2019 Critics Choice Awards Nominations

Congratulations to Viola and her cast mates for their Critics Choice Award nomination for Widows!

Best Acting Ensemble
Black Panther
Crazy Rich Asians
The Favourite

Best Action Movie
Avengers: Infinity War
Black Panther
Deadpool 2
Mission: Impossible – Fallout
Ready Player One

New Stills from Widows

I have added some additional stills to the gallery for Widows.

Gallery Links:
Viola Davis Online > Films > 2018 | Widows

Viola Davis: “You’re not an actor if you create something based on a social message.”

This is a translated version of an article from Vogue Portugal. Viola was interviewed about her work in the film “Widows”.

The American actress is the protagonist of Widows , the latest film by Steve McQueen, which arrives in theaters in Portugal on November 15. Having this debut in sight, we wanted to talk to Viola Davis to get the conversation up to date.

There are few actresses with the talent and charisma of Viola Davis. For Steve McQueen, he is at the level of the great female stars of the 1940s: Bette Davis, Joan Crawford and Katherine Hepburn. Some may even disagree. After finishing his studies at the famous Julliard School, Davis began to build his name on the stage before venturing into the world of Cinema and Television. Steven Soderbergh was one of the first to notice in his talent, eventually choosing Viola for Out of Sight (1998), Traffic (2000) and Solaris (2002). Denzel Washington also surrendered to the American actress and worked with Davis in Antwone Fisher (2002) and Fences (2016).

His more mainstream mediatism came with his first Oscar nomination, with a small but overwhelming role in Doubt (2008), where he starred opposite Meryl Streep and Philip Seymour Hoffman. It has achieved another milestone with The Help (2011), an emotional view of the vital, yet blatant, importance of the inequality and position of African-American maids in the southern US states at the height of the Civil Rights movement. It was with Fences that she finally won the Academy Award for Best Supporting Actress , an adaptation of Denzel Washington’s August Wilson play, which had previously performed and garnered a Tony Award. To complete the prize pool, Denzel’s feature film brought him a BAFTA and a Golden Globe , while the hit series How To Get Away With Murder earned him an Emmy , naming himself the first African- win a statuette for Best Actress in prime time.

Recently, Viola Davis is protagonist of Widows , the new film of Steve McQueen. In the feature film, she plays Veronica, the wife of the charismatic thief played by Liam Neeson, Harry. In this plot, she is left alone and needs to survive without her husband. In order to do so, he must carry out an assault he had already planned but left him behind and now needs to realize it with the help of the members of his widow gang. Elegant and reserved, Veronica is not the kind of woman who imagines herself to be performing an assault of this caliber, yet Viola Davis convinces her otherwise and shows that there is no other possible way to do so.

This is the type of paper that could result in more trophies to join the collection, but for Viola Davis herself, this work offers you two advantages. One of them the opportunity to work with McQueen, director of Hunger (2008), Shame (2011) and 12 Years A Slave (2013) – winner of an Oscar. The second was to have the power to break some boundaries and challenge some of Hollywood’s insights – something I discuss below.

Do you remember when you met Steve McQueen? Was it with this movie, or had it already been found?

I already knew him. I wanted to say it was about The Help … But it was definitely at the BAFTA party in Los Angeles. One of those conversations where he basically asked me, “Why do not you have better roles?” If they knew Steve, they knew he did not care what words he chose. Your forte is to move on, but I believe that was the theme of the conversation during the party.

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Outtakes from the Hollywood Reporter

Some new outtakes from the new feature from The Hollywood Reporter of Viola … beautiful!

Gallery Links:
Viola Davis Online > Outtakes > 2018 > 016

The Hollywood Reporter’s Power 100 Women in Entertainment Breakfast

I have added images from yesterday’s The Hollywood Reporter’s Power 100 Women in Entertainment Breakfast … including images of Viola and Julius arriving along with her accepting her award.

Gallery Links:
Viola Davis Online > 2018 > December 5 | The Hollywood Reporter’s Power 100 Women in Entertainment Breakfast
Viola Davis Online > 2018 > December 5 | The Hollywood Reporter’s Power 100 Women in Entertainment Breakfast – Inside
Viola Davis Online > 2018 > December 5 | The Hollywood Reporter’s Power 100 Women in Entertainment Breakfast – Ceremony

“I Want to be the Conduit for Change”

Viola Davis graces this week’s cover of The Hollywood Reporter’s Women in Entertainment issue. She joins us to talk about leadership and the need for change in the industry.

The Wisdom of Viola Davis: “Anger Is Underrated”

The Hollywood Reporter featured Viola on the cover of their special issue that has been released! Personally I feel she is a great choice!

In a candid discussion, the ‘Widows’ star — and Sherry Lansing Leadership Award honoree — reveals herself to best-selling author and leadership guru Brené Brown in a raw exchange about trauma, healing, politics (“I see America as that uncle who loved you more than anything, but has a record for murder”) and how Time’s  Up is changing Hollywood: “Now, I don’t have to walk into the room like a dude, have a pretend penis and sling it on the table” to be heard.

Viola Davis and Brené Brown first spoke in May 2017. Davis had recently won her Oscar for Fences, and Brown, a research professor at the University of Houston and the author of multiple best-sellers on courage and vulnerability, was developing her 2017 book, Braving the Wilderness. Brown’s work as a leadership consultant has earned her fans in Silicon Valley (Melinda Gates: “Brené taught me that leadership requires admitting what you don’t know instead of pretending to know everything”), Hollywood (her A-list acolytes include Reese Witherspoon, Amy Adams, Laverne Cox and Oprah Winfrey, who calls her a “soul mate”) and well beyond (her two TED Talks have close to 50 million views between them).

Brown was eager to interview Davis because “she’s such an incredible example of what it means to belong to yourself before you belong to anyone else.” And Davis embraced being part of Brown’s book because the actress had begun to speak more openly about the traumas of her past — growing up extremely poor, hungry and abused in Central Falls, Rhode Island — and her healing path, which includes her art as well as her activism on behalf of impoverished families. The star has helped raise more than $20 million to fight hunger as an ambassador for the Hunger Is campaign, and has donated funding to the local library and the high school theater program in her hometown, as well as supported a community health clinic there.

Davis’ 2017 conversation with Brown ranged from her damaged childhood (“I was a bed-wetter until I was 12 or 13. I smelled. Teachers complained about the smell and sent me to the nurse’s office.”) to the fear and anxiety she carried into her adult life and, finally, her awakening, at age 38, to her own strength.

Today, the 53-year-old Davis’ star is shining brighter than ever: The perennial awards contender has notched two more Emmy nominations (she won in 2015 for ABC’s Shondaland drama How to Get Away With Murder, becoming the first black woman ever to take the drama lead actress honors) and is in the Oscar conversation now for her work on Steve McQueen’s female-centered heist film, Widows. JuVee, the production company she founded with husband Julius Tennon in 2011 (the same year they adopted their daughter, Genesis), recently announced a first-look feature deal with Amazon (JuVee’s overall TV pact with ABC is ongoing). And THR’s 2018 Sherry Lansing Leadership Award honoree says she is “defiantly in the season of finding myself again.” So in a searching conversation on Nov. 26 — edited for length and clarity — she and Brown picked up right where they left off.

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