Profiles - Hollywood Authentic

June 12, 2024

the dead don't hurt, vicky krieps, viggo mortensen, solly mcleod, greg williams

DISPATCH: VICKY KRIEPS THE DEAD DON’T HURT
Words by JANE CROWTHER
Photographs by GREG WILLIAMS

Luxemburg actor Vicky Krieps is feeling buoyed after her jury time at Cannes Film Festival, in the Certain Regard section, where she saw a wide range of cinematic genres and voices. ‘Movies are probably one of the oldest international languages of exchange,’ she tells Hollywood Authentic. ‘A movie can be the voice for a country, a voice for a generation. A movie can be a voice for victims or marginalised people. And that was represented in the movies that I saw in my section. It gave me hope, and it was inspiring. With all the money and restrictions in the world, what can never be erased is the power of cinema, you know? The power and freedom of expression. And people somewhere in the world getting together, even if they don’t have money, and creating something that can cross every border.’

Krieps’ own output certainly falls into that category, having impressed critics and audiences alike in Phantom Thread, Bergman Island and Corsage – all of which debuted at Cannes Film Festival in the Palais where Greg Williams shot her before a screening of The Most Precious Of Cargoes. Her latest film, The Dead Don’t Hurt is slow-burn cinema that asks audiences to go on a journey, to live with characters through their highs and lows, to relate to the hardscrabble human pursuit of happiness and the act of forgiveness. Written, directed and led by Viggo Mortensen, it tracks a couple making their way together on the 1860s American frontier with Krieps playing Vivianne, an independent woman who decides to make her life with Danish immigrant, Holgar (Mortensen).

When casting the role Mortensen could only think of Krieps, likening her to an acting icon who received the honorary Palme D’or at the recent Cannes festival. ‘She reminded me of Meryl Streep the first time I saw her,’ he told the Academy in a recent interview. ‘She has a quality and ability to communicate so much, even in silence. It’s almost like her thoughts and feelings come through her skin. It’s remarkable what she can do. It’s a gift.’

Mortensen gave Krieps the space to fully inhabit and communicate a character in Vivienne as she meets Holgar in San Francisco and sets up a home with him in Elk Flats, Nevada, where he becomes sheriff. Vivianne tames the arid land in Elk Flats, but not necessarily the townsfolk, and a violent act changes her and Holgar’s destiny forever. A non-linear storyline sees Vivienne throughout key moments in her life – from childhood to death bed – and explores the particular emotional, moral and maternal strength of women living in an unforgiving environment. A non-traditional oater then, but not one that Krieps would call a ‘Feminist western’.

‘No, it’s not like that,’ Krieps says. ‘Viggo just made a very honest movie, it’s a humane film. It’s a tale about love and about humans, and he tried to make it his own way. And it’s a very personal film for him. It’s cinema that is not trying to impress. It’s not trying to shock. It’s not there to be a new invention of something new. This is the kind of cinema I do, and it’s the kind of cinema that I really live for. It’s not trying to say, ‘oh, we are feminists because that’s in fashion.’

Speaking of fashion, Krieps has endured corsets before – especially on the critically-acclaimed Corsage, playing Empress Elisabeth of Austria. And she was determined not to restrict herself again on this film, which lensed in Durango, Mexico in searing heat and required horseriding and the portrayal of manual work. ‘I immediately got rid of the corset!’ she laughs when recalling her meeting with the film’s costume designer. ‘I swore after Corsage I would not wear a corset again, just knowing what it does to you psychologically and physically. I wanted Vivienne to have a very normal movement – when you wear a corset, you can’t even run the way you would run. I think the historical shape is not important. What is important is that we make it look like it’s real, so that someone from today can relate to it, and is emotionally struck. On the weekend, we would take the horses, and ride up the canyon. I would be in a pair of trousers, and I could gallop, and I was free!’

Understanding the demands of location work on an independent period drama Mortensen told the cast and crew at the beginning of filming that he hoped ‘you will have a good time, but that the experience won’t punish you too much’. Did Krieps feel she had a good time or a punishing one? ‘It was a bit of both. The nature was pretty tough because we had a low budget, and that means that you’re always outside, standing most of the time either in the heat or in the cold. And all the time in the dust. So that was quite surprisingly hard, I have to say.’ The physical duress was not as challenging as the emotional though – with Vivienne experiencing the worst kind of brutality at the hands of men. ‘For me what was hard, to be honest, was the story – to open myself to this pain. I remember I went really deep. I’m just this way. I cannot just act, and then shake it off. It stayed with me for a few days. The role wasn’t a happy role, I have to say. But it was so wonderful to be in that landscape.’

The resulting film is one that Krieps feels encouraged by – that it exists in a world increasingly dominated by attention deficient streaming and algorithms. ‘We live in a time where sometimes I find it hard to keep up my hope for cinema because everything is switching to these huge platforms. They have so much money, and they have all the power in the world. So it becomes very, very difficult for independent movies to even exist.’

Krieps’ next two projects are part of that drive to make independent and challenging cinema – she’s just finished shooting Jim Jarmusch’s Father Mother Sister Brother and an AI-scripted film based on Werner Herzog’s work, About A Hero. ‘I’m as curious as I could be about what [About A Hero] is going to be. And Father Mother Sister Brother was such fun to make. My group, my family part, was me, Cate Blanchett, and Charlotte Rampling. And it was just amazing to exchange, with these women, so much wisdom, so much experience, so much beauty and intelligence and sensitivity. It was a gift to work with these two women and with Jim, with his sensitivity. So I think it’s going to be a great film.’

The Dead Don’t Hurt is out in cinemas now
About A Hero and Father Mother Brother Sister will be released TBC

The New Wave

ADRIA ARJONA

June 7, 2024

Photographs, interview and video by GREG WILLIAMS
As told to JANE CROWTHER

When I arrive at Adria Arjona’s Hollywood Hills home, she’s prepping for her goddaughter’s birthday party in her pyjamas. She landed in Los Angeles the night before, and decided to undertake some DIY on her first owned home. ‘Get ready for my outfits, Greg,’ she laughs as she offers me some birthday party chocolate-covered strawberries. ‘There’s no Versace, no Armani, no Saint Laurent. It’s Carhartt and dirty T-shirts!’

