Long in touch with her ‘more feral side,’ Amy Adams connects with ‘Nightbitch’

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As a writer and an admirer of Amy Adams’ illustrious career, I find myself captivated by her extraordinary journey through the world of cinema. Her life experiences have undeniably shaped her into the talented actress we know today.

Amy Adams isn’t typically open about her personal life as a family woman, but if you admire her transformative acting in “Arrival” or “Sharp Objects,” you might not realize she’s been married to Darren Le Gallo for close to a decade and they have a 14-year-old daughter named Aviana.

In “Nightbitch” (hitting theaters this Friday), a unique, comedic take on parenthood where she portrays an overworked mother uncovering the wild aspect of child-rearing, is not your usual film. So, it’s no surprise that I recently had a detailed conversation with Adams over Zoom, discussing toddler sleep patterns and the challenges of making friends as a new parent.

Speaking in a somewhat drowsy state, I’ve found the process of making this film and the insights gained from it to be deeply intimate for me. I’m meticulous with my words, always striving to choose them carefully, and I apologize if I seem less articulate than usual (which is far from the truth). What sets “Nightbitch” apart is that it has prompted viewers to share their personal experiences as parents and spouses with me. The tales of postpartum mental health struggles particularly resonate with me. To be a part of something that makes people feel understood, that’s truly a precious gift.

Movies

‘Similar to the experience of motherhood, ‘Nightbitch’ may not appeal to everyone. Yet, some initial criticisms of Amy Adams and Marielle Heller’s latest production appear to overlook the reasons it could strike a chord with women.

Marielle Heller’s movie portrays the story of a character played by Adams, who is simply called “Mother.” This former artist put her career on hold to take care of her young son at home, but discovered full-time parenting to be far more demanding than she anticipated, both physically and emotionally. Exhausted from lack of sleep, feeling socially detached, and growing increasingly irritated with her husband who often travels for work, Mother starts noticing peculiar bodily changes such as an enhanced sense of smell, a strong desire for meat, and hair sprouting in unusual locations. At first taken aback by these transformations, she eventually accepts them.

Based on Rachel Yoder’s 2021 magical-realist novel that resonated deeply with the anger of mothers nationwide during the COVID-19 pandemic, “Nightbitch” is often oversimplified as “the movie where Amy Adams transforms into a dog.” However, it offers much more than that: it delves into a darkly amusing, painfully honest portrayal of how motherhood can change you to an extent you no longer recognize yourself.

Showing any hesitation or mixed feelings about parenthood is almost certain to spark heated reactions on social media. The novel “Nightbitch” candidly explores the difficulties of child-rearing, especially in a society where mothers often face criticism but receive minimal government aid and experience poorer health outcomes compared to their peers globally. (Given the high stress levels among American parents, it’s become a significant public health concern, as stated by U.S. Surgeon General Vivek Murthy.)

Even though it might initially appear strange when, for instance, a mother notices a scaly tail emerging from a bump on her lower back, much of what she experiences – such as the anxiety during sleep training or preparing numerous meals of macaroni and cheese – will undoubtedly strike a chord with anyone who has nurtured a young child.

In relation to the production of “Nightbitch,” Adams confessed a strong emotional bond with the book, whose film rights were acquired by Annapurna Pictures in a fierce bidding war prior to its release. She described it as having an internal dialogue that seemed to tap into hidden corners of one’s mind and express thoughts that were previously unspeakable.

However, the complex subject matter necessitated a skilled filmmaker, preferably one with insightful perspectives on motherhood. Adams admired Heller’s work, such as “The Diary of a Teenage Girl” (2015) and “Can You Ever Forgive Me?” – humorous, impartial tales about complex protagonists, presented with a unique visual flair. As Adams recounts, she learned that the director was then residing in a cabin with her family in rural Connecticut, having just given birth. This realization made Adams think, “If she understands this, she’ll truly grasp it.

Heller, a mother of two with filmmaker Jorma Taccone, explains that all our initial discussions revolved around being mothers, wives, and working women attempting to harmonize our artistic pursuits with family responsibilities.

In his adaptation, Heller modified Yoder’s novel, softening some extreme plot turns and instead focusing on the fractures in the marriage between Mother and her Husband, a bond that becomes increasingly tense due to unvoiced resentment. A pivotal moment in the movie occurs when the Frustrated Husband queries, “Whatever happened to the woman I wed?” To which an Angry Mother retorts, “She perished during childbirth.

Adams underwent a distinct yet equally demanding path towards motherhood. Her significant career milestone occurred in 2005 when she was nominated for an Oscar for her role in the indie film “Junebug.” After facing more than a decade of hardships and professional obstacles, she found herself working tirelessly and frequently appearing on the awards circuit. In 2010, she welcomed her child into the world, resuming her hectic work schedule immediately. She filmed “On the Road” and “The Muppets” one after another while simultaneously promoting “The Fighter,” all this before her little one’s first birthday.

