Jessica Chastain and Oscar Isaac's 20-year-old friendship got altered thanks to them working in HBO limited series Scenes from a Marriage. Chastain spoke to Vanity Fair recently and admitted that the working on 2021 project "was very tough."

"And I love Oscar [Isaac], but the reality is, our friendship has never quite been the same," said Chastain. "We’re going to be okay, but after that, I was like, I need a little bit of a breather." 
 
Scenes from a Marriage was a remake of 1973 Swedish mini-series of the same name and features Chastain and Isaac as Mira and Jonathan - a married couple whose relationship falls apart over several years.&nbsp; 
 
"There was so much I love you, I hate you in that series," Chastain told Vanity Fair. 
 
Chastain and Isaac have been friends for over 20 years and famously sent social media into a frenzy with their red-carpet chemistry at the Venice Film Festival in September 2021 while promoting the series. A slow-motion video featured Chastain placing her arm on Isaac's shoulder and gazing deep into her eyes before planting a kiss on her inner arm.&nbsp; 
 
Both Chastain and Isaac are married to their respective partners: Gian Luca Passi de Preposulo and Elvira Lind.&nbsp;

Chastain and Isaac went to college together and&nbsp;are known to be close to each other.&nbsp; 
 
"We went to college together," Chastain had earlier said in an interview. "We have the same process. When I got the scripts, I knew immediately it was going to be like a play, because most of it's just him and I talking for an hour, sometimes not calm." 
 
The actress explained that her close bond with the Star Wars actor helped them navigate some challenging and emotional scenes.

WATCH WION LIVE HERE

<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="350" loading="”lazy”" src="https://www.wionews.com/live-tv/embed?autoplay=1&amp;mute=1  width=&quot;100%&quot;"></iframe>

You can now write for wionews.com and be a part of the community. Share your stories and opinions with us <a href="https://www.wionews.com/content-contribution-registration-form">here</a>.

Jessica Chastain and Oscar Isaac's 20-year-old friendship got altered thanks to them working in HBO limited series Scenes from a Marriage. Chastain spoke to Vanity Fair recently and admitted that the working on 2021 project "was very tough.

Jessica Chastain and Oscar Isaac's 20-year-old friendship got altered thanks to them working in HBO limited series Scenes from a Marriage. Chastain spoke to Vanity Fair recently and admitted that the working on 2021 project "was very tough." "And I love Oscar [Isaac], but the reality is, our friendship has never quite been the same," said Chastain. "We’re going to be okay, but after that, I was like, I need a little bit of a breather." Scenes from a Marriage was a remake of 1973 Swedish mini-series of the same name and features Chastain and Isaac as Mira and Jonathan - a married couple whose relationship falls apart over several years. "There was so much I love you, I hate you in that series," Chastain told Vanity Fair. Chastain and Isaac have been friends for over 20 years and famously sent social media into a frenzy with their red-carpet chemistry at the Venice Film Festival in September 2021 while promoting the series. A slow-motion video featured Chastain placing her arm on Isaac's shoulder and gazing deep into her eyes before planting a kiss on her inner arm. Both Chastain and Isaac are married to their respective partners: Gian Luca Passi de Preposulo and Elvira Lind. Chastain and Isaac went to college together and are known to be close to each other. "We went to college together," Chastain had earlier said in an interview. "We have the same process. When I got the scripts, I knew immediately it was going to be like a play, because most of it's just him and I talking for an hour, sometimes not calm." The actress explained that her close bond with the Star Wars actor helped them navigate some challenging and emotional scenes. WATCH WION LIVE HERE You can now write for wionews.com and be a part of the community. Share your stories and opinions with us here.

Jessica Chastain and Oscar Isaac's bond has not 'been the same' since they starred in Scenes from a Marriage

A star-studded, glamour-packed Oscars red carpet marked the full return of Hollywood`s big night out at Los Angeles` Dolby Theatre on Sunday after the seismic changes brought by COVID-19. 
 
After a scaled-down ceremony at a train station last year, the Oscars have returned to their traditional venue, which will be filled to about three-quarters capacity with 2,500 guests, allowing for some social distancing. 
 
Among the first celebrities to step onto the red carpet was Hollywood veteran Jamie Lee Curtis in a neck-high, glittery Stella McCartney gown. 
Curtis announced that during the ceremony she will present a special tribute to late TV and movie icon Betty White, who passed away on Dec. 31, a couple of weeks shy of her 100th birthday.

<div class="ui-state-default" contenteditable="false">
<div class="twitter-block" draggable="false">
<blockquote class="twitter-tweet">
Gucci’d out for Oscar Night 💖✨ Excited to celebrate with all the nominees. <a href="https://t.co/LKWtOBARqn">pic.twitter.com/LKWtOBARqn</a>
— Jessica Chastain (@jes_chastain) <a href="https://twitter.com/jes_chastain/status/1508207197745938432?ref_src=twsrc%5Etfw">March 27, 2022</a></blockquote>
<script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script></div>
<a class="close-mark close-div" href="#" id="jqclosemark">×</a></div>

"I am wearing Stella McCartney, who`s an animal rights activist, as Betty White was," Curtis told ABC. "It felt like a perfect way to walk the walk and talk the talk." 
 