The Spanish-style house isn’t just a place to rest her head, it’s a physical representation of the actor’s success – an ambition fulfilled. ‘I think that you get to define what the Hollywood dream is for yourself, and I believe in mine. I am very much living my dream – just being able to do what I love, to tell stories for a living, to be an artist, and to get paid for it.’

Arjona has lived at her house for six years and revamped the property from a place she describes as initially looking ‘like a weird porn video was filmed in the 80s here’. Her roof recently leaked and rather than get contractors out, she climbed up to her eaves herself to fix it. Today, she needs to patch up another rogue spot and has invited me along to help with the home improvements. It’s a change from our usual set-up; ‘I love that every time that you’ve shot me, it’s always been really glamorous and elegant… I’m always in a really nice dress and a full face of makeup when I see you. But there is a different side of me that I don’t think a lot of people know, which is: I’m a little more of a tomboy, and I am a fixer. It’s really empowering to know that I can fix something, and I don’t need anybody else to come and do it. I find beauty in things that are kind of broken. I think that kind of relates to my job as well. I find broken characters really beautiful, but I don’t try to fix them.’

adria arjona, hit man, andor, true detective, hollywood authentic, greg williams

Had I not been an actor, maybe I would have been a contractor. I just like the idea of having an empty canvas – an idea in your head – and then gathering a group of people and bringing a vision to life

In her latest role as Madison, an abused wife who hires Glen Powell’s contract killer to off her hubby in Richard Linklater’s comedy, Hit Man, Arjona certainly plays a character struggling to repair herself. It doesn’t help that Powell’s character is a police informant and not a murderer – or that sparks fly between the duo. ‘The movie is really sexy, and Madison is really comfortable with her own sexuality, and kind of uses it to her own advantage,’ Arjona nods. ‘Had I not been an actor, maybe I would have been a contractor. I just like the idea of having an empty canvas – an idea in your head – and then gathering a group of people and bringing a vision to life. It’s very similar to filmmaking, in a way.’

Rocking chunky boots that her character wears in Star Wars series Andor and a look she terms ‘contractor chic’, Arjona climbs on a cooler box, onto her barbeque, along a precarious wall and jumps onto the roof, inviting me to follow. We make our way across the sloping expanse to the leaking tiles – it reminds me of the rooftop scene in Once Upon A Time In…Hollywood. Arjona is already checking tiles to see if they’re watertight, the city sprawling below us and the hills rising behind.

Having trained at the Lee Strasberg Institute in New York, Arjona started her acting career on the East Coast, juggling waitressing and working kids’ birthday parties (‘I got fired when they realised that I wasn’t really that good at face painting!’) in between auditions. The discipline of the Strasberg school is something she feels helped build resilience. ‘It almost felt like therapy, in a way. I went there to discover a lot about myself, and heal a lot about myself, and learn about the craft.’

Her big break came with a role on season two of True Detective, which meant a move to LA in 2015. ‘I first moved here to an apartment in West Hollywood, and I always saw the hills as this big dream of mine. I was like, “One day I will live there.” The fact that I’m already living here and I’m 31, it’s kind of epic for me. I don’t take it lightly, and I don’t take it for granted. That’s why I take care of it.’

Self-taught via YouTube tutorials, Arjona has tiled her own bathroom and incorporated friends’ work in the detail (a friend’s ceramicist boyfriend contributed features), plastered her living room walls and fixed her air-conditioning unit. ‘I’m getting my hands a little bit dirtier than in filmmaking. It’s making things – when I was little, I loved arts and crafting. I think as I’ve gotten older, and as I own my own house, I come home from four months of being away and I see it completely different. I’m like, “Ooh, now I want to do this with it.”’

The daughter of musician Ricardo Arjona and Leslie, a beauty queen, Adria was born in Puerto Rico and brought up in Mexico City until she was 12 – a place she considers a big part of her heritage (‘You can hear it when I speak Spanish, right? There’s a twang. I have a little bit of a Mexican accent’). They moved to Miami when the family felt unsafe due to her father’s growing fame, but Arjona ‘ran away from that city quick’, north to New York. ‘I was 17 when I moved to New York. I got a modelling job, I think it was a cleaning commercial, that never came out. But it paid me so good, and it really allowed me to move to New York, and kind of run away, and not really ask for permission.’

She has just completed work on Andor season two, returning as intergalactic mechanic Bix Caleen, and on Los Frikis, the true story of Cuban teens infecting themselves with HIV to live in a government treatment facility. ‘It’s probably one of the most special films I’ve ever, and probably will ever, be a part of,’ she says as she kneels over the leaking roof and begins sealing the tiles with a sticky, black sealant. Working with six young non-professional Cuban actors in the Dominican Republic, the actor saw the world differently having viewed it through their eyes. ‘You know, they had never seen a full chicken before. They had never chewed gum before. We went to a supermarket, and one of them walked out and just started crying. I asked him what was wrong. And he said, “Now I can’t unsee it.” He had never seen a full supermarket. We were in the chocolate aisle, and he goes, “Why are there so many chocolates?” It was really humbling to see life, and live, through them.’

With the roof sorted, we climb back down to the ground to head off to Home Depot for supplies in the actor’s no-nonsense Toyota pickup. Rather than a sports car or vintage runaround, this is Arjona’s ‘dream car’ and she also has the truck bed camper so she can camp out in the back. ‘I got it this year, and it gives you so much power on the road. A pickup is so cool. I learned how to drive in Mexico City. I feel like if you can drive in Mexico City, you can drive just about anywhere in the world.’

As she pilots the pickup down the ribboning canyon road to the city grid where the Hollywood sign comes into view, she recalls how she landed the role of Madison in Hit Man – a potentially game-changing gig given the rave reviews for the film out of the Venice Film Festival, where it premiered last year. Writer-director Richard Linklaker was sold on her as his femme fatale with a twist, but skipped a traditional chemistry read with his star and co-writer, Glen Powell. Instead he simply sent his potential co-stars out for a drink.

‘We went to a restaurant, and it was supposed to just be an hour meeting. We talked about the character and the story for maybe 10 minutes out of the five hours we were there,’ she laughs. ‘We weren’t the most responsible. We just got to know each other. We were both doing Dry January, and that also lasted 10 minutes! We both looked at each other, and I was like, “I kind of like you.” He was like, “I kind of like you, too. Do you want a shot?” We just started drinking mezcal… I just felt so comfortable and so safe. We talked about our lives. We talked about relationships… We sent a picture to Rick of us together after five hours, quite tipsy, and we were like, “We just left the meeting.” I think after that, we just knew that he was going to be in my life forever, and that I was going to be in his forever. Whether he wants it or not, I think Glen’s kind of stuck with me now!’

