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    How Meryl Streep Prepared to Play the President in ‘Don’t Look Up’

    Meryl Streep explains how she prepared to play a fictional (and not especially competent) U.S. president in Adam McKay’s apocalyptic satire “Don’t Look Up.”Who would you turn to if you learned a comet was on a collision course with Earth and decisive action was required to prevent the extinction of all life on this planet? If your first thought was Meryl Streep, you have made both an excellent and terrible choice.In “Don’t Look Up,” from the writer-director Adam McKay (“The Big Short,” “Vice”), two scientists played by Leonardo DiCaprio and Jennifer Lawrence find themselves facing this end-of-the-world scenario and must turn to a United States government led by the fictional President Orlean for assistance.The good news (for the movie, which will reach theaters on Dec. 10 and Netflix on Dec. 24) is that Orlean is played by Streep, the venerated film and TV star; the bad news (for humanity) is that Orlean is a self-centered scoundrel who cares a great deal about her public image but little to nothing about running the country.Orlean is one of several malefactors in “Don’t Look Up,” a social satire that McKay wrote about climate change but that he fully expects will be interpreted as a commentary on the pandemic. The president is also a character whose many faults and shortcomings Streep delighted in bringing to life, and she credits McKay for giving her and her co-stars the latitude to indulge in awfulness.As Streep explained in a recent phone interview, “He never lost heart or confidence in this vision that he had for this thing, which was to make an atmosphere as free as possible for everybody — just go nuts and do what you want. But with a deadly serious intent.”Here, Streep and McKay explained the steps they followed to put President Orlean in the Oval Office.Create a back story.Based on what she’d read in McKay’s screenplay, Streep said she was already envisioning how President Orlean could have won office. “You could imagine a group of various miscreants was pulled together, and she was the least bad of a lot of other candidates that they could have put out there,” Streep said, adding that she thought of Orlean “as someone whose elderly husband had a lot of money, and she got rid of him, and it was in California so she got half. She had no real agenda except to have and retain power, and when she got there, she just realized that the job was pretty easy.”McKay said that in naming the character, he was thinking of New Orleans — “It’s a fun city, but it’s kind of in jeopardy” — and not the fact that Streep played the author Susan Orlean in “Adaptation.” (The notion that he manifested Streep in the role by naming it for her, McKay said, is “definitely not the case.”)Draw on real-life inspiration.McKay said he thought of President Orlean as “a goulash” of recent chief executives. That meant “the self-serving con man aspects of the last president, the dangerous inexperience of George W. Bush, the slick polish of Bill Clinton, the celebrity of Barack Obama and the coziness with big money,” McKay said. Another inspiration was the finance expert Suze Orman, whom McKay described as “a brash populist with a strong fashion statement.”To that recipe, Streep said she added a dash of the “Real Housewives,” whose televised squabbles often play in her house when her daughters come to visit. Though Streep won an Oscar for playing Margaret Thatcher in “The Iron Lady,” she said that performance was instructive only up to a point. Thatcher, she said, “wielded a kind of femininity that was intimidating to men, and part of her power was how she could pull it together — it was very specific to the ladder she climbed there.” Orlean, she said, is “more of our time — algorithmically put together.”Streep on the set. Her look was modeled on that of news anchors.Niko Tavernise/NetflixLook the part.Streep had a hand in devising Orlean’s fashion sensibility, which she said communicated something essential about the character: “So what if she’s 70 years old and dresses like she’s 35?” she explained. “No one told her you can’t be 35 forever.” That meant attire modeled after TV news anchors who, Streep said, “tend to pick these broad swaths of bright, happy colors to put on themselves — no prints, no polka dots or plaids or, God forbid, florals. None of the things that other people wear. Just these power suits and pencil skirts.” It also called for a specific hair regimen: “When I was in high school, you’d set your hair in rollers, then take it out and brush it 100 times,” Streep said. “This is the kind of hair where you take it out of rollers and just leave it like that — the longer the better. And then those are sprayed and crisped and the ends curl out in weird ways. And that’s a thing. It has always escaped me why this was good. So I thought, well, I’m going to try to that — God knows I won’t do it in my real life.”Get ready to face the crowds.All that advance planning may still not fully prepare you for the demands of the presidency, as Streep discovered on her first day of shooting. She had spent several weeks in isolation, as screen actors have been required to do during the pandemic. Then, on the appointed day, she said, “I bundled up in my big down coat, put the dog in the back of my car, drove through a snowstorm to Worcester, Mass., and got out at a stadium and parked.” Once there, Streep said, “They tried to turn me away at several points to get into the set. I said no, I’m in it.” After getting into hair, makeup and costume, Streep took to the stage where she saw her face on a Jumbotron and heard the delayed echo of her voice as she spoke to a crowd of several hundred extras. “And I just lost it,” she said. “I thought, well, I clearly have to retire. I can’t do this. I actually can’t do this. It was really a crisis of confidence.” Needless to say, Streep did find her bearings, but, she said, “it took a while.”Five Movies to Watch This WinterCard 1 of 51. “The Power of the Dog”: More