Saniyya Sidney, the young actress who portrayed tennis superstar Venus Williams in the Oscar-nominated biopic "King Richard," stunned in an Armani Prive gown embroidered with floral motifs.

<img alt="SSS" data-entity-type="file" data-entity-uuid="39d356c4-6938-4a4b-817a-763cbdb8a330" src="//cdn.wionews.com/sites/default/files/inline-images/2_150.jpg" /> 
 
"We talked about boyfriends, old boyfriends," she told cable channel E! about her interactions with tennis great Williams. "We talked about school and how growing up in Compton was like." 
 
After last year`s smaller-than-usual affair at Los Angeles` Union Station due to the pandemic, Sunday`s unbridled Oscars glamour brought lots of pastel colors punctuated by bright splashes of gold. 
 
Jessica Chastain, a contender for the best actress statuette for her portrayal of American evangelist Tammy Faye, dazzled the carpet crowd in a two-toned Gucci dress, while actress Lupita Nyong`o`s sparkling golden dress also turned heads.

A star-studded, glamour-packed Oscars red carpet marked the full return of Hollywood`s big night out at Los Angeles` Dolby Theatre on Sunday after the seismic changes brought by COVID-19.

A star-studded, glamour-packed Oscars red carpet marked the full return of Hollywood`s big night out at Los Angeles` Dolby Theatre on Sunday after the seismic changes brought by COVID-19. After a scaled-down ceremony at a train station last year, the Oscars have returned to their traditional venue, which will be filled to about three-quarters capacity with 2,500 guests, allowing for some social distancing. Among the first celebrities to step onto the red carpet was Hollywood veteran Jamie Lee Curtis in a neck-high, glittery Stella McCartney gown. Curtis announced that during the ceremony she will present a special tribute to late TV and movie icon Betty White, who passed away on Dec. 31, a couple of weeks shy of her 100th birthday. Gucci’d out for Oscar Night 💖✨ Excited to celebrate with all the nominees. pic.twitter.com/LKWtOBARqn — Jessica Chastain (@jes_chastain) March 27, 2022 × "I am wearing Stella McCartney, who`s an animal rights activist, as Betty White was," Curtis told ABC. "It felt like a perfect way to walk the walk and talk the talk." Saniyya Sidney, the young actress who portrayed tennis superstar Venus Williams in the Oscar-nominated biopic "King Richard," stunned in an Armani Prive gown embroidered with floral motifs. "We talked about boyfriends, old boyfriends," she told cable channel E! about her interactions with tennis great Williams. "We talked about school and how growing up in Compton was like." After last year`s smaller-than-usual affair at Los Angeles` Union Station due to the pandemic, Sunday`s unbridled Oscars glamour brought lots of pastel colors punctuated by bright splashes of gold. Jessica Chastain, a contender for the best actress statuette for her portrayal of American evangelist Tammy Faye, dazzled the carpet crowd in a two-toned Gucci dress, while actress Lupita Nyong`o`s sparkling golden dress also turned heads.

Oscar nominee Jessica Chastain, others glitter on red carpet

Clearly, director Hagai Levi wanted to spare no time in actually 're-imagining' this re-told, miniseries version of 1973-released Ingmar Bergman classic, 'Scenes From A Marriage'. After the warm-up of an introductory episode, Levi breaks free from Bergman chain of events as shown through his eyes, in his episode two of the series many decades ago.&nbsp;

 
Here, unlike its predecessor, Levi doesn't give us a crash course on who Mira and Jonathan were as individuals--all we know is that they are a couple only on paper.&nbsp;

 
An otherwise put together Mira confesses to Jonathan that she has been having an affair with a man for a while now, "I am in love with someone," she tells. Jonathan, blind-sided by this piece of information, doesn't know how to process this harsh truth of life. To him, his wife seeking solace in the arms of another man is not an indication of how far they have gone in their respective journeys as humans, but only a knowledge&nbsp;'he doesn't know what to do with.'&nbsp;

Also read:&nbsp;<a href="https://www.wionews.com/entertainment/hollywood/news-scenes-from-a-marriage-ep-1-review-jessica-chastain--oscar-isaac-infuse-modern-easy-into-this-old-saga-413109">Scenes From A Marriage EP 1 review: Jessica Chastain &amp; Oscar Isaac infuse 'modern easy' into this old saga</a>

Oscar Isaac's Jonathan is a repressed individual who, even when his wife he most certainly still loves, walks out the door, doesn't scream out in pain. Instead, chooses to purse his lips together and bite. Till it hurts. Mira's moment of truth may have been the highlight of this&nbsp;episode and the shock value Levi obviously wanted to inculcate, but she is a woman of stead habits, too. She knows with all her might that the relationship is hanging by a thread, yet, before exhibiting her first-ever act of bravery--of leaving the man she bore a kid with--Mira has to wrestle with her demons: "If I don’t leave now, I might never."