We stop off for construction supplies, Arjona zooming down the aisles of Home Depot, filling her trolley and squealing with excitement as we pass the power drills. We head to a friend’s nearby art gallery where the walls are in need of some love. ‘It’s this beautiful technique – to put it on the walls,’ Arjona enthuses about plastering, unloading her equipment from her truck’s cargo bed. ‘It’s kind of alive, it gives a zen vibe, and it’s minimalist and beautiful. But it’s pretty hard to do… The reason I go there is because I can fuck up her walls, and not mine!’

As the daughter of a beauty queen, this sort of downtime activity wasn’t necessarily Arjona’s family’s dream for her. ‘I think my whole family, grandmother included, really wanted me to be Miss Puerto Rico one day, and they had this big dream of me going to Miss Universe. I’m quite shy in front of the camera, I have to hide behind something – whether it’s an outfit; whether it’s a hair and makeup look; whether it’s a character. I need to feel like I’m hiding behind something. It’s a little too vulnerable to just be pretty, or just to be myself, I think. I get too self-conscious. I enjoy the fact that I’m saying words that aren’t mine, and wearing an outfit that doesn’t belong to me, and walking in someone else’s shoes. Red carpets, for me, are probably the scariest thing in the world.’

She gets stuck into mixing the plaster in a bucket, her hands covered, her boots splattered. ‘As a kid, my parents thought I was deaf. They took me to all of these doctors to find out if I had an actual hearing problem. And what they found out was that I was just so in my head, and I would create all these worlds in my head. I just really lived in my imagination. I wasn’t deaf; I was just ignoring the shit out of everybody!’

But that rich interior life led to an aptitude for acting. ‘There weren’t that many opportunities for Latin American actresses, even when I started. I see this younger generation, and I see more new faces, more Latin talent. I think we have a lot of work to do, but it’s really exciting that this new generation won’t have it as hard as my generation did. I didn’t have many people to look up to, to say, “I want that career.” It was definitely a hard start, because I saw myself as something, and no one else seemed to have the same vision that I did. They just saw me as this tough, Latin woman who was destined to be a cop, or the tough roles, in movies. And I wasn’t really interested in that. I wanted to play complex women, and there kind of was no space for that when I first started. I had to veer off to other things, and play in different genres in order for me to get those roles like in Good Omens. Or The Belko Experiment. Or Irma Vep. I think genre kind of saved my career, and saved me as an actress. It allowed me to have fun, and be weird, and to play different characters.’

Now she dreams of playing real-life character Lolita Lebrón, a Puerto Rican nationalist who was jailed in 1954 for attacking the US Capitol, and Arjona is in the process of developing her story for the screen. ‘She did a lot for our island, and fought for our people. She’s someone who I admire a lot, and I would love to play her.’

With the wall plastered, we head back home to the birthday party and a house full of relatives. Arjona’s mother is delighted to see her daughter after she’s spent time away working, describing her as ‘the most selfless, loving, kind, hard-working, tenacious, smart, bright, amazing human being I know.’ She kisses her and adds, ‘made in Puerto Rico!’

‘And this is what we call the Puerto Rican flag!’ laughs Arjona, slapping her backside. Both women repeat the movement in sync and giggle. ‘The Puerto Rican flag!’

Photographs, interview and video by GREG WILLIAMS
As told to JANE CROWTHER
Adria Arjona stars in the Netflix movie Hit Man, out 7 June

hollywood authentic, greg williams, hollywood authentic magazine

Dispatches

PAOLO SORRENTINO

May 27, 2024

hollywood authentic, cannes dispatch, cannes film festival, greg williams, hollywood authentic

paolo sorrentino, parthenope, celeste dalla porta, daniele rienzo, gary oldman, silvio orlando

CANNES DISPATCH 16 …
Words by JANE CROWTHER
Photographs by GREG WILLIAMS

‘This movie is the celebration of the journey of my life,’ Neapolitan writer-director Paolo Sorrentino told the audience at the Cannes premiere of his latest, Parthenope, as he recalled the reception he’d had at the Riviera festival two decades earlier. In fact, his first time at the festival was 20 years to the day: The Consequences of Love premiered at Cannes in 2004 on 21 May, catapulting Sorrentino in cinema’s consciousness as a unique artist, and his career has been hand-in-hand with the festival ever since.

He won jury prizes in 2008 for Il Divo and 2011 for This Must Be the Place, as well as having seven of his works compete for the Palme d’Or and many play in competition. What better place then, to showcase his second love/hate letter to his hometown (after 2021’s Hand Of God) in Parthenope, the coming-of-age story of a beautiful young woman (Celeste Dalla Porta) finding her agency in 70s and 80s Capri and Naples?

Though the film focuses, in every way, on Porta’s Parthenope, Gary Oldman makes a powerful and haunting cameo as author John Cheever – a melancholic alcoholic who provides a salient chapter in the young woman’s life. Oldman makes no pretence of having ‘manifested’ the role, having been a fan of Sorrentino’s work and putting him at the top of his wish list to collaborate with.

‘When I heard about [Oldman being a fan] I immediately called him up,’ Sorrentino says. ‘I consider him a great actor so I was truly flattered.’ Oldman worked a handful of days on Capri essaying Cheever, and was joined on set by Greg Williams who captured photos of the production, including the film’s dreamlike poster image of Porta swimming like a mermaid through the azure waters surrounding the island. He also shot the cast and crew at the pre-premiere cocktails, red carpet and after party at Picasso’s former villa in Cannes – travelling with Sorrentino by car as his two-decade anniversary in the city unspooled in suitably celebratory fashion.

