The Emmy-nominated actress plays a housewife accused of murder on HBO Max’s ‘Love & Death,’ her latest project decoding a character’s perplexing behavior.
WASHINGTON POST Elizabeth Olsen didn’t know it was a true story.
Reading an early script for “Love & Death,” the new HBO Max miniseries premiering Thursday about a small-town Texas housewife accused of ax-murdering a friend in 1980, Olsen believed Candy Montgomery’s crime to be a work of fiction. She thought the Texas Monthly articles she received with the script were short stories. It could easily have been imagined, the unsettling narrative of a woman who strikes up an affair with the husband in a fellow churchgoing couple and who, after confronted by the wife, ends up on trial for her brutal killing.
When meeting with writer David E. Kelley and director Lesli Linka Glatter, executive producers on the series, Olsen learned the truth. “It’s not O.J.,” the 34-year-old actress says, referring to the high-profile murder trial of former football player O.J. Simpson. But it still happened, and real lives were affected. She wondered how the team would present this astonishing story to audiences without sensationalizing it. And how much creative license would she be afforded in the role?
Quite a bit, it turned out. Though Montgomery was written about in the press — and in the book “Evidence of Love: A True Story of Passion and Death in the Suburbs,” from which “Love & Death” also draws — there was little footage of her to go off. (Last year’s Hulu miniseries “Candy,” starring Jessica Biel as Montgomery, hadn’t yet been released.) Olsen created her own version of Candy to ground the series, which over seven episodes explores how someone so ambitious and well-liked by her community could also behave selfishly and contain a lurking darkness.
The balance is difficult to master, but Olsen has walked such tightropes before — recently for her Emmy-nominated performance as a tortured witch in Marvel Studios’ “WandaVision,” but also dating back to her debut feature role as a disoriented cult survivor in 2011’s “Martha Marcy May Marlene.” All mixed up in disturbing crimes, these characters don’t always endear themselves to viewers. The actress, however, savors the challenge of deciphering perplexing behavior.
“I don’t know what people want out of something they’re watching, besides the baseline of being entertained,” Olsen says. “But I do think we want to watch people fail and see how they resolve whatever the failure is. I think we want to watch people make decisions we think we’d never make because it’s like trying to watch someone work themselves out of a puzzle.”
Glatter thought to cast Olsen because of her performance in “Martha,” which the director says left her “gobsmacked.” Olsen was unknown at the time outside of being a younger sister to child stars Mary-Kate and Ashley, who in the past had looped her into their on-screen antics, including a 1994 music video in which they implored a forlorn-looking little Lizzie to “B-U-T-T out” of their business. In a way, she did; Olsen opted out of acting as a child and trained as a young adult at New York University’s Tisch School of the Arts.
While Olsen always wanted to act — the desire is “so embedded in every memory I have,” she says — insecurities got the best of her early on. It wasn’t just the potential comparisons to her sisters, but growing up around so many aspiring actors in Los Angeles that convinced her that she needed to first figure out, as she recalls, “Who am I? And how am I different? And how am I unique?”
She wanted to earn her spot in the industry, and NYU — along with the affiliated Atlantic Theater Company and the Moscow Art Theatre School, where she spent a semester — helped her get there.
“Martha,” in which the title character readjusts to life with her family after fleeing an abusive cult, was one of two projects Olsen starred in at the 2011 Sundance Film Festival. (The other was the psychological horror film “Silent House.”) Filmmaker Sean Durkin recalls auditioning “hundreds of people” in search of an actress who could convey discomposure alongside “quiet survival and strength.”
When Olsen came in to read, “there was something in her first take, even,” Durkin says. “It was instant. There was a presence, a vulnerability, an openness and a weight to her.”
Sarah Paulson, who played Martha’s estranged sister, says Olsen made her nervous on set, the way you feel “when you’re in the presence of something that’s about to explode.” Dialogue is sparse throughout the film, which relies heavily on its cast physically relaying emotion. Paulson was struck early on by Olsen’s ability “to have every single thing inside of her come out through those orbs we call eyeballs on her face,” a clear movie-star quality.