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    Review: ‘This Is Not a War Story,’ Nor Does Coming Home Mean Peace

    This poignant drama directed by and starring Talia Lugacy follows a traumatized Marine as she tries to connect with a group of fellow veterans at home.“American Sniper,” “The Hurt Locker,” “Zero Dark Thirty,” “Saving Private Ryan” — “I hate those movies,” says Isabelle (Talia Lugacy), a U.S. Marine recently returned home from combat. Painfully inhibited, neglected by her family and racked with guilt over her meaninglessly violent actions overseas, Isabelle is not at ease in this world. She struggles to find reasons to go on.
    At least she is not alone. Isabelle joins a multigenerational group of veterans who create antiwar artwork and poetry out of paper they fashion from discarded military uniforms. There she meets Will (Sam Adegoke), who has been blaming himself for the death of a vet he had been a mentor to, Timothy Reyes.“This Is Not a War Story,” which Lugacy also directed, is a naturalistic, chat-heavy narrative that captures the difficulties wrought by the unimaginable trauma individuals face as they attempt to forge connections and find peace after war. It opens with Timothy drifting around the New York City subway, taking pills and ultimately dying unnoticed in his seat, a warning about the perils of coming home. The cast is supplemented by real-life veterans in supporting roles who speak to their own experiences.In the film, Will uneasily takes Isabelle under his wing. “I hate the word ‘healing,’” he observes. “It’s not some point of arrival. It’s something you’re doing all the time.”Unfolding at a restlessly melancholy pace, the film is less a plot-driven story than an assemblage of conversations and encounters. Its power lies in the tentative friendship that takes root between Isabelle and Will. Though their discussions — which touch frankly on issues including the horrors of Abu Ghraib — can seem contrived and literal-minded, the edgy vulnerability and emotional stiltedness the actors bring to their characters’ rapport is palpable and authentic. When the two eventually achieve a more relaxed, harmonious relationship, it feels like a minor miracle.This Is Not a War StoryNot rated. Running time: 1 hour 52 minutes. Watch on HBO Max. More

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    ‘A Cop Movie’ Review: When a Uniform Is a Costume

    This strange and ambitious Mexican film plays like a combination of “Cops,” “F for Fake” and “When Harry Met Sally.”Ambitious, heady and distinctive, if easier to admire in theory than engage with moment to moment, “A Cop Movie” has a conceptual strangeness that’s difficult to overstate. It’s as if someone combined “Cops,” “F for Fake” and “When Harry Met Sally.”Directed by Alonso Ruizpalacios (“Museo”), the film, from Mexico, initially appears to be a straight documentary. It opens with a sequence in which Teresa, one of the two main police officers, responds to a call about a woman in labor. After Teresa radios to check on an ambulance that isn’t coming soon enough, she grabs gloves to deliver the baby herself, even though, she says, the academy didn’t give her medical training.Exactly what training Teresa has becomes murkier. If the high-stakes situation doesn’t immediately indicate that “A Cop Movie” isn’t playing by ordinary documentary rules, the splashy wide-screen compositions, use of zooms as punctuation, careful camera setups and subjects’ habit of commenting toward the viewer all signal that something is up. By the time Teresa is breaking the fourth wall — yes, there’s a fourth wall — while cradling a colleague who has been shot, Ruizpalacios is clearly employing dramatization. Narrative expectations come into play when he reveals that Teresa and her partner, Montoya, are romantically involved.It would be easy to give too much away, but “A Cop Movie,” viewed one way, is a fake documentary that establishes its unreliability, then recasts itself as a documentary of a deception. It equates performing official duties with playing a character; the audience’s distrust may mirror a civilian’s distrust for authority. And as in the Stanford prison experiment, the uniform makes the officer.A Cop MovieRated R. Violence and a bit of sex. In Spanish, with subtitles. Running time: 1 hour 47 minutes. Watch on Netflix. More

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    ‘All Is Forgiven’ Review: A Distinctive First Feature

    A father with a drug problem tries to reconnect with his daughter.Mia Hansen-Love’s latest film, “Bergman Island,” is a simultaneously enigmatic and provocative treatment of the knotty intertwining of life and art. Her first feature, “All Is Forgiven,” from 2007, is getting its U.S. debut this week, and it confirms that the writer-director’s beguiling (and to some, confounding) cinematic voice was all but fully mature from the start.For its first two-thirds, “All Is Forgiven” commits to an impartial portrayal of Victor (Paul Blain, rock-star charismatic), a would-be writer and feckless recreational drug user. Bouncing between Vienna and Paris with his Austrian partner, Annette (Marie-Christine Friedrich), and their precious 6-year-old daughter, Pamela, Victor finds that descending into full-time junkiedom is like falling off a log. His love for his wife and daughter is sincere, but in the face of his need for heroin, it ceases to matter. His dishonesty is unblinking and his violence unthinking. Hansen-Love depicts it all without a flinch.The movie then jumps 10 years ahead. As with her film “Eden” (2015), the director does nothing to visibly age her adult actors; the space they inhabit is a circumscribed cinematic one, not a simulation of a realistic timeline. But Pamela has grown into a teenager (played by Constance Rousseau, the older sister of Victoire Rousseau, who plays the character as a child), and a now-cleaned-up Victor is eager to reconnect with her. Intrigued but cautious, Pamela agrees to meet, over her mother’s objections.Those familiar with Hansen-Love’s other films will not be too surprised that her scenario withholds certain story components that other directors might consider essential. Her movies have a delicacy of style that can make them seem gossamer-thin at first. But the atmosphere the director creates, once fully breathed in, has an emotional gravity that becomes devastating as it settles.All Is ForgivenNot rated. In French and German, with subtitles. Running time: 1 hour 45 minutes. In theaters and on Metrograph’s virtual cinema. More