‘I’m very grateful and very excited to be here,’ he told Greg in his hotel room before his premiere. ‘For me, Cannes is cinema!’

parthenope, paolo sorrentino, celeste dalla porte, gary oldman, silvio orlando, daniele rienzo

Acquired by A24 before it premiered in Cannes, Parthenope is slated for a cinema release later this year when audiences off the Croisette will get a taste of Sorrentino’s latest intoxicating fever dream, a movie that is the closest thing to stepping into the crumbling alleys of Naples and perching on the sheer cliffs of Capri you can get without journeying there yourself…

Watch Travel with Sorrentino video here
Read our review of Parthenope here

Dispatches

KERING – WOMEN IN MOTION AWARDS

May 25, 2024

CANNES DISPATCH 15 …
Words by JANE CROWTHER
Photographs by Greg Williams

In honor of Dame Donna Langley, Kering and the Festival de Cannes were pleased to welcome the members of the Festival jury as well as Julianne Moore, Justine Triet, Uma Thurman, Charlotte Gainsbourg, Catherine Deneuve, Isabelle Huppert, Salma Hayek Pinault, Michelle Yeoh, Zoe Saldaña, Karla Sofía Gascón, Jacques Audiard or Judith Godrèche on the occasion of the official Women In Motion Awards dinner.

Kering’s annual Women In Motion dinner kicked off again this year on a warm Sunday evening at Place de la Castre, a castle perched overlooking Cannes town and presided over by François-Henri Pinault, Chairman and CEO of Kering, Iris Knobloch, President of the Festival de Cannes, and Thierry Frémaux, General Delegate of the Festival de Cannes. This year the event celebrated the achievements of NBCUniversal Studio Group and Chief Content Officer, Dame Donna Langley, the first producer to receive the accolade in the Women In Motion nine year history for her trailblazing career – with Salma Hayek Pinault, in Gucci and Boucheron jewels, calling her a ‘visionary’.

The get-together attracted the toast of the festival, including Emilia Perez stars Zoe Saldana and Edgar Ramirez, both in Saint Laurent, as well as The Shrouds lead Diane Kruger (wearing Balenciaga). They were joined by South Korean star Han So Hee, legend Catherine Deneuve (in competition with Marcello Mio) plus jury president Greta Gerwig (in Gucci) and her jury members, Eva Green, Omar Sy and Lily Gladstone. Julianne Moore (in Bottega Veneta), Uma Thurman (opening her film Oh, Canada! at the festival), Michelle Yeoh (in Bottega Veneta), Isabelle Huppert (in Balenciaga and Boucheron) and director Justine Triet also attended along with The Apprentice actors Sebastian Stan and Maria Bakalova. French actress turned filmmaker Judith Godrèche was also part of festivities having opened the film festival with her powerful #MeToo short Moi Aussi, highlighting the number of women who have been victims of sexual assault.

The bash started with a cocktail hour before the ceremony where Langley and emerging talent recipient, director Amanda Nell Eu, received their accolades. Langley told the light-bedecked room that she had first attended Cannes as an executive on Austin Powers: The Spy Who Shagged Me. She said ‘In roles like mine, we have the power and the opportunity to say “yes”, and “yeses” don’t come very often, but when they do come, they are so powerful.’

After the speeches, guests were served dinner created by Michelin-starred chef Virginie Giboire; to start – marinated John Dory, roast geranium and garden peas infused in almond milk followed by turbot, zucchini flowers and beurre blanc made with Noilly Prat. Dessert was a raspberry blossom yogurt and crunchy meringues with meadowsweet followed by dancing to a band who wandered through the tables playing their instruments…

kering, women in motion gala, kering foundation, cannes 2024 — Iris Knobloch (President of the Festival de Cannes)

Find out more about Kering’s Women In Motion program here
Salma Hayek Pinault wears Gucci and Boucheron jewels, François-Henri Pinault wears Balenciaga, Iris Knobloch wears Balenciaga, Dame Donna Langley wears Saint Laurent, Lily Gladstone wears Gucci, Karla Sofía Gascón wears Saint Laurent, Maria Bakalova wears Balenciaga, Zoë Saldaña wears Saint Laurent, Michelle Yeoh wears Bottega Veneta

Dispatches

KEVIN COSTNER & SIENNA MILLER

May 25, 2024

kevin costner, horizon: an american saga

sienna miller, horizon: an american saga

CANNES DISPATCH 14 …
Words by JANE CROWTHER
Photographs by GREG WILLIAMS

Kevin Costner believes in the magic of movies so much he’s willing to bet the farm on it. Literally. The actor-filmmaker sank millions of his own cash into funding his planned four-part Western epic, Horizon (part one of which premiered in Cannes this week) when he could find no studio interest and admits he gambled his own homesteads on making it.

‘I’ve had good luck in my life and I’ve acquired some land and some homes that are important to me and they’re valuable,’ he admitted, ‘but I don’t need four homes. And so I will risk those homes to make my movies. I wish I didn’t do it because I want to leave those homes to my children. But my children will have to live their own life and if I’ve not made a mistake, they will have these four homes. If I’ve made a mistake, I’ll say “you have to live your own life – I’ve lived mine and I’m really happy!”’

Costner was certainly happy after the reception his film received at the premiere, shedding tears of emotion as he saw his dream project finally reach an audience. ‘It was a remarkable moment for me,’ he said of the premiere and standing ovation. ‘I started to walk my life backwards, thinking how in the world did I get here?’

kevin costner, luke wilson, horizon: an american saga

The road to Horizon has been long – Costner first dreamt up the saga in 1988 and the lead character of Hayes Ellison, who he plays in the movie and the name he gave his son he was so obsessed with the project. His now fifteen-year son makes his film debut in the movie in a full-circle moment for the filmmaker. ‘I had trouble making this movie, but the name Hayes was part of my journey. I couldn’t make it but I couldn’t fall out of love with it. So 15 years ago I named my son Hayes cos I couldn’t let go of it. And then all of a sudden I put him in the movie and he’d never acted before. I don’t automatically give parts to my children because I know how coveted this is and there’s young people who do anything to have a part on a movie. But I’m also a father and it was a part that wasn’t that long and I wanted him to be close to me. And I thought he was just beautiful in the movie. The movie at that moment is everything I want film to be about.’

Costner has long been associated with Westerns – and betting on them – having previously made Dances With Wolves in 1990, a film that Hollywood considered so unfashionable and a folly it was nicknamed ‘Kevin’s Gate’ after previous oater flop Heaven’s Gate. Back then Costner poured his own money into the film and was rewarded with epic box office and seven Oscars. He also championed Open Range in 2003. This time around he worked more nimbly to conserve cash (Dances lensed for 106 days, Horizon for just 52) and he recognises that history is repeating itself with his latest work.

kevin costner, sienna miller, horizon: an american saga

‘I don’t know why it was so hard to get people to believe in the movie that I wanted to make. It’s a pattern for me: it’s happened with Dances With Wolves, Field Of Dream, Bull Durham, Open Range. It seems to be a pattern that some of the things that I like are harder to make. My problem is I don’t fall out of love with what I think is something good. Part of why I wanted to make 2, 3 and 4 was to make it for myself cos I know what it’s like to sit out there in the audience and the curtain open and something magic’s going to happen, a story’s going to transport us. The movies have always been a place for us to go and have a chance at magic. So I have made the second one and I’m trying to make the third one.I will have to figure out with my friends, with the things I own – how do I make three to bring us back [to Cannes], I would like to come back with the third movie.’