<img alt="Oscar Isaac and Jessica Chastain bring their A game to the series" data-entity-type="file" data-entity-uuid="e4fbbbc7-a45c-43b5-8c21-082ab212ba9d" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20-%202021-09-14T215147.205_0.jpg" /> 
The juxtaposing of these similar-yet-different characters may not score high on the barometer for originality (Marriage Story/ Netflix) but the cracks through which this couple falls, and continues to descend, makes this modernised version truly modern--both in tone and treatment.

Also read:&nbsp;<a href="https://www.wionews.com/entertainment/hollywood/news-the-starling-review-grief-knows-not-what-grief-does-415907">The Starling review: Grief knows not what grief does</a>

 
Aptly titled 'The Art of Sweeping Things Under the Rug' (bold approach, told you!), the episode yet again starts with a real-life, behind-the-scenes setting with Isaac plugging in his earphones before we are ushered into the devastation that he is about to suffer. There are no other characters that are introduced apart from these two. But, who cares? Oscar Isaac and Jessica Chastain are so&nbsp;taut as Jonathan and Mira that the monotony of each scene does not squish the purity of the emotions felt. If anything, they act as elevators.&nbsp;

 
'Scenes From A Marriage' is now streaming on Disney + Hotstar.&nbsp;

<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/mRuVWHnQlV8" title="YouTube video player" width="560"></iframe>

Clearly, director Hagai Levi wanted to spare no time in actually 're-imagining' this re-told, miniseries version of 1973-released Ingmar Bergman classic, 'Scenes From A Marriage'.

Clearly, director Hagai Levi wanted to spare no time in actually 're-imagining' this re-told, miniseries version of 1973-released Ingmar Bergman classic, 'Scenes From A Marriage'. After the warm-up of an introductory episode, Levi breaks free from Bergman chain of events as shown through his eyes, in his episode two of the series many decades ago. Here, unlike its predecessor, Levi doesn't give us a crash course on who Mira and Jonathan were as individuals--all we know is that they are a couple only on paper. An otherwise put together Mira confesses to Jonathan that she has been having an affair with a man for a while now, "I am in love with someone," she tells. Jonathan, blind-sided by this piece of information, doesn't know how to process this harsh truth of life. To him, his wife seeking solace in the arms of another man is not an indication of how far they have gone in their respective journeys as humans, but only a knowledge 'he doesn't know what to do with.' Also read: Scenes From A Marriage EP 1 review: Jessica Chastain & Oscar Isaac infuse 'modern easy' into this old saga Oscar Isaac's Jonathan is a repressed individual who, even when his wife he most certainly still loves, walks out the door, doesn't scream out in pain. Instead, chooses to purse his lips together and bite. Till it hurts. Mira's moment of truth may have been the highlight of this episode and the shock value Levi obviously wanted to inculcate, but she is a woman of stead habits, too. She knows with all her might that the relationship is hanging by a thread, yet, before exhibiting her first-ever act of bravery--of leaving the man she bore a kid with--Mira has to wrestle with her demons: "If I don’t leave now, I might never." The juxtaposing of these similar-yet-different characters may not score high on the barometer for originality (Marriage Story/ Netflix) but the cracks through which this couple falls, and continues to descend, makes this modernised version truly modern--both in tone and treatment. Also read: The Starling review: Grief knows not what grief does Aptly titled 'The Art of Sweeping Things Under the Rug' (bold approach, told you!), the episode yet again starts with a real-life, behind-the-scenes setting with Isaac plugging in his earphones before we are ushered into the devastation that he is about to suffer. There are no other characters that are introduced apart from these two. But, who cares? Oscar Isaac and Jessica Chastain are so taut as Jonathan and Mira that the monotony of each scene does not squish the purity of the emotions felt. If anything, they act as elevators. 'Scenes From A Marriage' is now streaming on Disney + Hotstar.

Scenes From A Marriage EP 2 review: Living is not the same as existing

Jessica Chastain spent years pursuing the opportunity to play Tammy Faye Messner, the indefatigable star of Christian broadcasting. Better known to an audience of millions as Tammy Faye Bakker, she and Jim Bakker, her husband at the time, presided over the popular PTL television ministry until they were brought down in the late 1980s by financial and sex scandals.

