her fantastical fairy tale for all ages to the fest and it’s a flawed-but-fascinating work, a movie that displays as much imagination behind the camera as its young heroine does in the film itself. Young Terezka is at that age where parents start to get real confusing and she starts to basically imagine her life as a scary Grimm’s fairy tale. Her imagination runs wild and the resulting film is a sometimes delightful display of the importance of listening to international voices.

Click on to page two for some “unseen but intriguing” highlights and stay tuned to HollywoodChicago.com for continuing coverage of the 45th Chicago International Film Festival.

‘30 Rock,’ ‘Mad Men’ Lead 2009 Emmy Award Winners as Best Comedy, Drama

BrianTT — Sun, 20 Sep 2009 21:04:35 -0600

CHICAGO – Neil Patrick Harris hosted a joyful edition of the 61st Primetime Emmy Awards on Sunday night, September 20th, 2009, at which AMC’s “Mad Men” and NBC’s “30 Rock” were the big winners with Alec Baldwin, Jon Cryer, Kristin Chenoweth, Toni Collette, Cherry Jones, Michael Emerson, Glenn Close, and Bryan Cranston walking away with the major acting awards.

Harris opened with a musical number that could have been called “Put Down the Remote”. It kicked off a show that was surprisingly buoyant and well-paced. After hosting the Tonys and now the Emmys, the Oscars may want to consider giving the best host that awards shows have seen in a long time a call. After the number, Harris spoke of his love for TV, something that served as a theme for the entire night.

For the first time (and hopefully not the last), the show was split up by genre, handing out all the awards for comedy programming first. (Although it was kind of a cheat with the big award, Best Comedy, being saved for the end of the night. Just the acting, writing, and directing awards were presented early.)

The night started on a fantastic note as the wonderful and highly underrated Kristin Chenoweth won Best Supporting Actress for “Pushing Daisies”. It’s too bad the show is off the air. Nice job, ABC. Chenoweth joked, “I’m unemployed now, so I’d like to be on Mad Men.”

Harris and Kevin Dillon were robbed for the next acting award, Best Supporting Actor, which went to Jon Cryer for “Two and a Half Men,” after several consecutive nominations and straight losses to Jeremy Piven for “Entourage,” who was surprisingly not even nominated this year. With Chenoweth and Cryer both being unpredictable winners, the stage was set for an upset in several categories.

And it continued. Justin Timberlake, who had won the Outstanding Guest Appearance in a Comedy for his work on “Saturday night Live” presented the next award, Best Actress, to another surprising winner, Toni Collette for Showtime’s “United States of Tara”. Three acting awards and no winners for multi-nominated “30 Rock” was a surprise at this point in the evening, as most critics and TV writers expected Tina Fey to win here.

Best Actor in a Comedy looked like it might be where “30 Rock” picked up its first acting Emmy for its most-nominated year, but would previous winner Tony Shalhoub or beloved newcomer Jim Parsons steal the trophy? Of course not. No one can stop Alec Baldwin, who said “I’d trade this to look like him” in reference to his award’s presenter, Rob Lowe, and then honestly thanked Lorne Michaels for believing in him.

The reality awards began with Jon Cryer and Hayden Panetierre giving the Emmy for Best Reality Host to Jeff Probst for “Survivor”. Best Reality Competition Program went to “The Amazing Race,” a consistent winner in the category.

The Mini-Series and TV Movie categories were next and Kevin Bacon & Kyra Sedgwick kicked off the section of the evening by presented Best Supporting Actress to Shoreh Aghdashloo for “House of Saddam” and Best Supporting Actor to HBO’s great “Grey Gardens”. He jokingly said “I’ll make my speech as brief as possible in the hope that it won’t be interrupted by a Congressman or a rapper.”

Other Mini-Series and Movie winners included Brendan Gleeson for “Into the Storm” and Jessica Lange for “Grey Gardens” in the acting categories. The winner for Made For Television Movie was HBO’s “Grey Gardens” and “Little Dorritt” took home the prize for Outstanding Miniseries.

The dramatic awards started with a surprising and well-deserved win by Michael Emerson as Best Supporting Actor for “Lost”. The winner for Outstanding Supporting Actress in a Drama Series went to another shocking choice, Cherry Jones for “24”. That’s where the surprises stopped, as the final hour of the evening went relatively predictably.

