In the end, Howard performed her scenes in a chair on a soundstage but still got banged up enough that co-star Chris Pratt begged her to post on Twitter the aftermath pictures taken by a makeup artist. Review: Dino delight 'Jurassic World Dominion' is the best since the first 'Jurassic Park' For the plane stunt, director Colin Trevorrow asked whether she wanted to do it for real, Cruise style, “and thank God, insurance came to the rescue,” Howard quips. In the new sci-fi action adventure “Jurassic World Dominion” (in theaters now), Howard’s character, Claire Dearing – who has evolved from theme park manager in heels to dino-saving hero in sensible footwear over three "Jurassic World" films – navigates a rooftop chase, hides underwater from a gigantic beast and parachutes out of a plane, then is attacked by a deadly winged Quetzalcoatlus. “I want be able to do as much as possible that is never going to slow production down, but my rule is that insurance has to cover it,” Howard says, adding one of her frequent and infectious laughs that delightfully pepper an interview. She also loves stunt work, although Howard is not yet ready to become the next Tom Cruise. You don’t have to learn your lines, you don’t have to rehearse, you just have to entertain.Watch Video: Chris Pratt, Jeff Goldblum reunite on 'Jurassic World Dominion' setīryce Dallas Howard lives a fairly awesome Hollywood life, sharing the screen with hungry dinosaurs and telling the Mandalorian and Baby Yoda what to do while sitting in a director’s chair. “You get in your car, drive to the studio, stand in front of a microphone and just act. “Listening to The Guilty now, I do hear the voice - curiously, it gives a kind of richness.” (Lithgow also clarifies that this incident was not related to his work on The Guilty).Īudio acting remains, at least in terms of logistics, “the easiest,” according to Lithgow. He subsequently had a “massive” operation, where a nodule “the size of a fist” came out. In March, an otolaryngologist diagnosed Lithgow with a growth on his thyroid that was putting pressure on his vocal cords. The actor, who has referenced in other interviews that vocal stamina and a hoarse voice can be an issue with audio performance, shared with THR that he experienced a medical incident earlier this year after noticing in January - some months after he recorded The Guilty - that he was losing his voice. Lithgow - whose voice is extremely familiar to those who grew up watching him onstage ( Fiddler on the Roof), on television ( 3rd Rock From the Sun) or film ( Interstellar) - told THR that people sometimes overhear him and recognize his speech before they have even seen him. “Every element takes you through, including the music and the pianist in the pit.” “You hear my voice resonating as if I’m in a great big hall, and then you hear the voices of the police inspectors, dry and business-like, in the dressing room, trying to figure out what’s going on,” says Lithgow. The audio engineers have, as he explains, made it very clear where the listener is at any given moment. There are multiple key areas described in the story: the dressing room in present day, the performance onstage, and the atmosphere in the audience - which Lithgow describes as “packed” and “restless” - and even the orchestra pit, where there is a pianist. Though the writers (Patterson and Swierczynski) and director, Stephen Brackett, were on Zoom so they could interact with Lithgow and vice-versa. “It was just me and the sound engineer because of all the COVID protocols,” he explains. The audio drama was recorded at Bell Sound Studios in Hollywood, where Lithgow was essentially by himself. When you can do that, then lure people into a whodunit murder story, you really have some great storytelling.” It’s a completely implausible premise, but it is done in such a way as to make it plausible. And he introduces the actors, and the actors don’t even realize they’ve been cast yet. Lithgow also praises the “ingenuity” of the story: “It’s meta: a play within a play, but the play is highly unusual - this mad genius, Osmond Box, invites everybody to an opening night of a play, but the play hasn’t been written yet. “And I’m plenty familiar with larger-than-life theatrical characters, probably none quite as flamboyant as Osmond Box, but plenty that have approached that.” Lithgow, who has performed in numerous Broadway shows, notes that the setting was a world he felt very familiar with. It’s opening night of Box’s new play, but it soon becomes a murder scene, and New York City homicide detectives are tasked with figuring out what is real, what is part of the act, and who, exactly, they should be investigating. The setting he’s referring to is Broadway. Viola Davis' Ashé Audio Ventures Inks Multi-Project Deal With Audible (Exclusive)
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