So when Chastain finally got that chance in “The Eyes of Tammy Faye,” a new biopic co-starring Andrew Garfield as Jim Bakker and directed by Michael Showalter, she was determined to look the part. As Chastain said of the woman behind her character: “She never really did anything halfway. She didn’t have an ounce of being cool or being aloof about her. So I just felt like I couldn’t dip my toe in or be cool and aloof in the performance. I had to jump in the most wild, extreme way. Because that’s how she lived every moment.”

Chastain had done her own research for the film, which Searchlight Pictures released Friday: She sought out magazine articles about Messner, who died in 2007, as well as old photographs and TV appearances. But making that transformation required a team of makeup, hair and wardrobe artists. Some of them had worked with Chastain before, and they knew what they would be expected to deliver. “It’s basically what she says she wants,” said hairstylist Stephanie Ingram, adding, “At that point you’ve just got to make it happen.”

Here, Chastain and several of the artists who worked on “The Eyes of Tammy Faye” talk about how they were able to fill the TV personality’s shoes (not to mention her wigs, sequins and acrylics).

Justin Raleigh, the film’s prosthetic makeup designer, and his team faced a twofold challenge. First, designing prosthetics (artificial skin appliances made of gel-filled silicone) that struck the right balance between character and performer: “Jessica wanted to be lost within the role and to really embody Tammy without completely obliterating Jessica as well,” Raleigh said. “We had a really careful dance of how much prosthetics we were going to use or not.” Second, creating consistent looks that would build up to Bakker in her most recognizable eras: “Working in reverse, once we established what we had to do for the 1980s and ’90s, the only way to make the rest of it work would be to add prosthetics to her younger look,” Raleigh said. “We had to keep that level of continuity, anatomically speaking, throughout the entire film.”

During the 1960s and ’70s, Chastain wore prosthetics on her cheeks, an appliance on her chin (to cover a dimple) and tape to pull up the tip of her nose.

In scenes set in the ’80s, she added a bodysuit, a full neck prosthetic and an appliance on her upper lip; for the ’90s she added eye bags. Throughout, Raleigh said, “The cheeks were the hallmark element that had to carry all the way through.”

For all the cosmetics that Messner wore — and as much as she was ridiculed for it — members of the makeup team said they wanted to avoid mockery. “It was just really making sure that nothing we did compromised the authenticity of who she was and that we never crossed a line into a caricature,” said makeup artist Linda Dowds, who has worked with Chastain on 15 movies, beginning with the 2013 horror film “Mama.”

Dowds, who headed the makeup department on “The Eyes of Tammy Faye,” said there always had to be a “beauty element” in how the character used makeup: “She absolutely loved makeup, and she loved looking the way she did in makeup. She just got bolder with it.”

Pink was a prominent color in her youthful palette, but over time, her coloring got darker, and she tattooed her eyeliner, eyebrows and lip liner (re-created with marker on Chastain).

“We also had a lot more lashes to deal with — we went from one coat of mascara to four or five,” Dowds said. “She would say things in interviews like, ‘Who said you can’t put mascara on false lashes? Where do these rules come from? You don’t have to be dowdy to be Christian.’ ”

To build a wardrobe for the on-screen Tammy Faye, the film’s costume designer, Mitchell Travers, had to get into her character, too: “Honestly, I went shopping like Tammy did,” Travers said. “She had an expression where she would say that shopping was her favorite cardio. And she was a woman who loved the hunt.”

He scoured swap meets and estate sales, and shopped on Etsy and at T.J. Maxx, in search of clothes for a woman who wanted to look powerful even before she could afford to and who later had access to money, then lost it. 
“I could tell the story of what it was like to be comfortable with money and almost forget that things had prices,” Travers said. “And I could also tell the story of what it was like to have lost it all and the pressure to live up to that persona when you didn’t have the funds.”

At her 1980s zenith, the character’s apparel looked new, and everything about it was big: the shoulder pads, the clip-on earrings, the polka dots. And for Tammy Faye’s post-PTL life, Travers said, he tried to reuse earlier looks he’d already assembled, “so that you get the sense that it’s a woman holding onto something that used to be there, but it’s not coming as easily.”

Getting Chastain’s hair to look like Tammy Faye’s memorable tresses required no less than 11 wigs: brown ones for her youth; big blond ones for her heyday in the ’80s and red ones for her later years — even a removable wig with a built-in headband that Chastain could pull off to reveal the character’s short, spindly locks (in fact, another wig). And don’t assume that Ingram, head of the film’s hair department and another veteran of many Chastain projects, simply found these wigs on a store shelf.

“It’s funny because people say, ‘You take ’em out of the box; you put ’em on,’ ” Ingram said. “I’m like, mmm, no, you don’t.”

Some wigs were colored and fit to Chastain’s specifications, and others were made custom for her. A given day on set could also call for five to 10 more stylists to provide period hair for the rest of the cast. Near the end of the shoot, when Tammy Faye asks for a divorce from her husband, Ingram said, “I just fell apart. I guess my body just went, oh my God, you actually did it.”