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    Lawyers for ‘Rust’ Armorer Say Gun Was Briefly Unattended Before Shooting

    The weapon handed to Alec Baldwin was left on a tray for several minutes, said the lawyers. Earlier, they had said it had been unattended for hours.The lawyers for the armorer on the film “Rust” — who has been under scrutiny since Alec Baldwin fatally shot the movie’s cinematographer with a gun that was not supposed to contain live ammunition — said in interviews on Wednesday that the gun had been left unattended for hours, but later corrected themselves to say it had only been several minutes. The gun left on a prop cart had been loaded with six dummy rounds by the armorer, Hannah Gutierrez-Reed, who took the prop ammunition from a box labeled “dummies,” said one of her lawyers, Jason Bowles. Dummy rounds contain no gunpowder and are used to resemble bullets on camera.Earlier in the day, Ms. Gutierrez-Reed’s lawyers, Mr. Bowles and Robert Gorence, said in a television appearance and in an interview with The New York Times that the guns had been left unattended for about two hours on that day, including during the crew’s lunch break. Mr. Bowles later said they had been mistaken, and after consulting Ms. Gutierrez-Reed again, he said they had been locked up in a safe during lunch and had only been left unattended for a total of five to 10 minutes. Mr. Bowles said Ms. Gutierrez-Reed asked her colleagues to watch the cart when she wasn’t there but remembered seeing it left unattended at various points that day.At about 11 a.m. on Oct. 21, Ms. Gutierrez-Reed, 24, loaded three firearms that were going to be used later that afternoon during a filming session, including the .45 Long Colt, Mr. Gorence, said. “Was there a duty to safeguard them 24/7?” Mr. Gorence said. “The answer is no, because there were no live rounds.”Even though the gun was declared “cold,” meaning it was not supposed to contain any live ammunition, a live round was in the revolver that killed the movie’s cinematographer, Halyna Hutchins, and wounded the director, Joel Souza. The key question in the investigation is how it got there.According to an affidavit released last week by the Santa Fe County sheriff’s office, the firearms were secured inside a safe on a “prop truck” at lunchtime and Ms. Gutierrez-Reed told a detective that the head of the film’s prop department, Sarah Zachry, opened the safe after lunch and handed the guns to her..css-1xzcza9{list-style-type:disc;padding-inline-start:1em;}.css-3btd0c{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-3btd0c{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-3btd0c strong{font-weight:600;}.css-3btd0c em{font-style:italic;}.css-1kpebx{margin:0 auto;font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:1.125rem;line-height:1.3125rem;color:#121212;}#NYT_BELOW_MAIN_CONTENT_REGION .css-1kpebx{font-family:nyt-cheltenham,georgia,’times new roman’,times,serif;font-weight:700;font-size:1.375rem;line-height:1.625rem;}@media (min-width:740px){#NYT_BELOW_MAIN_CONTENT_REGION .css-1kpebx{font-size:1.6875rem;line-height:1.875rem;}}@media (min-width:740px){.css-1kpebx{font-size:1.25rem;line-height:1.4375rem;}}.css-1gtxqqv{margin-bottom:0;}.css-19zsuqr{display:block;margin-bottom:0.9375rem;}.css-m80ywj header{margin-bottom:5px;}.css-m80ywj header h4{font-family:nyt-cheltenham,georgia,’times new roman’,times,serif;font-weight:500;font-size:1.25rem;line-height:1.5625rem;margin-bottom:0;}@media (min-width:740px){.css-m80ywj header h4{font-size:1.5625rem;line-height:1.875rem;}}.css-12vbvwq{background-color:white;border:1px solid #e2e2e2;width:calc(100% – 40px);max-width:600px;margin:1.5rem auto 1.9rem;padding:15px;box-sizing:border-box;}@media (min-width:740px){.css-12vbvwq{padding:20px;width:100%;}}.css-12vbvwq:focus{outline:1px solid #e2e2e2;}#NYT_BELOW_MAIN_CONTENT_REGION .css-12vbvwq{border:none;padding:10px 0 0;border-top:2px solid #121212;}.css-12vbvwq[data-truncated] .css-rdoyk0{-webkit-transform:rotate(0deg);-ms-transform:rotate(0deg);transform:rotate(0deg);}.css-12vbvwq[data-truncated] .css-eb027h{max-height:300px;overflow:hidden;-webkit-transition:none;transition:none;}.css-12vbvwq[data-truncated] .css-5gimkt:after{content:’See more’;}.css-12vbvwq[data-truncated] .css-6mllg9{opacity:1;}.css-qjk116{margin:0 auto;overflow:hidden;}.css-qjk116 strong{font-weight:700;}.css-qjk116 em{font-style:italic;}.css-qjk116 a{color:#326891;-webkit-text-decoration:underline;text-decoration:underline;text-underline-offset:1px;-webkit-text-decoration-thickness:1px;text-decoration-thickness:1px;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:visited{color:#326891;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:hover{-webkit-text-decoration:none;text-decoration:none;}Mr. Bowles said that after lunch, the film’s first assistant director, Dave Halls, asked for the firearm; Ms. Gutierrez-Reed then spun the gun’s cylinder and showed him all six rounds inside — which she believed to all be dummies. Mr. Halls then entered the set, a wooden church, while Ms. Gutierrez-Reed remained outside because there were not supposed to be any gun discharges happening inside that she needed to be present for, the lawyer said.“Hannah thinks the gun is secured,” Mr. Bowles said. “So she goes and does her prop duties.”In addition to working as the film’s armorer, Ms. Gutierrez-Reed was a props assistant, which made it difficult for her to focus fully on her job as armorer, her lawyers have said. She was a nonunion worker and was on the set for about 17 days before the shooting occurred.Ms. Gutierrez-Reed’s first job as head armorer was on a western called “The Old Way” starring Nicolas Cage, which was filmed this year, fueling concerns from colleagues on both that film and “Rust” who worried she was too inexperienced for the job.Her lawyers disputed those claims, saying Ms. Gutierrez-Reed trained with her father — the weapons expert Thell Reed — from a young age, and that she would like to continue being an armorer.“She’s a female, 24 years old in a male dominated profession,” Mr. Gorence said. “She wants to work at what she’s been trained to do.” More