Awards

On Monday’s newsletter issue, Glenn Whipp from The Times shares an engaging conversation with Demi Moore and expresses his delight over Conan O’Brien being selected as the host for the 97th Academy Awards.

Adams admits, “Never have I felt more drained before,” she shares. The cause of her exhaustion, she explains, stemmed from the fact that she always wanted to be present for her loved one. This meant balancing work and ensuring all responsibilities at home were handled. At that moment, she also mentions, “I was the primary income earner in our family, which brought about a unique level of responsibility I felt.

In Adams’ words, some of her fresh-motherhood eccentricity found its way into Paul Thomas Anderson’s “The Master.” She describes this role as the most intense during Aviana’s young years. The filming process often involved shooting at night. Whenever she had a chance, Adams would take short naps and spend the day with Aviana. In her own words, “That was the most connected I’ve ever been to my primal self,” she says, “but I loved it. My approach has always been to incorporate personal experiences into what I create. It can be incredibly therapeutic.

As Adams reaches her milestone of 50 years, she’s struck a better equilibrium in life. She’s become less preoccupied with gaining others’ approval. “I understand that I will be judged, I understand that I am growing older, and I view it as a blessing,” she expresses. “My outlook on it is vastly different from when my daughter was born. I certainly applied different expectations to myself during her childhood years, but part of the beauty of having a daughter is [that] I want her to see a mature, balanced, content mother. So, I’ve made a conscious effort to achieve that.

In “Nightbitch”, Adams fearlessly dives into her role with zest and an uncanny physicality. She sticks her face in dishes filled with meat, runs barefoot through the streets accompanied by a pack of dogs, and playfully tumbles around on the ground in a sequence set to Weird Al Yankovic’s “Dare to Be Stupid.” Despite this, she portrays a weary yet relatable everymom, opting for minimal makeup and comfortable clothing over fashionable attire. Adams explains that this lack of costume was beneficial as it forced her to confront the unadorned side of herself daily, preventing her from hiding behind anything.

In relation to Adams’ acting, the objective was “always keeping self-consciousness at bay,” as Heller explains. “Much of the work involved making Amy feel extremely secure in the setting, trusting that she could freely reveal every aspect of herself.” She discussed with Adams about “the sensation of being someone who has just given birth and doesn’t feel connected to their body,” she says.

For Adams, accessing her character’s deeper, instinctual tendencies came naturally: she grew up as one of seven siblings in a military family that frequently relocated. As she puts it humorously, “We were like wild, free-roaming kids.” Adams has always been someone who possesses a powerful internal dialogue and harbors a more untamed aspect within herself.

After divorcing, Adams’ mother – a former member of the Church of Jesus Christ of Latter-day Saints who later became a professional bodybuilder – frequently took her children to the gym with her. The actor describes his mother as “the OG Nightbitch.” He adds, “She reached a point where she said, ‘I had seven children and now I need to discover who I am in the world.’ Our lives have taken very different paths because she started having kids at 19, while I was 35 when I had my daughter. I had more time to explore myself before becoming a parent.

Adams’ upbringing within a Mennonite community and her mother’s unfulfilled artistic ambitions are reflected in the character she portrays in “Nightbitch.” Throughout her acting career, Adams has emphasized the importance of delving into each character’s religious background, a practice she honed under the guidance of her acting coach, Warner Loughlin. As Adams puts it, one’s faith significantly shapes their fundamental values.

Adams remained confident in her performance as “Nightbitch,” which was postponed a year due to Hollywood strikes, ultimately made its debut at the Toronto International Film Festival in September, resulting in a wide range of reactions. Alongside discussions about whether this might be the role that earns the six-time nominee an Oscar win, there were complaints from some critics who found issue with the film’s frank depiction of bodily functions and its raw expression of female anger.

According to Heller, becoming a mother brings about an extremely frank or straightforward type of truthfulness, which he aimed to portray in “Nightbitch.

When you become a parent, you encounter messes like vomit and feces on a regular basis,” she notes. “Your perception towards such substances becomes less sensitive, perhaps even the opposite of ‘precious.’ This aspect of parenthood is rarely portrayed authentically in media.

Adams proposes that some criticisms towards “Nightbitch” might originate from misunderstandings about its deliberate, feminine perspective.

In her words, “We catch a peek into the husband’s thoughts infrequently; otherwise, we find ourselves deeply immersed within a female perspective.” Adams points out that it’s rare for a film not to be influenced by a male perspective. Instead of reacting with annoyance, she expresses intrigue: “I can’t help but wonder, ‘That’s what you took from it?'” Furthermore, she chooses to emphasize the audience members who relate to the movie on a personal level.

“I had a friend write me and say, ‘My kids just left the house but I still identify so deeply with this, because I’m in a transitional period and am feeling invisible in the world. I have this deep sense of insignificance. To hear your character say it — I didn’t realize how much I felt it until that moment.’ ” Adams pauses to gather herself, then apologizes for becoming emotional. “That means so much more to me than someone having a reaction to seeing menstrual blood.”

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2024-12-06 03:03