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Welcome to Mackenzie Davis Fan, your #1 source for info, news, and photos of extraordinarily talented Canadian actress Mackenzie Davis. She stars as Cameron Howe in AMC's Halt and Catch Fire and recently appeared in the "San Junipero" episode of Netflix's Black Mirror. Mackenzie just finished filming Blade Runner 2049 and Tully, and her newest film, Always Shine is on Video on Demand now!

Mackenzie is featured in the Winter 2017 issue of PORTER Magazine. She is interviewed by former Breathe In co-star, Felicity Jones. The pair talk about the challenges of taking on the sequel of such a well-known movie like Blade Runner and why the most intriguing women are found in sci-fi. Pick up the magazine on newsstands now or download it on the PORTER Magazine app.

Mackenzie is featured on the cover of the September/October 2017 issue of Malibu Magazine. Interviewed by Augustus Britton, she discusses her acting techniques, what makes her stand out, and why empathy is such an important thing for an actor to have.

The light is pale blue. A thin sheen hangs over everything. We are in the midst of a solar eclipse.

The lake shines down by our feet. I see fish—small ones. I see a turtle. Geese. Ducks. Dogs. People. Coffee cups. I see the paddleboats.

I see very small splatters of what looks like blue paint on the frames of Mackenzie Davis’ lime green Céline sunglasses. Telling, maybe. She looks a touch tired. Her neck is long. Her hair is pulled back. Pretty face—an elegant face. Her hands are venous. Her skin is pale. I can’t see her eyes. The tint is too heavy. I almost ask her to take off her shades, because behind those shades are big and brilliant blue eyes. I don’t ask.

Instead, “How did we get here?”

She answers. A full voice comes through, a recognizable voice, “It’s funny. I was just sitting here thinking about how I lived in L.A. five or six years ago, for two years, and Echo Park Lake wasn’t here [the way it is now], and then I moved back to New York, and as soon as I moved to New York, Echo Park Lake became this thing again. And now I’ve moved back here—I was really jealous that it got developed while I was away.”

That’s her answer. From moment to moment Mackenzie is very much interested in the spirit of what’s happening right now, a veritable hallmark of the best kind of actor.

READ THE FULL INTERVIEW HERE

Mackenzie and her Blade Runner 2049 co-stars, Ana de Armas and Sylvia Hoeks, are featured in the October 2017 issue of Marie Claire. Interviewed by Devon Maloney, the ladies talk about the upcoming film and try to (unsuccessfully on Mackenzie’s part) keep mum about the ultra-secretive plot.

Blade Runner 2049 hits theaters on October 6. But you already knew that. The film is the biggest box-office phenomenon of the fall, and it hasn’t even reached the box office yet. And, odds are, you’ve already seen the trailers (together they’ve earned more than 20 million views and counting on YouTube), so we don’t have to tell you that while the future may not exactly be bright, it does look sufficiently badass—thanks, in large part, to the dazzling lineup of relentless women, including Mackenzie Davis, Ana de Armas, and Sylvia Hoeks, who drive the film’s plot in a blaze of fearless, special-effects-enhanced glory.

The much-anticipated sequel picks up where Ridley Scott’s 1982 dystopian classic, Blade Runner, left off, give or take 30 years. And the update (directed by Arrival film- maker Denis Villeneuve and executive-produced by Scott) will immerse moviegoers in a breathtaking futuristic world that will no doubt be as influential on fashion, beauty, and art as the stylish sci-fi original’s was. (See: Sean Young’s over-the-top fur coat, Joanna Cassidy’s clear rain jacket, and Daryl Hannah’s extreme smoky eyes.) But the best part, of course: The women are bringing to life multidimensional, complex characters…even if they’re not all flesh and blood.

READ THE FULL INTERVIEW HERE

Mackenzie recently did an interview with Vulture about Halt and Catch Fire and had some very interesting thoughts on race, money, and the value of having difficult conversations. It is quite a fascinating read, so take a look at it when you have a chance!

Along with a duct-taped copy of Donna Tartt’s The Goldfinch, Mackenzie Davis toted a glass bottle of green water around with her on set of Halt and Catch Fire. “Recently I was like, ‘I smell bad,’” Davis said as she took a swig. She used to put droplets of chlorophyll into her water, but when she stopped, she noticed her body odor, so she started up again. “If you drink it for like a week and a half, you smell like sweet cut grass,” she said. “It also increases cellular respiration and allows you to have more oxygen in your bloodstream, but I can only vouch for the sweet cut grass.”