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    When Women Filmmakers Get to Tell Their Origin Stories

    Movies about men who make movies are common, but female auteurs don’t often get such chances. That’s just one reason two new releases are so surprising.The newly released “The Souvenir Part II” and “Bergman Island” are both films by modern masters that not only delve into the filmmaking process but also draw from the personal lives of the filmmakers themselves.Sound familiar? Self-reflexive movies like these practically double as auteurist rites of passage — think “8 ½,” Federico Fellini’s beguiling ode to creative block with Marcello Mastroianni playing a version of the filmmaker; “Day for Night,” François Truffaut’s chaotic comedy about artistic collaboration starring Truffaut himself in the on-camera director’s chair; and, more recently, “Pain and Glory,” Pedro Almodóvar’s melodrama about an aging filmmaker (Antonio Banderas) in crisis. The list goes on, but with the newest films, there’s a crucial distinction: the masters in question are women.Joanna Hogg’s “The Souvenir Part II” and Mia Hansen-Love’s “Bergman Island” revolve around two women filmmakers, avatars for the directors, navigating their desires, relationships and creative pursuits in ways that fully reinvigorate the self-referential genre. Spotlighting the intellectual doubts and processes of two very different types of women, these films also raise subtle questions about gender disparity in the movie business and the unique ways in which women artists come into their own. And refreshingly, these films never dabble in obvious, self-congratulatory screeds about sexism — theirs is a magic much more potent and revelatory.“The Souvenir Part II” is the follow-up to Hogg’s 2019 drama about a soft-spoken student filmmaker who falls into a fraught and ultimately tragic romance with an alluring heroin addict. The new movie again draws generously from Hogg’s early years attending the National Film and Television School in Beaconsfield, England. Still reeling from her lover’s death, Julie (Honor Swinton Byrne) must build herself back up. The demands of completing her thesis film — a relationship drama based on her memories, that is, the events of the first film — propel her to become a more self-assured individual, transformed by the cathartic powers of creative work. In the end, the presentation of Julie’s finished film doubles as a plunge into her subconscious, a Technicolor fantasia akin to the deliriously joyous endings of golden age movie musicals and a brilliant shorthand for the marriage of art and life.In the press notes, Hogg said that despite being “terribly introverted” in film school, she had “a very clear idea of where I wanted to go, so I was able to blank out the voices, usually of men, that said ‘you can’t do a film like that.’”Indeed, we see Julie contend with skepticism from her own cast and crew, sharing their doubts about her directorial style behind her back or directly to her face in one particularly blustery spat initiated by a boorish male colleague. In conversation with an academic advising committee, Julie must stand her ground in the face of dubious filmmaking veterans accustomed to certain rigid practices.Hogg’s methods are highly improvisatory — her scripts contain little dialogue and are instead filled with descriptions, references to particular memories and images that might encourage ad-libbing and a more organic kind of creation.Now 61, and decades into her career, Hogg has room to experiment. Though she’s not exactly working on expensive and elaborate studio films, she enjoys privileges and leeway not typically afforded to female directors.Vicky Krieps, left, and Tim Roth are a filmmaking couple in Mia Hansen-Love’s “Bergman Island.”IFC Films, via Associated PressTo this day the