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---
description: TIME presents video interviews with the actors from our 2013 Great Performances portfolio.
title: Exclusive Video: Great Performances 2013
image: https://static.time.com/v3/assets/bltea6093859af6183b/blt98551ba88454fbe5/6987a3675f570f6739b17bf0/grid.jpeg?branch=production&amp;width=3840&amp;quality=75&amp;auto=webp&amp;crop=16:9
---

![](https://static.time.com/v3/assets/bltea6093859af6183b/blt98551ba88454fbe5/6987a3675f570f6739b17bf0/grid.jpeg?branch=production&width=3840&quality=75&auto=webp&crop=16:9)

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# Exclusive Video: Great Performances 2013


by 

[Jessica Winter](/author/jessica-winter/)


## Jessica Winter


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Feb 7, 2013 12:59 PM CUT

![Great Performances 2013](https://static.time.com/v3/assets/bltea6093859af6183b/blt98551ba88454fbe5/6987a3675f570f6739b17bf0/grid.jpeg?branch=production&width=3840&quality=75&auto=webp&crop=3:2)

by 

[Jessica Winter](/author/jessica-winter/)


## Jessica Winter


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Feb 7, 2013 12:59 PM CUT

The Performers Speak

---

[Amy Adams](http://wp.me/p1d6cx-gWR "undefined")

[Sally Field](http://wp.me/p1d6cx-gWA "undefined")

[John Hawkes](http://wp.me/p1d6cx-gWH "undefined")

[Quvenzhané Wallis](http://wp.me/p1d6cx-gWC "undefined")

[Anne Hathaway & Hugh Jackman](http://wp.me/p1d6cx-gWP "undefined")

[Christoph Waltz](http://wp.me/p1d6cx-gWN "undefined")

[John Goodman](http://wp.me/p1d6cx-gWJ "undefined")

[Naomi Watts](http://wp.me/p1d6cx-gWF "undefined")

[Jessica Chastain](http://wp.me/p1d6cx-gWL "undefined")

---

Oscar voters swoon for history. Often audiences do too. With a few exceptions, the most acclaimed, most talked about and most controversial films of 2012 were those that restaged pivotal moments from the world timeline — and in some cases rewrote them. Even _Les Misérables_, a musical of Christian martyrdom, is rooted in the anti-monarchist 1832 Paris uprising, and stars Anne Hathaway and Hugh Jackman did intense period research for their roles. “Victor Hugo’s novel is the greatest handbook any actor has ever had for a job,” Jackman says, “but Annie brought research to it that went even further than Hugo — about what it meant to be a woman in that time period, what it meant to be a prisoner.”

In the past eight years, nine of the Oscars for Best Actor and Actress have been for portrayals of famous figures in 20th century political or cultural history. The accuracy of each actor’s onscreen look and mannerisms could be measured against an original: Truman Capote’s wizened-child voice, emanating from Philip Seymour Hoffman; Margaret Thatcher’s hawklike posture and predatory overbite, conjured by Meryl Streep.

Hathaway, by contrast, plays a woman whose name would never appear in a history book. In that sense, she is not unlike her fellow nominees from a slate of films that approach history through figures far less recognizable to us than Thatcher and Capote. The CIA operatives played by Ben Affleck, Alan Arkin and John Goodman in Affleck’s _Argo_ were strictly undercover heroes — their wily patriotism wasn’t even declassified until 1997\. The CIA tracker portrayed by Jessica Chastain in _Zero Dark Thirty_ is reportedly still in the field and cannot be identified. Maria Belon, whom Naomi Watts plays in _The Impossible_, is a survivor of the 2004 tsunami but not a global face of that catastrophe. Everyone knows Abraham Lincoln, but _Lincoln_ stars Daniel Day-Lewis and Sally Field (as the 16th President’s wife) had no film footage or audio recordings to pull from, and neither does their audience.

[**See more portraits of TIME’s Great Performances portfolio by Paola Kudacki**](http://wp.me/p1d6cx-gSU "undefined")

So Field found a different way in. “It was important to create the messiness of a long-term marriage between two complicated and emotionally challenged people,” she says. _The Master_ also uses a closeup portrait of a marriage to help achieve a small-scale intimacy with a larger-than-life figure — in this case, a cult leader reminiscent of Scientology founder L. Ron Hubbard, played by Hoffman, with Amy Adams as his formidable wife. “It’s a film about human connection, emotional connection,” Hoffman says. The makers of _The Master_ have stressed that Hubbard is only a reference point for the film and not its subject; that may seem like a dodge, but it’s also a declaration of independence — a call to let a movie be a movie, and to let actors act, not mimic.

That spirit burned brightest in the films that took the most liberties with their reference points. Loosely inspired by the events of Hurricane Katrina, _Beasts of the Southern Wild_ originated a Gulf Coast strain of magic realism, with Quvenzhané Wallis as perseverance personified. (“Dealing with the mosquitoes and the mud was the hardest part,” says Wallis of the Louisiana shoot, “but you just had to go through it.”) And in _Django Unchained_, set in the twilight years of slavery in the American South, Jamie Foxx and Christoph Waltz are an unlikely pair of bounty hunters: one a vengeful ex-slave, the other a progressive European. Neither of these movies is reverent toward history; _Django_ in particular roughs up the historical record or disregards it entirely. The actors behind the great performances noted in these pages were free to create original characters rather than impersonations. In so doing, they also enabled their movies to take old business and make it new.


---

[**_Paola Kudacki_**](http://www.paolakudacki.com/ "undefined") _is a photographer based in New York. She previously photographed_ [_Kathryn Bigelow for the cover of TIME_](http://www.time.com/time/covers/0,16641,20130204,00.html "undefined")_._

[**_Jessica Winter_**](http://entertainment.time.com/author/winterjessica/ "undefined") _is the editor of TIME’s Culture section._

---

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