Playing a role under many layers of wigs, clothing, makeup and silicone was a largely new process for Chastain. She said her closest previous experience was portraying the dowdy heroine in a Broadway production of “The Heiress,” on which she didn’t have the benefit of such a large artistic team: “I had a prosthetic nose, which I applied myself,” she said. “So I have the utmost respect for what they do. Because it was really hard.”

Turning herself into Tammy Faye each day could sometimes take as long as five to seven hours, even before any filming started, but Chastain said that lengthy preparation at least offered her the additional time to connect with her character. “When you sit in a chair for that long it can be draining,” Chastain said. “I was constantly watching videos of her, listening to her voice. I was using it as a runway. Sometimes when you’re playing a character, you get a 30-minute runway, and then you take off, and you’re shooting. My character had an extra-long runway.”

Jessica Chastain spent years pursuing the opportunity to play Tammy Faye Messner, the indefatigable star of Christian broadcasting. Better known to an audience of millions as Tammy Faye Bakker, she and Jim Bakker, her husband at the time, presided over the popular PTL television ministry until they were brought down in the late 1980s by financial and sex scandals.

Jessica Chastain spent years pursuing the opportunity to play Tammy Faye Messner, the indefatigable star of Christian broadcasting. Better known to an audience of millions as Tammy Faye Bakker, she and Jim Bakker, her husband at the time, presided over the popular PTL television ministry until they were brought down in the late 1980s by financial and sex scandals. So when Chastain finally got that chance in “The Eyes of Tammy Faye,” a new biopic co-starring Andrew Garfield as Jim Bakker and directed by Michael Showalter, she was determined to look the part. As Chastain said of the woman behind her character: “She never really did anything halfway. She didn’t have an ounce of being cool or being aloof about her. So I just felt like I couldn’t dip my toe in or be cool and aloof in the performance. I had to jump in the most wild, extreme way. Because that’s how she lived every moment.” Chastain had done her own research for the film, which Searchlight Pictures released Friday: She sought out magazine articles about Messner, who died in 2007, as well as old photographs and TV appearances. But making that transformation required a team of makeup, hair and wardrobe artists. Some of them had worked with Chastain before, and they knew what they would be expected to deliver. “It’s basically what she says she wants,” said hairstylist Stephanie Ingram, adding, “At that point you’ve just got to make it happen.” Here, Chastain and several of the artists who worked on “The Eyes of Tammy Faye” talk about how they were able to fill the TV personality’s shoes (not to mention her wigs, sequins and acrylics). Justin Raleigh, the film’s prosthetic makeup designer, and his team faced a twofold challenge. First, designing prosthetics (artificial skin appliances made of gel-filled silicone) that struck the right balance between character and performer: “Jessica wanted to be lost within the role and to really embody Tammy without completely obliterating Jessica as well,” Raleigh said. “We had a really careful dance of how much prosthetics we were going to use or not.” Second, creating consistent looks that would build up to Bakker in her most recognizable eras: “Working in reverse, once we established what we had to do for the 1980s and ’90s, the only way to make the rest of it work would be to add prosthetics to her younger look,” Raleigh said. “We had to keep that level of continuity, anatomically speaking, throughout the entire film.” During the 1960s and ’70s, Chastain wore prosthetics on her cheeks, an appliance on her chin (to cover a dimple) and tape to pull up the tip of her nose. In scenes set in the ’80s, she added a bodysuit, a full neck prosthetic and an appliance on her upper lip; for the ’90s she added eye bags. Throughout, Raleigh said, “The cheeks were the hallmark element that had to carry all the way through.” For all the cosmetics that Messner wore — and as much as she was ridiculed for it — members of the makeup team said they wanted to avoid mockery. “It was just really making sure that nothing we did compromised the authenticity of who she was and that we never crossed a line into a caricature,” said makeup artist Linda Dowds, who has worked with Chastain on 15 movies, beginning with the 2013 horror film “Mama.” Dowds, who headed the makeup department on “The Eyes of Tammy Faye,” said there always had to be a “beauty element” in how the character used makeup: “She absolutely loved makeup, and she loved looking the way she did in makeup. She just got bolder with it.” Pink was a prominent color in her youthful palette, but over time, her coloring got darker, and she tattooed her eyeliner, eyebrows and lip liner (re-created with marker on Chastain). “We also had a lot more lashes to deal with — we went from one coat of mascara to four or five,” Dowds said. “She would say things in interviews like, ‘Who said you can’t put mascara on false lashes? Where do these rules come from? You don’t have to be dowdy to be Christian.’ ” To build a wardrobe for the on-screen Tammy Faye, the film’s costume designer, Mitchell Travers, had to get into her character, too: “Honestly, I went shopping like Tammy did,” Travers said. “She had an expression where she would say that shopping was her favorite cardio. And she was a woman who loved the hunt.” He scoured swap meets and estate sales, and shopped on Etsy and at T.J. Maxx, in search of clothes for a woman who wanted to look powerful even before she could afford to and who later had access to money, then lost it. “I could tell the story of what it was like to be comfortable with money and almost forget that things had prices,” Travers said. “And I could also tell the story of what it was like to have lost it all and the pressure to live up to that persona when you didn’t have the funds.” At her 1980s zenith, the character’s apparel looked new, and everything about it was big: the shoulder pads, the clip-on earrings, the polka dots. And for Tammy Faye’s post-PTL life, Travers said, he tried to reuse earlier looks he’d already assembled, “so that you get the sense that it’s a woman holding onto something that used to be there, but it’s not coming as easily.” Getting Chastain’s hair to look like Tammy Faye’s memorable tresses required no less than 11 wigs: brown ones for her youth; big blond ones for her heyday in the ’80s and red ones for her later years — even a removable wig with a built-in headband that Chastain could pull off to reveal the character’s short, spindly locks (in fact, another wig). And don’t assume that Ingram, head of the film’s hair department and another veteran of many Chastain projects, simply found these wigs on a store shelf. “It’s funny because people say, ‘You take ’em out of the box; you put ’em on,’ ” Ingram said. “I’m like, mmm, no, you don’t.” Some wigs were colored and fit to Chastain’s specifications, and others were made custom for her. A given day on set could also call for five to 10 more stylists to provide period hair for the rest of the cast. Near the end of the shoot, when Tammy Faye asks for a divorce from her husband, Ingram said, “I just fell apart. I guess my body just went, oh my God, you actually did it.” Playing a role under many layers of wigs, clothing, makeup and silicone was a largely new process for Chastain. She said her closest previous experience was portraying the dowdy heroine in a Broadway production of “The Heiress,” on which she didn’t have the benefit of such a large artistic team: “I had a prosthetic nose, which I applied myself,” she said. “So I have the utmost respect for what they do. Because it was really hard.” Turning herself into Tammy Faye each day could sometimes take as long as five to seven hours, even before any filming started, but Chastain said that lengthy preparation at least offered her the additional time to connect with her character. “When you sit in a chair for that long it can be draining,” Chastain said. “I was constantly watching videos of her, listening to her voice. I was using it as a runway. Sometimes when you’re playing a character, you get a 30-minute runway, and then you take off, and you’re shooting. My character had an extra-long runway.”