word “auteur” brings to mind a boy’s club. Consider how new films by male directors labeled visionaries like Christopher Nolan, Quentin Tarantino, or Wes Anderson are treated as events. The cult of male genius more pertinently extends to the kinds of money, time and space given for such so-called genius to flourish. Correcting the gender imbalance in the film industry isn’t just a matter of creating more opportunities for women — in effect meeting quotas — but believing in the unique visions of women artists and robustly investing in the cultivation of those visions.Hogg and Hansen-Love are hardly the only women filmmakers to get personal and explore the emotional twists and turns in getting a new movie off the ground. The work of the provocateur Catherine Breillat often has an autobiographical bent. Her “Abuse of Weakness” (2014) starred Isabelle Huppert as a filmmaker who experiences a stroke, as Breillat did, and in “Sex Is Comedy” (2004), the director restaged the behind-the-scenes drama leading up to the filming of one of her most infamous sex scenes. Cheryl Dunye’s “The Watermelon Woman” (1997) starred the director as a video store worker struggling to make a documentary about a forgotten actress from the 1930s. The recent restoration and release of “The Watermelon Woman” certainly helped pull Dunye’s ingenious autofiction out of obscurity. Nevertheless portraits of female filmmakers aren’t exactly well known or particularly numerous.The discrepancies between the way male and female filmmakers are treated are put under a magnifying glass in “Bergman Island.” Chris (Vicky Krieps) and Tony (Tim Roth), directors both, retreat to the island where Ingmar Bergman shot several of his films in order to focus independently on their new scripts. Mia Hansen-Love, who was in a 15-year relationship with the filmmaker Olivier Assayas (“Irma Vep,” “Personal Shopper”), shows Chris procrastinating and suffering from extreme writer’s block, while Tony diligently fills page after page of his notebook with sexually questionable material. Ah, to be an auteur! As Chris, riddled with self-doubt, wastes time exploring the island on her own terms, the more well-known Tony hosts public Q. and A.’s and fields compliments from devoted fans. And when Chris finally shares the details of her latest idea for a movie, Tony seems distracted.No matter, Hansen-Love seems to say. If not Tony, the audience will be fully captivated by Chris’s dream world. A film-within-a-film unfolds, a sweltering romance between a younger couple (Mia Wasikowska and Anders Danielsen Lie) that also takes place on Faro Island and seems to reconfigure Chris’s frustrations and anxieties into new and visceral form.Both “Bergman Island” and “The Souvenir Part II” show an intimate understanding of art’s liberating potential, the power that fiction and fantasy afford individuals still in search of themselves. These aren’t exclusively female ventures — anyone who understands what it means to be diminished and looked down upon will find solace in the possibility of an alternative, an outlet for self-expression that transforms trauma and fear and insecurity into a source of fulfillment and strength.Crucially, Julie and Chris aren’t shown reveling in the success of their films, getting revenge on their male skeptics, or landing multimillion-dollar deals. Their triumphs are private, premised as they are on the satisfaction of creating something true and beautiful in spite of their vulnerable creators — Chris falls asleep in Bergman’s study and awakens in the future as her own film shoot comes to a close, her husband’s approval and the towering cinematic figure so central to her artistic development a twinkle in the past. We’re in her territory now. More

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    Gucci Makes a Hollywood Entrance