Ellen Burstyn and Michael J. Fox had previously won awards for Best Guest Appearance in a Drama and presented Best Directing to Rod Holcumb for “ER”. The winner for writing went to, of course, “Mad Men” and its scribes Kater Gordon and creator Matthew Weiner.

Lead Actress in a Drama Series went to the fantastic Glenn Close for “Damages,” predictably repeating her win from last season. Lead Actor in a Drama Series was also a repeat from last year with Bryan Cranston taking home the Emmy again for his work on AMC’s “Breaking Bad”.

Finally, the two big awards of the night went, rather predictably, to “30 Rock” and “Mad Men”. A night that started with a few shockers finished with four winners repeating from last year. Congratulations to all the winners and good luck to everyone thinking of toppling Close, Cranston, “30 Rock,” and “Mad Men” next year.

By BRIAN TALLERICO
Content Director
HollywoodChicago.com
brian@hollywoodchicago.com

Toni Collette Shines on Intriguing ‘United States of Tara’

BrianTT — Tue, 13 Jan 2009 14:39:28 -0700

Television Rating: 3.5/5.0

CHICAGO – Writer Diablo Cody, the Oscar-winning scribe of “Juno,” Executive Producer Steven Spielberg, and the Oscar-nominated actress Toni Collette have joined forces for the impressive and intriguing “United States of Tara,” airing this Sunday, January 18th on Showtime.

“United States of Tara” displays the fingerprints of three primary creative forces - the snappy dialogue of Cody, the unbelievable range of Collette, and Showtime’s creative impetus to bring us people living outside the norm but hiding in plain sight. Nancy Botwin on “Weeds,” Dexter Morgan on “Dexter,” Hannah/Belle on “Secret Diary of a Call Girl,” and Tara Gregson on “United States of Tara” may look like you and me but they live distinctly abnormal lives.

Toni Collette as Tara in United States Of Tara.
Photo credit: Nigel Parry/Showtime

What makes Tara Gregson’s (Toni Collette) life so unique is that she isn’t alone inside her own body. As so many kids have said, “Mom’s just not herself today.” But in Tara’s life, it can be sadly true. Tara has dissociative identity disorder. There are three personalities that often come to the forefront and take over the lives of Tara and her family - “T,” a teenager fond of thongs and drugs, “Buck,” a beer-swilling Vietnam vet prone to violence, and “Alice,” a housewife straight out of a 1950s advertising campaign.

Toni Collette as Tara and John Corbett as Max in United States of Tara.
Photo credit: Nigel Parry/Showtime

Like a lot of people with DID, Tara’s personalities take over in time of great stress or crisis and most of her family have gotten used to the “other people” living in their house. In the premiere episode, when Tara finds morning after pills in her daughter’s bag, mom understandably freaks out a bit and “T” takes over. Later, when force is called for, “Buck” makes an appearance. I’m not sure that people with real DID use their personalities in such a functional or practical way, but it definitely makes for interesting drama.

The family forced to deal with the “United States of Tara” include Max (John Corbett), her loving and supportive husband, Kate (Brie Larson), her rebellious daughter, and Marshall (Keir Gilchrist), her kind-hearted and intellectual son. Tara’s insecure sister Charmaine (Rosemarie Dewitt, recently seen in “Rachel Getting Married”) struggles to understand her sibling’s illness and great comedic actors like Tony Hale and Patton Oswalt guest-star.

At times, “United States of Tara” can feel too self-conscious and too in love with its own concept. The subtext of the show, a modern woman dealing with the stresses of modern life with multiple personalities, can be a little too clever for its own good as is Cody’s controversial ear for dialogue. Marshall, in particular, with his references to Thelonious Monk and George Cukor in just the first episode, feels almost like Cody’s reaction to criticisms that the teenage characters in “Juno” sounded more like twenty or thirtysomethings. “You thought that was adult dialogue coming out of a kid’s mouth?!? Check this out.”

Most importantly, Cody and her team of writers need to find something interesting underneath the personalities of its heroine to emphasize equally. “Weeds” works because it is about a lot more than just a pot-dealing mom in the ‘burbs. “United States of Tara” needs to find characters as interesting as the ones inside Tara Gregson, not just responses to them. The supporting cast is very good, particularly Dewitt and Corbett, but they are as yet underdeveloped and I worry they will always take a back seat to the chaos in the front.