She likens the experience to working with Lupita Nyong’o on her debut, “12 Years a Slave.”
“I’ve been lucky in that I’ve had these two very unique experiences … where I’ve had a front-row seat to the moment before they belonged to the masses, before anyone had ever experienced the power of them,” Paulson says. She describes Olsen as “endlessly watchable.”
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The Love & Death star talks taking on the story of Candy Montgomery.
HARPER’S BAZAAREElizabeth Olsen doesn’t like true-crime stories, nor was she looking to star in another show on the heels of the critical success of WandaVision and Sorry for Your Loss. But when the Emmy-winning writer and producer David E. Kelley approached her about playing Candace “Candy” Montgomery, the suburban Texas housewife who was accused (but never convicted) of the brutal axe murder of her neighbor Betty Gore in 1980, Olsen found herself unable to turn down an opportunity to re-examine a case that had been ripped from the headlines.
“The thing that I found interesting about [Love & Death] was this portrait of a woman who didn’t feel like someone who was diagnosable, like [with] multiple personality disorder,” Olsen tells BAZAAR.com on a recent video call from New York City. “It was someone who was put in such absurd circumstances. What are all the steps that led to the decision making that happened and for the decision making to have gone so wrong? What happens in someone’s life that leads to that? So it’s not so much about the sensationalizing of a murder, but it was more a character study that I thought could be interesting.”
Created by Kelley and directed by Lesli Linka Glatter (Twin Peaks, Mad Men, Homeland), the seven-part HBO Max series, which premieres today, stars Olsen as Candy; Lily Rabe as Betty; Patrick Fugit as Candy’s husband, Pat; and Jesse Plemons as Betty’s husband, Allan, whose 10-month affair with Candy preceded his wife’s demise. Following a 1990 made-for-TV movie starring Barbara Hershey and a recent five-part Hulu series starring Jessica Biel (which Olsen has yet to watch), Love & Death is just the latest project to revisit this true story, which Olsen feels is “stranger than fiction.”
Below, Olsen discusses the research and preparation that went into her portrayal of Candy, her attraction to playing characters that make morally questionable decisions, and her future as Wanda Maximoff/Scarlet Witch in the MCU.
You used John Bloom and Jim Atkinson’s book, Evidence of Love, as a guide to fill in any gaps in the story for your portrayal of Candy. How did your research inform your approach to the character, and what was the essence that you wanted to capture about Candy and the women of that era?
What I learned most about Candy from that book was just an insight [into] a state of mind of emotional intelligence and youth. I found the letters that she wrote to Pat when they were courting each other. It was all very pure. [There was] an idealized way to communicate with someone you think you’re supposed to love in order to fulfill the dreams that you have. She also read a lot of airport romance novels. So I think those were really informative of someone’s expectations of themselves and others and what they want to project out to the world.
And just basic things like trying to figure out how she talks, because I don’t have a recording of her voice. [With] someone who’s moved around so much, there’s still ways to have regional qualities of speech, depending on how much time you’ve spent and where. She’s moved around all over, including France. I thought of her as someone who thinks of herself as this well-traveled woman because of being an army brat. There are elements like that where we were like, “Oh, and she would have this kind of top, because it’s a little bit elevated from what most people would normally wear.” Things like that just made her feel like she had a step up in the world—that was really all about the illusion of projecting some sort of idealism.
Given that there were two women involved in this crime and only one lived to tell her side of the story, how did you all come to an agreement of what you wanted to portray as the truth?
My job was to tell what her truth was that she presented and allow for space for there to potentially be another truth. In performance, there are opportunities to maybe create a window into “Maybe there’s another truth besides the one that I’m telling.” But ultimately, it wasn’t a conversation I had with David or with Lesli. The only thing I can compare it to, really, is in Martha Marcy May Marlene, I never really talked to [writer and director] Sean Durkin about what he perceived to be the truth or the reality. All I was thinking about was my reality, and we realized while we were doing press for that movie that he never actually told me what he thinks about the ending, and I never asked because in my mind it doesn’t matter.