    LOS ANGELES — On election night in much of America, in the shadow of Grauman’s Chinese Theater and amid the panting anticipation for Ridley Scott’s “House of Gucci” film, the actual Gucci designer Alessandro Michele brought the “Gucci Love Parade,” his first in-person show since February 2020, to Hollywood Boulevard.Style and stardom collided in a conflagration of marabou, lace and lamé bathed in pink and purple marquee lights. It was hard to escape the feeling that the whole thing was a movie and everyone there just a character in it. That, after 18 months of living through screens, the boundaries between fashion and celluloid fantasy had finally collapsed, split down the seams.Gucci took over Hollywood Boulevard for their “Love Parade.”Elizabeth Weinberg for The New York TimesDirector’s chairs lined the street.Elizabeth Weinberg for The New York TimesGucci, spring 2022.Elizabeth Weinberg for The New York TimesA full city block had been cordoned off, each side of the Walk of Stars lined with hundreds of director’s chairs in signature Gucci canvas. Gwyneth Paltrow, in a new version of the red velvet Gucci suit she wore to the VMAs in 1996, schmoozed with Dakota Johnson (in bristling black paillettes), who happens to be dating her ex-husband. Nearby sat Salma Hayek Pinault, in a silver and blue sequined shirtdress, who stars in “House of Gucci” and is married to François-Henri Pinault, the chief executive of Kering, which owns real Gucci.Jared Leto, who is a Michele muse, and also in “House of Gucci,” walked the runway in white denim, aviators and a double-breasted blazer. So did Miranda July, in a faux fur-trimmed strawberry cardigan, big Gucci logo briefs and stockings. On the sidelines, Billie Eilish (in a crystal skullcap) and Miley Cyrus (in sapphire fringe and butter yellow feathers) applauded.“It’s a dream come true,” Mr. Michele said in a news conference after the show, of why he had decided to eschew Milan for Los Angeles. “There was no better place to restart.”Jared Leto walked in the show.Elizabeth Weinberg for The New York TimesGwyneth Paltrow.Jordan Strauss/Invision, via Associated PressDakota Johnson, left, and Billie Eilish.Jordan Strauss/Invision, via Associated PressIt was back in May 2020, after all, when much of the world was self-isolating and the fashion world itself was in crisis, that Mr. Michele had first declared a rethink of the industry system, stepping off the four-city collections track and abandoning old categories of fall and spring. Since then, and perhaps more than any other designer, he has resolutely hewed to a separate path: creating “Guccifest,” a mini film festival complete with a Gus Van Sant-directed Gucci mini-series; “hacking” into Balenciaga in April (and letting Balenciaga’s designer, Demna Gvasalia, hack him right back).Coming to Hollywood, which Mr. Michele called “the American Olympus,” to come back to the runway was a logical next step.Not just because of the stories his mother used to tell him about Hollywood that inspired him to want to create clothes. Or because, as Mr. Michele said, Gucci has deep roots in the jet set and the larger-than-life, or because the brand has been sponsoring the annual LACMA gala for many years.But because increasingly the traditional gravitational and social rules of what to wear when and where no longer apply, and a lot of that is thanks to Mr. Michele’s work at Gucci. He routinely ignores old ideas about day and night or fancy and sporty or men and women, hopscotches through historical reference, and ultimately builds his characters in a way that used to be available only in the movies — or acknowledged only in the movies.

    .css-5h54w2{display:grid;grid-template-columns:2.271fr 1fr;grid-template-rows:repeat(6,1fr);grid-gap:4px;}@media (min-width:740px){.css-5h54w2{grid-gap:8px;}}.css-5h54w2 > :nth-child(1){grid-column:1;grid-row:1 / 4;}.css-5h54w2 > :nth-child(2){grid-column:1;grid-row:4 / 7;-webkit-align-self:end;-ms-flex-item-align:end;align-self:end;}.css-5h54w2 > :nth-child(3){grid-column:2;grid-row:1 / 3;}.css-5h54w2 > :nth-child(4){grid-column:2;grid-row:3 / 5;}.css-5h54w2 > :nth-child(5){grid-column:2;grid-row:5 / 7;-webkit-align-self:end;-ms-flex-item-align:end;align-self:end;}.css-rrq38y{margin:1rem auto;max-width:945px;}.css-dbjnm3{margin-top:10px;color:#666;font-family:nyt-imperial,georgia,’times new roman’,times,Songti TC,simsun,serif;font-weight:400;font-size:0.875rem;line-height:1.125rem;}@media (min-width:740px){.css-dbjnm3{font-size:0.9375rem;line-height:1.25rem;}}Gucci, spring 2022.

    His clothes are unabashedly costume — they revel in the joy of playing dress-up, rather than pushing a silhouette forward or exploring construction. He designs at a pitch of maximalist emotion rather than modernism. (To say his collections look like the ultimate vintage store is a legitimate complaint.)So this time ’round there were Marilyn Monroe silver and gold goddess pleats and Rita Hayworth-worthy lacy nightgowns; souvenir palm tree-print shirts and just-off-the-bus cotton lawn and cowboy hats; Elizabeth Taylor Cleopatra gowns and Joan Crawford shoulders. There were the variables of the back lot and the era of Edith Head and Adrian, when costume designers were also celebrity designers because they understood that life, as much as the world, is a stage, and everyone is dressing for their entrance, darling.That’s why Mr. Michele put his show in the middle of Hollywood Boulevard: to underscore the fact that the sheer act of getting ready to go out and get some milk is a performance of self. Especially now that any moment could end up online and everybody is the director of their own social media series.And maybe then you want to throw on a big fake fur chubby over your corset. Sport a three-piece suit in mint green or shell-pink satin with big fake orchids on the lapel. Wear knit bike shorts under a yachting blazer with cowboy boots. Whatever! Add a sparkling cat mask. Or maybe a feather boa. It’s ridiculous (it is). It’s a blast (it is).Then strut out down the center of a city street as spotlights strafe the sky. And let everyone watching wonder what scene, exactly, this is. More

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    Aunjanue Ellis Leans Into a Supporting Role in 'King Richard'