Rosemarie DeWitt as Charmaine, Toni Collette as Tara, and Brie Larson as Kate in United States of Tara (Episode 5).
Photo credit: Jordin Althaus/Showtime

As for that front, it’s something to behold. Collette has always had an underrated range, giving great performances in “Muriel’s Wedding,” “The Sixth Sense,” “About a Boy,” “Japanese Story,” “In Her Shoes,” “Little Miss Sunshine,” and HBO’s “Tsunami: The Aftermath”. She’s simply a fantastic actress and she does work here worthy of Emmy consideration.

On paper, Tara may sound like a gimmicky role, something anyone could knock out of the park, and that may be true, but what’s difficult about the over-the-top character is making her unusual situation feel genuine and Collette does that from scene one. She’s perfect and, easily, the main reason to watch the show. It’s a performance good enough to make every flaw of the show easier to overlook.

At least through its first four episodes, “United States of Tara” works and, while it may not be there quite yet, it is easy to see this show becoming one of the best on television with just a little tinkering. With an actress as talented as Toni Collette in your lead, greatness is always possible.

‘United States of Tara,’ which airs on SHOWTIME, stars Toni Collette, John Corbett, Rosemarie Dewitt, Brie Larson, and Keir Gilchrist. The premiere airs on January 18th, 2009 at 9PM CST.

By BRIAN TALLERICO
Content Director
HollywoodChicago.com
brian@hollywoodchicago.com

Interview, Part Two: Why Hollywood’s Addicted to ‘Juno’ Scribe Diablo Cody, Star Ellen Page

HollywoodChicago.com — Thu, 06 Dec 2007 23:05:39 -0700

Editor’s note: This interview contains explicit language.
This is part two of this interview. Part one is here.
CHICAGO – The sale of Diablo Cody’s “Juno” script has become the opening of her career can of worms.

“Juno” screenwriter Diablo Cody.
Photo credit: ViewImages
In Oct. 2007, it was announced that Fox Atomic purchased Cody’s script for the comedic supernatural thriller “Jennifer’s Body”. Mason Novick and Jason Reitman are both on board as producers. Cody added: “I think [Reitman is] done with high school movies.”

While Cody has been painted with “the new Tarantino,” Page has been flattered by being likened to Meryl Streep and Audrey Hepburn.

“That seems outlandish. I don’t feel special,” Page said as if she’s not a flourishing Hollywood star. “I’m just doing what I love to do. That’s a crazy thing to think about. Having an opportunity to do this is an enormous gift. Getting all this attention just weirds me out.”

Cody laughed – and we won’t know why – except to say it was a “private joke” on the topic of Page’s modesty.

Page returned to her diffident direction: “It’s nice when people give you compliments, but it’s not always easy to take compliments. I have really awesome friends who are 10 times cooler than me doing really [amazing] things they don’t get attention for.”

Cody said maternally: “You should learn to take compliments, girlie, because you’re gonna be getting some.” Page pressed on: “I just run around for 30 days talking. Thanks, but what am I?”

Cody interrupted: “I’m sorry about this bloody rag. It’s out of control.” Cody was referencing her ever-bleeding finger in our interview.

“Juno” star Ellen Page as Kitty Pride in “X-Men: The Last Stand”.
Photo credit: EllenPage.net
Back to Page’s retiring persona, she said: “Insults are fine. I don’t care what people think of me. Criticism [usually] feels honest.” Returning to maternal mode, Cody became protective when asked for criticism on Page’s performance of her adolescent, pregnant character.

“I would criticize nothing about her,” Cody retorted. “Ellen’s one of my heroes. She’s one of my favorite actors.”

Speaking of her motherly instincts, we shifted gears and discussed that vital topic in her personal and work life. Cody is a stepmom.

“That’s very important to me,” she said. “I honestly don’t think there’s any character more vilified in folklore or film than the stepmother. The reason I have a problem with it is not just because I am one but because a very, very large percentage of American children have one.”

As for the disapproving perception often associated with a stepmom in society today, Cody said: “I don’t see how that’s sending an uplifting or healthy message to anybody to tell them they have a villain in their family or to tell them they’re abnormal or tainted.

“If I could create a positive portrayal of a relationship between a stepmother and a stepdaughter – particularly at this fraught adolescent time [in the film] – maybe that will impact somebody. I always say evil stepmothers aren’t born. They’re made. There are bitchy stepmoms out there just like there are bitchy moms.”