I think what’s interesting is sometimes when you have characters, there’s a truth that I decide about the character, and then there’s a truth that the director decides about the world, and sometimes those [truths] not being aligned could create an illusion of tension that could be interesting—or there could just be confusion. But whether or not Lesli thinks she’s just a liar, I don’t know.
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VARIETY: Elizabeth Olsen is one of creative leaders honored for Variety’s 2022 Power of Women presented by Lifetime. To read about her work with the Rape Foundation and Stuart House, click here.
When audiences last saw Elizabeth Olsen as Wanda Maximoff in Disney’s May box office juggernaut “Doctor Strange in the Multiverse of Madness,” it certainly looked like Olsen’s time in the Marvel Cinematic Universe was over. Definitively, actually: An entire castle collapsed on Wanda, a building brought down by her own powerful magic after she sacrificed herself to destroy the Darkhold — the evil book that had corrupted her, turning her into a nearly unbeatable villain for most of the movie.
For Olsen, 33, who burst into the movie world with 2011’s Sundance Film Festival sensation “Martha Marcy May Marlene” — and saw her profile skyrocket as Wanda (aka the Scarlet Witch) in six Marvel movies, starting with a mid-credits cameo in 2014’s “Captain America: The Winter Soldier,” and later the hit 2021 Disney+ TV series “WandaVision” — the character’s heel-turn into darkness took some adjustment. “Well, this is quite a leap from the woman that I’ve been playing!” she remembers thinking after learning she was to go malevolent in the Sam Raimi-directed sequel to “Doctor Strange.”
But she got into it. “At least in my experience, it’s been hard as a woman to express rage,” Olsen says. “It’s one of the most amazing feelings, because it’s so specific: You can know exactly why you’re angry.”
Over a long lunch on an unbearably hot September day near her home in Los Angeles, Olsen — who radiates tranquility — doesn’t disclose what makes her feel rage. “Oh, those are fun secrets to keep,” she says with a smile. “But I do have rage. I feel like the moment you, as an actor, reveal things about yourself that are kind of your ‘fuel,’ for lack of a better word, then your fuel’s exposed and it means less.”
In her years in the MCU, Olsen’s Wanda has lost her parents, her brother, her husband and her two sons, all of whom exist somewhere in the multiverse. She’s got a lot to be angry about. According to Kevin Feige, the president of Marvel Studios, Olsen’s skills are why Wanda’s arc has been so complex. “We only even would have dared attempt something like ‘WandaVision,’” Feige says, “because Lizzie is such an outstanding actor.”
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VARIETY: Variety is pleased to announce the honorees for its upcoming Power of Women issue and event on Wednesday, Sept. 28. The event, in partnership with Lifetime, celebrates the Power of Women honorees, who will appear on the cover of the issue, as well as the women profiled in the publication’s annual Women’s Impact Report, which highlights the top women working in entertainment.
This year’s honorees include Hillary Clinton and Chelsea Clinton, who will be speaking about the importance of celebrating women and sharing their stories, as they do in their eight-part Apple TV+ documentary series “Gutsy,” which premiered on Sept. 9; Oprah Winfrey and Ava DuVernay, who will highlight the importance of hiring female directors as they did throughout the production of “Queen Sugar” currently airing it’s seventh and final season on OWN; Extracurricular Productions president and the world’s youngest Nobel laureate Malala, who will be speaking about young people in film and television and supporting the Pillars Artist Fellowship; and award-winning actress, producer, and star of Marvel’s WandaVision and this summer’s blockbuster “Doctor Strange in the Multiverse of Madness”, Elizabeth Olsen, who will be speaking about her support of the The Rape Foundation/ Stuart House. The program will be hosted by Megan Stalter, the breakout star of “Hacks”.
Meghan, The Duchess of Sussex, was chosen as one of one of this year’s stellar honorees. The Duchess’ cover will be postponed to a later date, out of respect for the recent passing of Queen Elizabeth II. Similarly, she will not attend the Power of Women event in Los Angeles later this month.