‘I wrote the best Western that I would write with Jon Baird. A Western that included women as being the biggest characters in the movie, it made sense to me. Movies have to have something in common with you or you lose track of what you’re watching in the dark. You go ‘who the fuck is this?’ It’s when we recognise ourselves that we create moments that we’ll never ever forgot.’

The women leading the charge to the frontier include First Nation wives, Chinese laundresses, wagon train ladies, wily seductresses and widowed mother, Frances Kittredge, played by Sienna Miller. For Miller, the idea of appearing in a Western was a long-held ambition, especially one helmed by Costner.

‘I grew up watching Westerns. I think my idea of cinema was a Western when I was a little girl, and then Dances With Wolves was a huge, huge part of my life. I had two rabbits called Two Socks and Cisco,’ she said, the names of the wolf and the horse in Dances With Wolves. ‘I got this call that Kevin wanted to talk to me, and then I got sent four scripts and I thought it must be a series. There are four of them, but they’re so big, so it didn’t really make sense. And then we had this great conversation. I’d really go to the ends of the earth for him, I think he’s phenomenal.’

For Costner, the decision to put women front and centre in a Western – and to bring all his female leads to Cannes – isn’t a cynical one. ‘It’s almost impossible to imagine a West without women, isn’t it? The West doesn’t carry on without women,’ he said. ‘I am not looking for kudos because women are in it. For me, they’re not in it, they actually dominate the movie, to be honest. Every one of those women dominate when they’re on the screen.’

He hopes that he can get funding to finish his magnificent obsession and make the third and fourth instalments (the second is already in the can). ’I used to get no money to do this, then I got a lot of money to do this, now I have to pay my own money to do this,’ he notes. ‘I love the dreaming part of movies and the writing of them. The red carpet is an incredible thing, but if you’re only in the movies for the red carpet, for the glamour of it, for the fame… I like to think I got to this place because I like the work. The dreaming part.’

Kevin Costner wears Brioni. Watch by Chopard
Sienna Miller wears Chloé and Schiaparelli
Horizon: An American Saga premiered at the 77th Cannes Film Festival and Release date 28 June. To see our review out of Cannes click here

Dispatches

DEMI MOORE

May 25, 2024

demi moore, the substance, coralie fargeat, cannes, hollywood authentic cover

CANNES DISPATCH 13 …
Words by JANE CROWTHER
Photographs by GREG WILLIAMS

The last time Demi Moore graced the Cannes famous red steps she was a guest at the opening night film of 1997’s festival, The Fifth Element. This year she’s back for her first premiere in her own right, a blistering turn in Coralie Fargeat’s feminist body-horror The Substance. And with her tiny 1.5lb Chihuahua (and Insta star), Pilaf.

She admitted to ‘nervous butterflies excitement’ before walking the carpet dressed in showstopping Schiaparelli haute couture as Greg Williams shot her in her hotel on Cannes’ famous Croisette. The film requires Moore to be vulnerable both physically and emotionally as it charts a movie star who is sacked for being too old and seeking redemption in the form of a shady procedure called The Substance that promises a ‘younger, more beautiful, more perfect you’. That version of herself is ‘born’ from her own body (a truly horrific sequence) as Margaret Qualley, and the two alter-egos duel for supremacy in a misogynist world that values youth and beauty over all else. The role requires a lack of vanity from Moore via full frontal nudity and unflattering lighting, as her character grapples with mortality and external validation. ‘It’s about the male perspective of the idealised women that we have bought into,’ she says.

demi moore, dennis quaid, the substance, coralie fargeat, cannes

demi moore, the substance, coralie fargeat, cannes

‘I saw it as a challenge in the best way,’ Moore reflects on taking the project. ‘I look for material that pushes me out of my comfort zone – if something scares me a little bit then I know there’s an opportunity… that on the other side I would come out it a better person.’ The nudity needed was something that wasn’t shied away from in initial discussions. ‘It was spelled out, the level of vulnerability and rawness that was required to tell this story. It was a very vulnerable experience and it required going into it with a lot of sensitivity and finding that common ground of mutual trust.’

In Qualley, Moore says, she found a ‘great partner who I felt very safe with’. ‘We obviously were quite close in certain moments, naked! It allowed us a lot of levity in those moments at how absurd those situations were.’

The film received a standing ovation at its premiere and rave reviews from the press who praised the profundity and prescience of its subject matter – alongside gleeful squirts of blood, icky injections and some thrillingly gross body horror to challenge Cronenberg. ‘There has been a wake-up to a demographic that is deserving of being served,’ Moore says of the film’s Feminist slant. ‘You’re starting to see a lot more stories that are reflecting that audience and it’s nice!’ That’s not to say the movie is male-bashing. ‘We’re not anti-men – we’re just anti-jerks.’

The performance heralds a return to cinema for Moore after an absence and based on audience response in Cannes, marks the start of more to come. As co-star Dennis Quaid commented during the Cannes press conference of experiencing the premiere; ‘I was so glad to be here to see the beginning of an incredible third act for Demi.’

Demi Moore wears Schiaparelli. Necklace and earrings by Chopard
The Substance premiered at the 77th Cannes Film Festival and will be released by MUBI later this year. To see our review out of Cannes click here

Dispatches

SEBASTIAN STAN

May 21, 2024

sebastian stan, the apprentice, Ali Abbasi, cannes dispatch, greg williams

CANNES DISPATCH 12 …
Words by JANE CROWTHER
Photographs by GREG WILLIAMS

Sebastian Stan has played real life protagonists on film before – most notably Jeff Gillooly, in the critically acclaimed, I, Tonya and Tommy Lee in awards-winning Pam and Tommy. But his turn as former president, Donald Trump, in Ali Abbasi’s The Apprentice, is attracting heat – not least from the 45th POTUS himself. ‘As always it’s about understanding,’ Stan told Hollywood Authentic when we shot him before the premiere at the Palais. ‘The challenge was perhaps working against preconceived ideas or what’s currently out there. Had to go back in time. To the beginning. And go step by step without judgment.’