She continued: “As a stepmother, you feel like ‘if society’s going to treat me like a villain, I’m going to fucking act like one’. And then the cycle continues. So let’s break the cycle!”

Speaking of breaking cycles, the timing of our interview was smack dab in the middle of the current writer’s strike by the Writers Guild of America (WGA).

Diablo Cody on strike on Nov. 7, 2007 in Los Angeles.
Photo source: Diablo Cody’s “The Pussy Ranch” blog
Cody is a card-carrying member of the WGA. She supports its national exclamation aimed at awarding the same residuals to writers for online sales as others already receiving such benefits. Cody’s support of the strike, though, isn’t at all for benefits she wants personally.

“I’m very pampered as a writer. I get recognition. I’m well paid,” Cody said. “The strike benefits all of us. I’m not really supposed to be talking about it, but the new-media issue and residuals issue affect everybody. I do feel like a lot of writers get the short end of the stick in general, but not me.

“I wish every writer can have the treatment I’ve had so far in my career. I have no complaints [personally], but I have complaints on behalf of my peers.”

Beyond “Jennifer’s Body,” Cody is also in bed with Toni Collette (“The Sixth Sense”), Steven Spielberg and Showtime. She says Spielberg conceived the concept of a mom with multiple personalities and Cody pitched a story to him based on that plotline. Showtime bit and Cody says she’s looking forward to meeting with Collette.

“Slutty,” Page offered. Confused, this critic said: “Collette’s slutty?” Page purified: “No!” Cody’s media training stepped in: “That’s why you can’t just randomly say that in interviews. That’s just her all-purpose adjective. It just means ‘cool’.”

Cody has also penned a female “Superbad” screenplay she coins “Girlie Style”. As it’s a college sex comedy with female protagonists, by now the pattern has clearly emerged about her topical fixations on sex and women.

“Juno” screenwriter Diablo Cody.
Photo credit: Scott Walker
“I’m a feminist,” Cody declared. “I wish I didn’t have to be. Initially I was insulted when people would ask me about writing great roles for women. I just wanted to write great roles. I felt like I was [bowing] to the patriarchy if I just wrote ‘women’s pictures’. But now being slightly more seasoned – lightly salted…”

In reaction to being “lightly salted,” Page popped back in with a titter: “Nice. A touch of thyme! A pinch of dill!”

Cody again sported her grave hat: “I do feel like I have a responsibility to write strong roles for women because I’m seeing so many amazing actresses – or as I like to call them ‘actors’ – who are being squandered. I don’t like the term ‘actress’.”

Page concurred: “When people ask me what I’m doing and I say I’m an ‘actor,’ the old bald white man will say: ‘Oh ho ho ho. Don’t you mean actress?’”

Cody pursued: “The term ‘actress’ sounds like it’s from the silent film era. Like: ‘Actress Clara Beau!’ It’s cheesy. I say actor. In interviews like this, I find myself having to default to ‘actress’ because when I say ‘there are no good roles for actors,’ it gets misconstrued that I’m talking about men.”

Beyond talking about men, what about writing about them? Though time will be the ultimate judge, Cody asserted: “I’ll write about boys. I’m certainly not averse to it. I myself am kind of a dude, so the fact that I’m able to tap into any woman’s psyche is shocking.”

Ellen Page.
Photo credit: George Pimentel, WireImage
To conclude our interview, we returned to where it all began for Cody – blogging – and the burdens and blessings inherent in it.

“You can’t just drop your blog because something [bad happens with it],” Cody stated. “Do you have any idea what kind of shit I’ve been through in cyberspace?”

She added: “How do I deal with that? I make a lot of money and laugh. Sorry. That’s a douche bag answer. I’ve been through a lot with it, but I don’t care because it’s four people in Minnesota who are bitter and ugly. They can eat a dick. They can collectively eat a dick.”

Page related: “It’s the same with what I do. I don’t even write anything personal about myself. I just act. Hardly many people even know who I am yet, but a few do. I just get automatically judged. People are just judgmental in general.”

“The Internet gives everybody a voice. I think that’s gross. Only the most articulate members of society should be allowed to voice their opinion,” Cody said sarcastically. But she concluded seriously: “There are a lot of illiterate trolls on the Internet who can just eat a dick.”

Part one of this interview can be found here.
By Adam Fendelman
Publisher
HollywoodChicago.com