    The actress is used to secondary parts, but with “King Richard” she is being singled out for her turn as the mother of Venus and Serena Williams.The actress Aunjanue Ellis is nearly 30 years into an onscreen career, but until about a decade ago, she thought it was all a fluke.The 52-year-old Mississippi native grew up on a farm and had no drama experience outside of performing in Easter and Christmas plays at church. She began her undergraduate studies at Tougaloo College, the historically Black university where an acting instructor encouraged her to consider taking the craft seriously.“My feet had no path and he just gave me one,” she said in an recent interview.Now, she’s just weeks away from the release of a biopic that is generating Oscar chatter about her performance: “King Richard” is the story of Richard Williams (played by Will Smith), the father of tennis champions Venus and Serena Williams. Ellis plays Oracene Price, his wife.Looked at in one light, it’s a typical part in a career that can perhaps be best characterized as a series of roles ranging from minor to supporting. But Ellis, who went on to earn degrees at Brown and New York Universities, has fully leaned into them and made them her own: whether that’s showcasing her comedic chops in “Undercover Brother” or gravitas in dramas like “Ray” and “The Help.”In recent years she’s earned critical acclaim in productions like “If Beale Street Could Talk” and “The Clark Sisters: First Ladies of Gospel,” and Emmy nominations for her turns in “When They See Us” and “Lovecraft Country.” Her performance as Price may be another step on the awards path: she has been singled out by critics and Oscar pundits alike when it played on the festival circuit ahead of its Nov. 19 release on HBO Max and in theaters.On a video call from Chicago, where she’s filming her next project, “61st Street,” a series set to air on AMC, Ellis spoke about what she hopes audiences take from her performance as Oracene Price and the pressure to choose roles that reflect well on Black women. Here are edited excerpts from our conversation.From left: Demi Singleton as Serena Williams, Saniyya Sidney as Venus Williams and Ellis as their mother, Oracene Price, in “King Richard.” Warner Bros.Your first onscreen role was on the TV show “New York Undercover.” Do you remember how it felt when you got cast?I say this with intention because somebody will hear this and feel themselves reflected in my story. My grandmother stood in line for government cheese, for peanut butter, just so we could eat — to sustain us. I was raised on AFDC [Aid to Families with Dependent Children]. I would hide because I would be so embarrassed that my grandmother was paying for our groceries with public assistance.There was nowhere in my imagination that I would be making a living doing something creative. Absolutely none. I got the “New York Undercover” job, I just thought it was a fluke. It wasn’t probably until 10 years ago that I started to believe that I could sustain my life and my family by acting.What makes you say yes to a role?I’m real childish about this. Is it going to be fun? Am I going to have a good time? Can I do it and not be embarrassed and stand by the fact that I’ve done it? That’s a challenge I’m still navigating. I have a responsibility that the people I generally work with don’t have. I know what it’s like to have done a film and when it’s over, Black women are looking at you like, “Why did you do that? You failed us by doing that” and having to answer for that. I think Black women particularly have to answer for that in a way that nobody else does. Those are my considerations: Is it fun to play and am I doing a service to Black women?How did the script come to you and what were your initial thoughts after you read it?I know there were probably other candidates that they were looking at, that they were going to go to originally. I’m used to that. I just bided my time and waited for the possibility that I would get a chance to read for it — and I did.The wife of the hero can be utterly boring to play because they are stick figures and their only purpose is to, as I’ve read somewhere, create problems for the hero. I felt that [the screenwriter] Zach Baylin had done something where that wasn’t the case with Ms. Oracene — she had a life outside her husband. I thought that was going to be fun to play..css-1xzcza9{list-style-type:disc;padding-inline-start:1em;}.css-3btd0c{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-3btd0c{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-3btd0c strong{font-weight:600;}.css-3btd0c em{font-style:italic;}.css-1kpebx{margin:0 auto;font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:1.125rem;line-height:1.3125rem;color:#121212;}#NYT_BELOW_MAIN_CONTENT_REGION .css-1kpebx{font-family:nyt-cheltenham,georgia,’times new roman’,times,serif;font-weight:700;font-size:1.375rem;line-height:1.625rem;}@media (min-width:740px){#NYT_BELOW_MAIN_CONTENT_REGION .css-1kpebx{font-size:1.6875rem;line-height:1.875rem;}}@media (min-width:740px){.css-1kpebx{font-size:1.25rem;line-height:1.4375rem;}}.css-1gtxqqv{margin-bottom:0;}.css-1g3vlj0{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-1g3vlj0{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-1g3vlj0 strong{font-weight:600;}.css-1g3vlj0 em{font-style:italic;}.css-1g3vlj0{margin-bottom:0;margin-top:0.25rem;}.css-19zsuqr{display:block;margin-bottom:0.9375rem;}.css-m80ywj header{margin-bottom:5px;}.css-m80ywj header h4{font-family:nyt-cheltenham,georgia,’times new roman’,times,serif;font-weight:500;font-size:1.25rem;line-height:1.5625rem;margin-bottom:0;}@media (min-width:740px){.css-m80ywj header h4{font-size:1.5625rem;line-height:1.875rem;}}.css-12vbvwq{background-color:white;border:1px