ANNA SAWAI
32 BRIGHT STAR
By Hiroyuki Sanada
Anna Sawai could play any role on this earth, or in space. Period pieces or far-future films-she is so talented that she can do anything. Shogun was our first time working together. It was also her first time starring in a samurai drama. The effort she put into creating her character, Lady Mariko, was incredible. She had to learn so many things so quickly: riding a horse, walking in a kimono, fighting with a naginata, and performing in both English and samuraiera Japanese, which we never use in modern life. She'd call me on the weekend about the next week's dialogue, and we'd talk about the meaning and the pronunciation, the rhythm and tone. The script was always changing, but she'd memorize it perfectly, and perform it with such power. She brought a kind of peace to the set, bringing everyone together: the Western crew, the Japanese crew. She was so kind, and thoughtful, and she played her role with such grace. This September, she won an Emmy-the first Asian actor to win in her category. From here, she'll just get bigger, and bigger. I can't wait to watch.
FRED RICHARD
20 HIGH-FLYING INSPIRATION
By Stephen Nedoroscik
Fred Richard improves faster than any other gymnast I have ever seen. He's an amazing gymnast, as well as an amazing advocate for the sport. Men's gymnastics hasn't had its time in the spotlight in many years, but Fred is working harder than anybody else to change that. During his Olympic pursuit, he grew the sport's fan base through social media and televised appearances.
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Kate Winslet Puts Lee Miller in the Frame - Kate Winslet loves tables. She loves them so much that the Oscar-winning actor collects them.
Kate Winslet loves tables. She loves them so much that the Oscar-winning actor collects them. There is nothing fancy about these antiques, but they enchant her. "It's the knots and the whorls, the shape and feel," she says. "They can feel like old friends, and there is something emotionally charging about an old table that comes with a history-I find imagining what that might be enormous fun."
Alfonso Cuarón Goes Long - The Oscar-winning filmmaker finds pathos in our lonely present in his first TV miniseries
A perceptive, generous-spirited child draws on her imagination when she's subjected to the cruelty of a boarding-school headmistress. A lone astronaut, cradled in a damaged space capsule and having lost any hope of returning to Earth, experiences a hallucination that saves her life. A young household servant, abandoned by the man who's gotten her pregnant, miscarries-though his betrayal helps her define what family truly means to her. Loneliness, so universal it has virtually become trademarked the Human Condition, is everywhere in art, and in life: we tend to fetishize it, or at least dab it with a perfume of sentimentality. But Alfonso Cuarón, now more than 30 years into a wide-ranging career that spans pictures like the Frances Hodgson Burnett adaptation A Little Princess, the space reverie Gravity, and the memoir-as-film drama Roma, is more interested in subtle emotional textures, in gradations of feeling that are always specific to the character at hand yet also joltingly recognizable. And now he brings his big-screen, big-story gifts to a limited series, an adaptation of Renée Knight's 2015 psychological thriller Disclaimer.
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