Premiering in Cannes this week, The Apprentice charts the rise of Trump in 70s and 80s New York as he evolves from a debt collector with real estate ambitions to a Manhattan baller who learns how to ‘win’ from unscrupulous lawyer Roy Cohn (Jeremy Strong). An origin story, if you will.

Stan, with his sandy wig and pursed lips, portrays Trump as a nuanced sponge to Cohen’s shady mentorship, a kid trying to get out from under the shadow of his father who takes advice we now recognise as his MO, and runs with it. As he grows in capital and stature, the boy becomes a man, the persona fixed.

It’s certainly a big swing for Stan, taking on the depiction of such a divisive, current figure. But the gamble paid off in Cannes – the film received an 8 minute standing ovation at its premiere and prompted discussion on the Croisette. Though Trump himself is threatening to sue to production and disputing the depiction of events.

‘The hope we have is that people watch the film cos I always feel that there is always something to learn,’ Stan says of the movie that sees Trump betray family and friends, get liposuction and BJs, and bend the truth to his needs. ‘For me as an actor standing next to this brave artist [Abbasi] that I respect and will follow wherever he goes – and all these people that had enough balls to do this project – we have to take on things that are risky and perhaps uncomfortable to talk about. I think it’s important that we do, because it’s in our face every day and we need to have a perspective. And I think there’s a lot to learn from the film.’

Sebastian Stan wears Balenciago. Watch by Cartier
The Apprentice premiered at the 77th Cannes Film Festival and will be released later this year. To see our review out of Cannes click here

Dispatches

WILLEM DAFOE

May 20, 2024

willem dafoe, cannes dispatch, cover, kinds of kindness

CANNES DISPATCH 11 …
Words by JANE CROWTHER
Photographs by GREG WILLIAMS

As Yorgos Lanthimos’ Kinds Of Kindness bowed at Cannes Film Festival, the film – a triptych of contemporary tales starring Emma Stone, Willem Dafoe and Jesse Plemons – got a standing ovation and a flurry of engaged reviews lauding a challenging film with no easy answers. ‘Listen, I’m a total cheerleader for festivals,’ smiles Dafoe when Hollywood Authentic sits down with him in a Carlton Hotel suite on the Croisette. ‘This is not a popcorn movie. So when it comes to a festival, it starts a discussion, and that’s a good way to make contact with a critical world.’

Though he’s made so-called popcorn movies during his long and illustrious career, Dafoe is well known for collaborating on invigorating films that prompt discussions on meaning that often start at festivals before moving the lobbies of cinemas globally, and Kinds Of Kindness marks another piece of provocative work as the actor plays three roles. In the first story, he’s a businessman with an idiosyncratic wardrobe who minutely controls every aspect of the life of his subordinate (Plemons). In the second he essays the father of Emma Stone’s lost-at-sea wife who returns to her cop husband (Plemons) and arouses suspicion that she may not be who she seems. And in the third, Dafoe is a cult leader who is sexually permissive and cries tears into a vast vat of sacred water, sending his acolytes (Stone and Plemons) out into the world to find the group’s new messiah.

willem dafoe, cannes dispatch, cover story, kinds of kindness

Having previously worked with Stone and Lanthimos on last year’s acclaimed Poor Things, Dafoe was intrigued by the script as soon as the director offered it to him during post production on their period awards winner. He didn’t hesitate in jumping in again. ‘Poor Things was such a good experience. Yorgos is a filmmaker that I’ve always followed, and have always enjoyed. And he’s so good with actors. He gives you really fun stuff to do. He’s very playful. He’s very intellectually curious. It’s a very conscionable and very creative set. So, to work with him again was fantastic. Also, this structure was interesting, the fact that we’re playing three different characters. It became very clear that [Lanthimos] didn’t want this to be a showy thing of actors transforming. Because they’re three distinct films, but they’re all obviously thematically related. And they’re all different, given each different world, and our function in that world. For example, in the first one, I have a pretty substantial role; in the second one, quite a smallish role; and in the third one, a medium role. How I fall into those worlds is different each time. But it’s the same group of people, dealing with the same kind of mentality and themes.’ It also meant re-teaming with Bella Baxter herself, in Emma Stone. ‘Emma, I adore!’ he enthuses. ‘She’s really fun to work with.’

Those themes then; all the stories explore control and cruelty, the weird and illogical kindnesses that humans do for each other in marriage, business, friendship, faith. And each story, while not related, informs the next as a viewer. But like all of Lanthimos’ work, the meaning is defined by each audience member – a Rorschach test in cinematic form. ‘It’s a little bit of a Russian doll,’ Dafoe nods of the project. ‘But you work so hard to just try to be engaged with what’s in front of you. You know, that’s one of the tricks of an actor: that’s your world, so you want the other parts to fade away, because you don’t want to point to those things, or be too tied to that. You want a fresh start each time.’

While playing Stone’s Dad required Dafoe to tap into his affection for his co-star (‘I just cued off my love for Emma’), playing a cult leader did have him looking into real-life examples. ‘I’m fascinated by the nature of cults. I looked at a documentary that I think Jesse recommended to me called Holy Hell, also I liked Wild Wild Country. Not so much because I need that to figure out how to play a cult leader. That’s not it. The themes are there. You know, the kind of devotion, the need to give your freedom up to someone else, or dedicate yourself to something outside of yourself. All those themes, the power dynamics, the things about sexuality – they’re all in that. You’re swimming in that pool. You’re not necessarily taking something, and seeing something, and saying, ‘I’m going to do that’. It’s just to get you in that head.’

Lanthimos is also known for his rehearsal process before filming, another aspect that Dafoe was drawn to. ‘Yorgos is very good at making a company. Rehearsal is not so much to deal with the text, or even talk about character, except to play games and get comfortable with each other. And that’s very helpful. So once you finish that rehearsal period, you feel very comfortable with each other, and everyone is kind of on the same footing. And it’s a good way for you to understand Yorgos, what his impulses are, what he likes, and what he tends to go towards. You get in his head a little bit. And it’s always good any time you can get that in a movie, because then people stop worrying about that old thing of, ‘leave your ego at the door’.’

willem dafoe, margaret qualley, cannes dispatch, cover story, kinds of kindness

Dafoe will be digging into ego, legacy, fame and the impact of praise on the soul with his next project, a film he’s also in Cannes to launch. Late Fame, adapted from Arthur Schnitzler’s 19th century Vienna-set novella, switches the time period to 70s New York with Dafoe playing a poet long forgotten by society. Until, that is, his poems are rediscovered and feted. Sandra Hüller will play a Broadway actress and fan of his work who challenges his ideas of genius. Directed by Kent Jones, the film starts shooting in New York this Autumn. The project was sparked by creative serendipity for Dafoe.