How Jessica Chastain became Tammy Faye

"Marriage is means, not an end," assures a collected Jonathan (Oscar Isaac), gradually deviating from the still sensitive topic of him being an orthodox Jew up until the moment he met his handsome-money-pocketing wife, Mira (Jessica Chastain). Clearly, Jonathan's one foot is in the times of ever-evolving ideations around marriage and the other, stuck in his previous understanding of it. "It's ingrained in me," he cries out.&nbsp;

 
The opening scene takes us to Jessica's--Chastain, the actress--van where she begins her visibly uncomfortable interview scene with a student on gender roles and polyamory in marriage. Mira's polite but well guarded, and while each of her answers are measured and with a mild protest dished out through her anxious body language, we learn early on--when her phone chimes--she's disturbed by external factors other than the 'intrusive' student sitting across from them.

Also read:&nbsp;<a href="https://www.wionews.com/entertainment/hollywood/news-idris-elba-to-reprise-his-iconic-john-luther-role-for-netflixs-new-film-413050">Idris Elba to reprise his iconic John Luther role for Netflix's new film</a>

Hagai Levi's hour-long episode 'Innocence And Panic' has a chaotic energy about it, with the predictably inevitable air of artistic liberties looming over its characters. Just like Ingmar Bergman's original setting--which serves as inspiration for this Disney + Hotstar miniseries' retelling--the couple is on the brink of collapse. They just don't know it yet.&nbsp;

 
To no one's surprise, Levi adds a dash of openness through the pair's married friends Peter (Corey Stoll) and Kate (Nicole Beharie). Over for a double date at home, the other couple bickers about Kate's heartbreak from a recent break-up--she was not meant to fall in love outside of marriage! Beharie's Kate is mouthy yet respectful; something Mira lacks in their relationship: she is condescending, close-minded and barely present. The struggles between the two, and in their respective lives, manifests into a kiss. Though the sexual tension was not blatantly obvious, the kiss doesn't seem forced. Another hint of sexual liberation not restricted to/by&nbsp;marital vows on fidelity.&nbsp;

<img alt="The 'modern easy' chemistry between Isaac and Chastain is infectious" data-entity-type="file" data-entity-uuid="b0964af3-1f9f-4e6f-aa3b-8dd804940d64" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20-%202021-09-14T215147.205.jpg" />

Levi wipes the couple out from his narrative in the middle of an emotionally charged discussion around marriage and sexuality. Perhaps never to be seen again: pretty much retaining the contents of the source material on this track.&nbsp;

'Innocence And Panic' is actually the backstory to the <a href="https://www.wionews.com/entertainment/jessica-chastain-and-oscar-isaac-get-intimate-for-new-tv-miniseries-410806">red carpet camaraderie between Isaac and Chastain</a>--they embody the modern, easy couple on celluloid sans the need to communicate and be modestly upfront. In the abortion clinic (another Bergman element), Jonathan puts up the facade of embracing his self-assured wife's choice, only to grieve in private near a vending machine. Mira, too, trickles over and breaks down--the trembling of Chastain's lips over the character's pent up frustration has to be the highlight of episode one.