solid #e2e2e2;width:calc(100% – 40px);max-width:600px;margin:1.5rem auto 1.9rem;padding:15px;box-sizing:border-box;}@media (min-width:740px){.css-12vbvwq{padding:20px;width:100%;}}.css-12vbvwq:focus{outline:1px solid #e2e2e2;}#NYT_BELOW_MAIN_CONTENT_REGION .css-12vbvwq{border:none;padding:10px 0 0;border-top:2px solid #121212;}.css-12vbvwq[data-truncated] .css-rdoyk0{-webkit-transform:rotate(0deg);-ms-transform:rotate(0deg);transform:rotate(0deg);}.css-12vbvwq[data-truncated] .css-eb027h{max-height:300px;overflow:hidden;-webkit-transition:none;transition:none;}.css-12vbvwq[data-truncated] .css-5gimkt:after{content:’See more’;}.css-12vbvwq[data-truncated] .css-6mllg9{opacity:1;}.css-qjk116{margin:0 auto;overflow:hidden;}.css-qjk116 strong{font-weight:700;}.css-qjk116 em{font-style:italic;}.css-qjk116 a{color:#326891;-webkit-text-decoration:underline;text-decoration:underline;text-underline-offset:1px;-webkit-text-decoration-thickness:1px;text-decoration-thickness:1px;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:visited{color:#326891;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:hover{-webkit-text-decoration:none;text-decoration:none;}How did you prepare for the role? Did you get a chance to speak to her?I play the character of Ms. Oracene Price. I’m not doing a recreation of her life. So I approach it in the same way I approach any other role. The other great thing is that I have material to work with. There’s history there, information that I don’t just get out of my own head.Zach and Reinaldo Marcus Green, the director, did extensive interviews with Ms. Oracene, so I listened to those tapes over and over again. She’s a particular kind of woman that is more of a challenge for me. When I play characters, I try to find things on the outside of them that I can capture like accents, how they walk, how they talk. But Ms. Oracene is a very interior person, so I had to rely on her words about herself. Her daughter Isha Price was on set every day, so she was a great resource as well.I’m curious about what you’re channeling. Is it a person? Where does that kind of intensity come from?[On] Wikipedia she was referenced as a coach and I had such a cynical response to that. I thought, why is she calling herself a coach? Isn’t that an overreach? I mean, it’s great that she’s in the stands with her children and cheering them on, but that doesn’t make you a coach.And hearing these tapes, listening to her daughters talk about her, you find out that Ms. Oracene was as much a coach to these girls as Richard Williams was. She was designing their approach to their play. I didn’t know that. I think 99 percent of the world doesn’t know that about Ms. Oracene.Mr. Williams is the architect of the new face of the new generation of tennis; Ms. Price is the builder of that. Now she does all this while working two jobs — plural — and she trained herself for years so she could coach her kids. There are so many women living lives like this. I wanted people to know who Ms. Oracene Price was and is. That is what drove me. I’m speaking for this woman.Ellis was Emmy Award-nominated for her role in the HBO series “Lovecraft Country.”Eli Joshua Ade/HBOI wonder if you see parallels with your own career. Does it feel like your time?I don’t know. It’s strange. I toiled. I was in a whole bunch of stuff that nobody saw and nobody liked. They let me know they didn’t like it. God knows I’ve been in things that were golden and glossy but I wasn’t as proud. But I’m so proud to be a part of something that hopefully gives this family their flowers.What you brought to this role is making you a possible contender for the Oscars. How does that feel?The reality is there’s a practical side of that, right? When that is next to your name, it helps you get more work. I lose jobs all the time to chicks that have that thing at the end of their name. If it happens, it would be great because it expands my job options and everything that comes with that. But the other side of that is, it’s a further extension for me to shout out Oracene Price. She stood in the stands and clapped for her daughters, but it would be so cool to hear people clap for her.Are there any directors you’d like to work with?Reinaldo Marcus Green of “King Richard” — I’d love to work with him again. Raven Jackson, a Southern woman, is doing her first feature. She’s a wonderful writer. I hope that I’ll have a chance to work with her.There are things people send my way — my managers and agents — they come from these reputed directors. I’m not interested in that. I’m interested in Black folks who are hungry to tell stories about Black people and doing it in really interesting, innovative ways.Would you do a buddy cop film or a romantic comedy?Listen, there’s nobody throwing scripts my way. That sound you hear, that’s not people throwing scripts at me.That might change.Well not right now. That’s not my life. So if I had to choose, I certainly am going to choose a “King Richard,” I’m going to choose “When They See Us.” I get joy out of doing that kind of work.Acting is not something that you necessarily do for a hobby, it is how you pay your rent. I do what I need to do to take care of my family. If I had to choose, this kind of work that I’m doing now is the kind of work I’ll continue to do.Do you think about the kind of film you’d like to be the star of?Certainly. There are things I’m working on right now and trying to make happen. I’m from the South, and one of the great travesties is the erasure of Black women who were so central in the freedom rights movement. And I say the freedom movement, not the civil rights movement, because they were two different demographics. So what I’m living to do is to correct that.​​ More