‘The Schnitzler novel that it’s adapted from, a friend brought to me, independent of this production, and said, ‘I think there’s a movie here’. I was carrying it around when I happened to meet the director, and we started talking. To make a long story short, we came together on it but from separate places. We were both reading this, and were interested in this, at the same time. And then it’s Samy Burch who wrote this beautiful adaptation that sets it in New York at a time that I was in New York, and it was a very special time, the late ‘70s. It’s very rich material. It expresses a very particular time, and it has lots of interesting ruminations about fame and personal history and memory and ambition, and about what it is to aspire to be an artist.’

Kinds Of Kindness premiered at the 77th Cannes Film Festival and will be released later this year. Late Fame starts shooting in autumn this year, release TCB

Breakfast Club

JACK O’CONNELL

May 16, 2024

Photographs and interview by GREG WILLIAMS
As told to Jane Crowther

Jack O’Connell doesn’t like to hurry his eggs. ‘Low and slow,’ he insists, talking me through his breakfast wrap one drizzly March Friday morning in north east London when I meet him at his home. He takes half an hour to scramble his eggs as he crisps his accompanying black pudding, sausage and streaky bacon for our brunch. ‘I’ve always wanted to do a cookery show,’ he chuckles as he diligently stirs. ‘Don’t rush them…’

The actor’s domestic vibe is similarly exacting – ‘a tidy house, a tidy mind,’ he says of his spick ‘n’ span home – and is also reflected in the way he approaches his work. Though he has form playing troublemakers, rule-breakers and trailblazers in projects such as This Is England, Skins, Starred Up, Unbroken, The North Water, SAS Rogue Heroes and Ferrari, Jack doesn’t adhere to the idea of playing a hellraiser on and off screen. ‘It’s a funny one, isn’t it?’ he says, scarfing down his breakfast wrap. ‘If I’ve got a good head on my shoulders, and I’ve slept, and I’m rested, and I’m on set, it’s the best place to be. You know what I mean?’

As Bob the dog (more of whom later) weaves round our legs, Jack shows me round his house, pointing out the art he’s bought on his travels, including a Shane McGowan (‘I picked this up in Bantry, in Cork – it’s painted with peat from the bogs’), and the plants he’s currently cultivating. ‘This fella needs to cheer up,’ he says of one of the plants he’s just repotted, its leaves scattered around the floor next to it, ‘and this fella is thriving…’ His art is mainly of musicians, which is apt considering he’s next playing the husband of Amy Winehouse, Blake Fielder-Civil, in Sam Taylor-Johnson’s new biopic, Back to Black. ‘The last five or six years, I’ve started to really, really appreciate cinema. Not just actors, but the whole craft. I’ve always loved music but I never had the attention span for films as a kid. I’d get fucking bored – unless it was Braveheart with loads of scrapping, and all that action kicking off.’

While he might not have fully appreciated film and acting as a teen growing up in Derby, it intrigued him enough to attend a drama workshop twice a week in Nottingham with Ian Smith, the acting teacher who discovered Samantha Morton. It was while he was there that Shane Meadows came to cast for This Is England in 2004. He gave Jack his first role on a project that became an awards-winner and hugely influential to British cinema. ‘I was about 14 and suddenly I’ve got a BAFTA-winning film to my name,’ he marvels. Quite the trip for a kid from an industrial town in the north of England where working at the Rolls Royce or Bombardier plant was the usual ambition.

Jack O’Connell, Back To Black, Hollywood Authentic, Greg Williams

‘I just grew up there, playing football and doing all the normal stuff. My mum and dad worked every hour of the day. My mum had two jobs and still had bailiffs coming around. I remember the bailiffs coming and nabbing our TV. I was halfway through watching Pingu, and they fucking nabbed the TV. I remember my mum having to be really crafty with how she’d get food on the table and whatnot. And that was despite my dad working his arse off. He worked himself into the ground.’ The death of his dad at the age of 18 is something that still informs the 33-year-old today. ‘In terms of my relationship with him, I never got to speak to him as an adult, which is the biggest bereavement I still feel. With that kind of loss, you never get over it. You just cope. I had 18 years with a fine, fine man. I know lads that never even had a day with theirs. So it is what it is. But he got to see the start of where I was getting to with work.’

Shane Meadows has continued to be influential in Jack’s career as he recently turned his hand to directing a music video for Paul Weller. ‘I loved the shooting experience, then I got into the edit and was petrified, because suddenly I’ve got all this material, and I don’t know where it’s going, and I don’t know if it’s going to work. So I reached out to Shane; I hadn’t spoken to him in years. I told him what the score was, and he was like, “Oh, Jack, whenever I finish my gig, I feel like I’ve just won the award. And then I get into the edit, and I want to do myself in.” When you’re an actor, if it’s shit, you just blame the director. This time round, I had no one to blame, so it was on me.’

Jack’s latest acting work cast him opposite Marisa Abela as the two of them inhabit Amy Winehouse and Blake Fielder-Civil in Back to Black. Filming on location in the couple’s real-life stomping ground of Camden, Jack was reunited with Bob – a dog he’d befriended previously while acting in Cat On A Hot Tin Roof in the West End in 2018. As we head out to walk the dog, he tells me of their sliding doors moment. ‘I was shooting at the Dublin Castle pub in all my Blake garb. And who should walk past? It’d been about a year-and-a-half or two years. Bless him, he remembered.’ Now Jack borrows Bob for walks and hangouts from his owner, Lisa, when he has downtime between film shoots. Back to Black was a special project, he says, as we stroll the rain-slicked local streets to his favourite coffee shop. ‘I loved it, mate. Marisa was spellbinding. She threw everything at it. She was in every scene, it was heavy for her. I just really respected the work rate and the process.’ In preparation for the role, Jack met up with Blake, an experience he describes as something of a revelation. ‘His persona’s very public. He’s got plenty written about him in the tabloids. You think you’ve got the measure of someone based on what’s out there. I think he’s been vilified. And compared to the fella I met – I just got on with him. I was quite surprised.