Also read:&nbsp;<a href="https://www.wionews.com/photos/the-weirdest-wildest-craziest-looks-from-the-2021-met-gala-413003">The weirdest, wildest &amp; craziest looks from the 2021 Met Gala</a>

Levi's got a great team working for him--crackling chemistry right there between the two actors, an already legendary script to offer newer interpretations to... But, what is, Levi, the director, trying to tell? The introduction gives away the fact that Levi's a bit torn between following the iconic source script to a T with occasional attempts of redemption at&nbsp;carving his own path out.&nbsp;The confusion is detectable to say the least, and not to the helmer's advantage.

Everything said and done, wherever the miniseries goes from here on, we will watch it for <a href="https://www.wionews.com/entertainment/jessica-chastain-reacts-to-the-viral-video-of-oscar-isaac-kissing-her-arm-on-the-red-carpet-411451">Isaac and Chastain</a>. &nbsp;

<img alt="Watch 'Scenes From A Marriage' for Jessica Chastain and Oscar Isaac" data-entity-type="file" data-entity-uuid="b83092c0-efc2-41a6-885a-394557fa26ef" src="//cdn.wionews.com/sites/default/files/inline-images/pjimage%20-%202021-09-14T215110.642.jpg" />

"Marriage is means, not an end," assures a collected Jonathan (Oscar Isaac), gradually deviating from the still sensitive topic of him being an orthodox Jew up until the moment he met his handsome-money-pocketing wife, Mira (Jessica Chastain).

"Marriage is means, not an end," assures a collected Jonathan (Oscar Isaac), gradually deviating from the still sensitive topic of him being an orthodox Jew up until the moment he met his handsome-money-pocketing wife, Mira (Jessica Chastain). Clearly, Jonathan's one foot is in the times of ever-evolving ideations around marriage and the other, stuck in his previous understanding of it. "It's ingrained in me," he cries out. The opening scene takes us to Jessica's--Chastain, the actress--van where she begins her visibly uncomfortable interview scene with a student on gender roles and polyamory in marriage. Mira's polite but well guarded, and while each of her answers are measured and with a mild protest dished out through her anxious body language, we learn early on--when her phone chimes--she's disturbed by external factors other than the 'intrusive' student sitting across from them. Also read: Idris Elba to reprise his iconic John Luther role for Netflix's new film Hagai Levi's hour-long episode 'Innocence And Panic' has a chaotic energy about it, with the predictably inevitable air of artistic liberties looming over its characters. Just like Ingmar Bergman's original setting--which serves as inspiration for this Disney + Hotstar miniseries' retelling--the couple is on the brink of collapse. They just don't know it yet. To no one's surprise, Levi adds a dash of openness through the pair's married friends Peter (Corey Stoll) and Kate (Nicole Beharie). Over for a double date at home, the other couple bickers about Kate's heartbreak from a recent break-up--she was not meant to fall in love outside of marriage! Beharie's Kate is mouthy yet respectful; something Mira lacks in their relationship: she is condescending, close-minded and barely present. The struggles between the two, and in their respective lives, manifests into a kiss. Though the sexual tension was not blatantly obvious, the kiss doesn't seem forced. Another hint of sexual liberation not restricted to/by marital vows on fidelity. Levi wipes the couple out from his narrative in the middle of an emotionally charged discussion around marriage and sexuality. Perhaps never to be seen again: pretty much retaining the contents of the source material on this track. 'Innocence And Panic' is actually the backstory to the red carpet camaraderie between Isaac and Chastain--they embody the modern, easy couple on celluloid sans the need to communicate and be modestly upfront. In the abortion clinic (another Bergman element), Jonathan puts up the facade of embracing his self-assured wife's choice, only to grieve in private near a vending machine. Mira, too, trickles over and breaks down--the trembling of Chastain's lips over the character's pent up frustration has to be the highlight of episode one. Also read: The weirdest, wildest & craziest looks from the 2021 Met Gala Levi's got a great team working for him--crackling chemistry right there between the two actors, an already legendary script to offer newer interpretations to... But, what is, Levi, the director, trying to tell? The introduction gives away the fact that Levi's a bit torn between following the iconic source script to a T with occasional attempts of redemption at carving his own path out. The confusion is detectable to say the least, and not to the helmer's advantage. Everything said and done, wherever the miniseries goes from here on, we will watch it for Isaac and Chastain.