We’re lounging on a couch in Donna’s (played by her co-star, Kerry Bishé) living room, which has been retrofitted in a palette of salmon pink to reflect the interior-decorating tastes of the early 1990s. Davis is taking a break between scenes while shooting the series finale of a show she started on five years ago playing Cameron Howe, the coding savant who can best relate to people through technology. Since then, Davis’s career has moved forward at a fast clip with roles in That Awkward Moment, The Martian, a beloved episode of Black Mirror, and an upcoming part in Blade Runner 2049. Four seasons later, perhaps the most concrete acknowledgment of her ascent (as well as a changing industry) is this: AMC offered her and Bishé a salary commensurate to their male co-stars Lee Pace and Scoot McNairy for the final season.

Davis, 30, who studied English at McGill University in Montreal and didn’t pursue acting professionally until she graduated, maintains the demeanor of someone who thinks of herself as a lifelong student. She loves books, ideas, and the cultural conversation. So when I bring up The Martian, where she played engineer Mindy Park, she knows immediately what I’m talking about. “Are you talking about the whitewashing thing?” she says. “I’ve actually wanted somebody to ask me about this.” What follows is an engrossing, thoughtful conversation about the things most people don’t like to talk about: money, race, and feminism.

READ THE FULL ARTICLE ON VULTURE

It has been announced by Vulture that Mackenzie and Kerry Bishé have been given the same salary as their male co-stars on Halt and Catch Fire. This is quite the advancement for women in the entertainment industry, so we are extremely happy for them. It was more than deserved! Congrats, ladies!

Halt and Catch Fire begins its fourth and final season this fall with a fresh start: Mackenzie Davis and Kerry Bishé are getting paid the same amount as their male co-stars, Lee Pace and Scoot McNairy.

“Before this season, it was really important to me, just on a personal level of being like, I don’t need to get paid more than anybody; I just want to be paid the same,” Davis, who plays the coding genius Cameron Howe, told Vulture on the set of the show in Atlanta. “Kerry and I deserve to get paid the same as the boys.” Bishé, who plays Donna Emerson, a senior executive at a VC firm, added, “I do think that the principle is important, no matter the size of the numbers we’re talking about.”

Both Davis and Bishé said negotiating the salary with AMC ahead of the final season was simple and straightforward. “Without having to ask this final season or renegotiate our contracts, they paid the four of us the same, which I thought was really generous,” said Bishé. “It was a really nice commitment — literally putting their money where their mouth is.”

READ THE FULL ARTICLE ON VULTURE

Mackenzie is featured as one of the five stars in Interview‘s ‘Youth in Revolt’ cover stories. She is interviewed by her best friend (and Editor-in-Chief) Nick Haramis for the June/July 2017 issue.

Mackenzie Davis is lying next to me in a bed at the Bowery Hotel in downtown New York. She has taken off her pleated skirt to get a bit more comfortable and is uncorking a bottle of white wine with the precision of a master sommelier. We swore we wouldn’t drink—as a rule, it’s best not to mix alcohol and interviews—but then again, this interview isn’t exactly normal for either of us.

A native of Vancouver, Davis studied English at McGill University in Montreal—which is where we met and quickly became friends. Even then, her dream was to make movies, and she spent much of those earlier years honing her craft with secret acting classes and in school plays. Shortly after graduating, she moved to New York and stepped into the revolving door that’s so familiar to aspiring stars: auditions, in person and on tape; meetings and callbacks and screen tests; and the inevitable, “They decided to go with someone a little more established.”

Then, in 2011, Davis met the director Drake Doremus, who, following the critical success of the romantic millennial movie Like Crazy (2011), cast her alongside Felicity Jones, Guy Pearce, and Amy Ryan in the largely improvised family drama Breathe In (2013). As a young woman grappling with her father’s infidelity, Davis conveyed anger, jealousy, and a wide-eyed innocence—sometimes all at once, without even saying a word. Offers began to roll in, not quickly but steadily, across genres: a romantic comedy (That Awkward Moment, 2014, with Zac Efron and Miles Teller), an Oscar-nominated space odyssey (Ridley Scott’s The Martian, 2015), and a feminist indie (Sophia Takal’s Always Shine, 2016). For much of that time, she also starred on one of the most acclaimed—and overlooked—shows on television. In AMC’s tech-centric period drama Halt and Catch Fire, now entering its fourth and final season, Davis plays Cameron Howe, who grows from a punk coder into a shrewd businesswoman at the advent of the internet.

With that project coming to an end, the 30-year-old actress, now based in Los Angeles, is shifting her focus to her two upcoming films: as something of a cipher opposite Ryan Gosling in Blade Runner 2049, the long-awaited sequel to the 1982 masterpiece, and as a night nurse opposite Charlize Theron in the Jason Reitman two-hander Tully.

That was her résumé. This is my friend.

READ THE FULL INTERVIEW HERE