Your best tools are your ears, and what you hear, and what you play off. You do a scene three or four times, and there’s gonna be a different nuance

It just felt like I had a lot in common with him. Any time he talked about Amy, it just rang true – and you can forgive being beguiled at that age. The kind of limelight that both of them ended up in… That meeting informed me a lot.’

As we arrive at Jack’s local coffee house I ask how he chooses his roles. ‘There’s jobs that you get, and there’s jobs that you chase, you know? It’s a bit of the law of attraction. There’s such a thing as just eating a bit of humble pie, and putting your hat in the ring. Even if you get fucking ignored, blanked and rejected, you know, not everything is just going to come your way. So I’m reaching out a lot more. I’m interested in being versatile.’ Before we can discuss further we’re welcomed warmly by Rodrigo, a barista from Naples, and we get chatting about football, Maradona and Paolo Sorrentino as Jack gets his coffee on the house. The two of them sing Napoli football songs together in Italian.

We move on to the local butchers, cups warming our hands, in search of a treat for Bob. As a proud northern working-class man, Jack recognises a certain pre-judgement operates in getting roles. ‘Do you think if I had a posh accent I would have a bigger career?’ he asks. ‘What I’m trying to understand – it’s bigger than myself, and my career – is that, do you get to have really good, aspirational jobs if you didn’t go to private school?’ Does he have a point? Though he’s played a wide range of roles, eras and accents with a diverse roster of helmers (including Michael Mann on Ferrari, Angelina Jolie on Unbroken, Jodie Foster on Money Monster), it’s interesting that there have been more American directors who have seen beyond his background. There are still ‘invisible lines and glass ceilings in play’ says the actor.

Jack has worked across TV, film and theatre – so which is his favourite space to get hooked on? ‘To use a cliché, film’s a director’s medium and TV is a producer’s. On TV you’re allowed more time to tell a story in a series, but you’re shooting fucking seven to eight pages in a day. Whereas, with film, obviously there’s always restraints as it relates to budget and what have you, but you can be a bit more focused. Your best tools are your ears, and what you hear, and what you play off. You do a scene three or four times, and there’s gonna be a different nuance to react to.’

His love of cinema is both as a practitioner and a punter, and as we stroll past his local picturehouse I ask him what role in any film he would have liked to have got stuck into. ‘The first one that’s coming to my head is American Psycho and Patrick Bateman. But I just think that what Christian Bale did with that is untouchable. And Jud in Kes. Sid in Sid and Nancy. That’d be the top three there.’ We nip into the retro cinema Jack describes as a ‘little viewing glass into yesteryear’ where he tells me over a Coke that he never watches his own work on a big screen alongside an audience. ‘I just watch at home, in the comfort of your own living room. So if you need to self-flagellate, you can just do it, in privacy! But there’s got to be a childlike curiosity to what you do. You know, when a toddler is playing, they’re not scared of how they’re looking, or if they’re getting it wrong. There’s a freedom to it. We lose it – the innocence, the fucking vigour, the fearlessness. To a toddler, fear doesn’t exist – the fear of getting it wrong; the fear of looking silly. But I think that’s got to be part of the process, isn’t it? You’ve got to be given room to fail. What’s borne out of that is what’s worth mining for. It’s the oxymoron of trying to be but not act. That’s always the goal. The best example I’ve got, which is lived in, is working with Shane Meadows. The cameras didn’t come out until the afternoon. He just spent the morning figuring it out. He didn’t know the story until he got into the edit. So we didn’t know. We were just there.’

Photographs, interview and video by GREG WILLIAMS
As told to JANE CROWTHER
Jack O’Connell can be seen in Back to Black, out now

A Little Nonsense

STEPHEN MERCHANT

May 11, 2024

Photograph by GREG WILLIAMS

How important is a little bit of nonsense now and then to you?
It’s the most important thing. I once had a school report card that criticised me for ‘always finding the joke in everything’. I’ve tried my damnedest to do that ever since.

What, if anything, makes you believe in magic?
Derren Brown, the mentalist and illusionist. I know everything he does is misdirection and stagecraft but his mind reading is mind-blowing – and he’s performed tricks on me that defy explanation. I’m angry that I’ll go to my grave not knowing how they’re done.

What was your last act of true cowardice?
I told a restaurant chef his food was ‘absolutely friggin’ incredible’ when it was really bland.

What single thing do you miss most when you’re away from home?
The basement room I turned into a movie theatre.

Do you have any odd habits or rituals?
In my movie theatre, no one is allowed to talk. Or eat. And they have to drink from sippy cups. Not a joke.

What is your party trick?
I eat anything. Nowadays everyone has a lactose intolerance or wheat allergy, but you can serve me whatever and I’ll clear my plate.

What is your mantra?
‘Everyone’s guessing.’ No one has life figured out, despite what they may tell you. Everybody is just stumbling along, trying to make their way. Once I realised that, a great burden was lifted from
my shoulders.

What is your favourite smell?
Napalm in the morning.

What do you always carry with you?
The ability to laugh at myself. I don’t trust people who refuse to be the butt of the joke.

What is your guilty pleasure?
I kind of enjoyed the lockdown.

Who is the silliest person you know?
My partner, Mircea. She can make me laugh so hard with a silly dance.

What would be your least favourite way to die?
Without featuring in the Oscars’ ‘In Memoriam’ section.

Stephen Merchant transitioned from stand-up to the screen when he collaborated with Ricky Gervais on writing The Office. It became zeitgeist TV, spawning two series, a Christmas special and the US version. Merchant co-starred in his and Gervais’ follow-up show, Extras. While juggling award-winning stand-up, radio shows, podcasts, producing, directing and screenwriting, Merchant has also acted in numerous films including Hall Pass, Logan and JoJo Rabbit. He is the co-creator, executive producer and writer of The Outlaws, which he also stars in. The third season will be released this summer on BBC and Amazon Prime.

Photograph by GREG WILLIAMS

*Arguably one of the most memorable (and quotable) scenes in 1971’s Willy Wonka & the Chocolate Factory is when Mr Salt mumbles, ‘It’s a lot of nonsense,’ to which Wonka replies, in a sing-song voice, ‘A little nonsense now and then is relished by the wisest men.’

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