Scenes From A Marriage EP 1 review: Jessica Chastain & Oscar Isaac infuse 'modern easy' into this old saga

Actors Jessica Chastain and Oscar Isaac have known each other for years, but being old friends was a mixed blessing when it came to playing a married couple in the new television miniseries 'Scenes from a Marriage', the pair said on Saturday. 
 
Chastain, 44, and Isaac, 42, who both studied at the Juilliard arts school and have been friends since college days, portray Mira and Jonathan in the HBO series, an adaptation of acclaimed Swedish director Ingmar Bergman`s miniseries of the same title. 
 
Directed by Israeli filmmaker Hagai Levi, the 2021 version is set in the United States and examines the themes of love, marriage, monogamy and divorce, also explored in the original series, through a contemporary lens.

<a href="https://www.wionews.com/entertainment/hollywood/news-anya-taylor-joy-travels-back-in-time-in-thriller-last-night-in-soho-410802" hreflang="en">Anya Taylor-Joy travels back in time in thriller 'Last Night in Soho'</a> 
 
"This one explores gender roles in a relationship in the current time period in terms of salary ... who is supporting the family ... what it means to be a mother, a woman`s relationship to sex, all of these things," Chastain said. 
 
"The piece really allows you to look at what it meant to be a wife and mother in that time and what it could mean also in this time," she said as she presented the series at the Venice Film Festival with Isaac and Levi.

&nbsp;

<a href="https://www.wionews.com/photos/from-cinderella-to-shang-chi-what-to-watch-this-weekend-410396">From 'Cinderella' to 'Shang-Chi': What to watch this weekend</a> 
 
Levi, 58, said watching the original 1973 series as a young religious Jewish boy in a remote village shocked and inspired him. 
He said he drew on his religious background for the screenplay, which he co-wrote, and strived to depict the challenges "the new man, softer, more inhibited and complicated" faces today. 
 
Chastain and Isaac described their close bond off set as "both a blessing and a curse" when it came to portraying the couple, translating to an easy intimacy and trust but allowing for little personal space. 
 
"We got to the point where we were reading each other`s minds and I was like, `get out of my head!`. I felt on this job there was no quiet time," Chastain said. 
 
An intimacy coordinator helped put the actors at ease when it came to filming sex scenes, but they were awkward nonetheless, she added. 
"I would still get embarrassed. Bourbon helped a lot."&nbsp;&nbsp;All five episodes of 'Scenes from a Marriage'&nbsp;are screening Out of Competition at the 78th Venice Film Festival which runs through Sept. 11.

Actors Jessica Chastain and Oscar Isaac have known each other for years, but being old friends was a mixed blessing when it came to playing a married couple in the new television miniseries 'Scenes from a Marriage', the pair said on Saturday.

Actors Jessica Chastain and Oscar Isaac have known each other for years, but being old friends was a mixed blessing when it came to playing a married couple in the new television miniseries 'Scenes from a Marriage', the pair said on Saturday. Chastain, 44, and Isaac, 42, who both studied at the Juilliard arts school and have been friends since college days, portray Mira and Jonathan in the HBO series, an adaptation of acclaimed Swedish director Ingmar Bergman`s miniseries of the same title. Directed by Israeli filmmaker Hagai Levi, the 2021 version is set in the United States and examines the themes of love, marriage, monogamy and divorce, also explored in the original series, through a contemporary lens. Anya Taylor-Joy travels back in time in thriller 'Last Night in Soho' "This one explores gender roles in a relationship in the current time period in terms of salary ... who is supporting the family ... what it means to be a mother, a woman`s relationship to sex, all of these things," Chastain said. "The piece really allows you to look at what it meant to be a wife and mother in that time and what it could mean also in this time," she said as she presented the series at the Venice Film Festival with Isaac and Levi. From 'Cinderella' to 'Shang-Chi': What to watch this weekend Levi, 58, said watching the original 1973 series as a young religious Jewish boy in a remote village shocked and inspired him. He said he drew on his religious background for the screenplay, which he co-wrote, and strived to depict the challenges "the new man, softer, more inhibited and complicated" faces today. Chastain and Isaac described their close bond off set as "both a blessing and a curse" when it came to portraying the couple, translating to an easy intimacy and trust but allowing for little personal space. "We got to the point where we were reading each other`s minds and I was like, `get out of my head!`. I felt on this job there was no quiet time," Chastain said. An intimacy coordinator helped put the actors at ease when it came to filming sex scenes, but they were awkward nonetheless, she added. "I would still get embarrassed. Bourbon helped a lot." All five episodes of 'Scenes from a Marriage' are screening Out of Competition at the 78th Venice Film Festival which runs through Sept. 11.