As part of the evening, Lifetime will debut this year’s Stop Breast Cancer for Life PSA, featuring music icon Patti LaBelle in support of the Breast Cancer Research Foundation. The PSA spotlights the statistic that Black women are 41% more likely to die from breast cancer than any other group and urges all women to get their mammograms as early detection helps save lives.
As a Premiere Partner, Google will present the Social Impact Award to Jacqueline Martinez Garcel for the impact she has made as the CEO of the Latino Community Foundation, an independent statewide foundation with a mission to invest in Latino leaders throughout California.
“We’re excited to once again put the Power of Women spotlight on groundbreaking and accomplished female leaders,” said Variety’s co-editor-in-chief Cynthia Littleton. “We’re honored to salute those who are making a difference for equity, inclusion and excellence in our industry and making an enormous difference in the wider world through their philanthropic efforts. We’re grateful to Lifetime for their unwavering support of this franchise that is a labor of love for everyone at Variety. This year’s gathering under the stars at the Wallis promises to be another can’t-miss night.”
“We are honored to continue our partnership with Variety to showcase these incredible women that continue to entertain us, enlighten us and empower us,” said Amy Winter, EVP and head of programming, Lifetime & LMN.
Premier sponsors include Google and DIRECTV. The official sponsor is City National Bank.
Exclusive, curated gift bags will be given to honorees and guests at the event with entertainment, beauty, health and fashion products from companies including DOG PPL, Sunday Riley, Ouai and Goop. Additionally, Variety‘s 2022 Women’s Impact Report Honorees will be gifted a custom bracelet courtesy of Kendra Scott.
ZEDISTA: The Portal to the Multiverse is now open, and Marvel Studios’ Doctor Strange in the Multiverse of Madness is officially in theaters! 🌀
With the Multiverse unlocked, master of the mystic arts Doctor Strange journeys into the unknown with mystical allies both old and new. One of those allies is fellow Avenger, Wanda Maximoff / Scarlet Witch.
Coming off the heels of last year’s hit sensation, Marvel Studios’ WandaVision, actress Elizabeth Olsen can’t help but be in awe of the woman Wanda Maximoff is now. At a press conference for Doctor Strange in the Multiverse of Madness earlier this week, Olsen commented, “In the previous films before WandaVision, I took up a lane for storytelling that was more grounded in sincerity, love, loss, grief. And with WandaVision, I got to become anything and everything, and really, really grow [Wanda] into a woman.”
“And leading her to [accept] that she is this mythic woman,” continued Olsen. “That is her destiny. And I hope that in this film people see that continuation of her acceptance of who she is, the journey that she has taken to get to this moment. I feel like she has way more clarity now than ever in this film.”
When posed with the scenario of who would win in a battle between the two sorcerers, Doctor Strange or Scarlet Witch, Olsen cheekily responded, “Well… I think we all know who would win.”
Titular star Benedict Cumberbatch, who plays Doctor Strange, chimed in, “She’s pretty all-powerful, let’s be honest,” before adding, “Oh, I’ve got an id. I have humility. I can accept that.”
Will it all come to a head in Doctor Strange in the Multiverse of Madness? Head to the theaters and find out now!
In Doctor Strange in the Multiverse of Madness, the MCU unlocks the Multiverse and pushes its boundaries further than ever before. Journey into the unknown with Doctor Strange, who, with the help of mystical allies both old and new, traverses the mind-bending and dangerous alternate realities of the Multiverse to confront a mysterious new adversary.
Doctor Strange in the Multiverse of Madness stars Benedict Cumberbatch, Chiwetel Ejiofor, Elizabeth Olsen, Benedict Wong, Xochitl Gomez, with Michael Stühlbarg, and Rachel McAdams. The film is directed by Sam Raimi, and Kevin Feige is the producer. Louis D’Esposito, Victoria Alonso, Eric Hauserman Carroll and Jamie Christopher serve as executive producers. The screenplay was written by Michael Waldron.
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