Salma Hayek: “When I’m unhappy, sometimes I become a bitch”

What would Salma Hayek do? Swear often, push herself, push others, fight for what she wants – but with honor – and, when necessary, become a bitch.

To All Women: You Are More Than Enough

We are a lot more demanding of ourselves than men are. It’s a horrible sensation – we’re not enough at work; we’re not enough for the guy who’s cheating on us; we’re not enough for our children who always want more of us, no matter what we give. My husband has a company that is very feminist [Hayek is married to François-Henri Pinault, the chairman and Ceo of luxury fashion conglomerate Kering]. They do a lot of studies on how to empower women and I’ve learned some really interesting details. Women work harder than men and are more demanding of themselves, yet they have the sensation they don’t do enough, and therefore they are less daring about asking for a better position or salary. Men do a lot less, they are less demanding on themselves and their standards are lower, yet they feel entitled to ask for a raise or a promotion.

Ambition Is A Good Thing

I wanted everything, but I wanted to be a good person, and I wanted to get it with principles – that’s true ambition. The other type is desperation. My biggest ambition now is to become an organized person. It might seem like nothing, but I’m telling you, I’ve been trying it for 50 years and I still can’t do it. In parts of my life I am disorganized; a procrastinator. My god, that’s been a hard one to conquer. If I don’t want to do certain things, I don’t do them. I am a rebel in that way. And then I get into trouble, like when you don’t do your homework at school. I am better with exercise, I am better with food, but I am still not where I should be; I am getting older and I still don’t have the discipline. I always find excuses for myself – and they’re all brilliant, by the way. I will sometimes say, ‘I am 50 years old! Why do I have to look good? I already got my guy!’ But then, I don’t want to lose the guy, either.

It’s All In The Eyes

The menopause is not the same for everyone – some women go through it with no problems. If you are not there yet, visualize that you’re going to go through it with no problems! It’s not fun. But the worst part of the aging process has been my eyes. Not the wrinkles – the eyes themselves. I’m such a visual person and [now] I cannot read without depending on glasses, and I lose them everywhere. I never hear other people complaining about their glasses. I really resent having to depend on my glasses to look at the world. It has been really, really sad. The eyes, for me, that’s worse than the menopause.

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Jennifer Lawrence: “It’s scary when you feel the whole world judges you”

It’s a warm evening in Los Angeles, and Lawrence and I are alongside a fire pit in the backyard of a Mediterranean-style home high in the hills, where the air smells of flowers, money, and the negligible carbon burned thoughtfully by electric cars. The chaos of Hollywood feels a zillion miles away.

This is not Lawrence’s actual home. It’s a rental. Lawrence’s real home “broke” while she was away—a madcap story involving crystals and . . . well, let Lawrence tell it:

“When I first moved in, the house was crystalled out—crystals everywhere, and geodes,” she explains. “And I was like, ‘Please get rid of these; I don’t want people to come over here and think I’m a crystal person.’ Not that there’s anything wrong with that!

“But everyone told me, ‘You can’t do that. You can’t move them. You have to have the crystal lady who put them in move them. . . . ’ ”

You know where this is going. Lawrence did not get the crystal lady. “I just had all the crystals yanked out. Sold them. And then my fucking house flooded.”

“I hate crystals,” Lawrence says.

There are no crystals in the rental. There’s not much evidence Lawrence is living here, other than an oil painting of her dog, Pippi, over the fireplace. I’ve brought bourbon: a bottle of Old Grand-Dad, a nod to Lawrence’s Kentucky roots. It’s after 5:00 p.m. and we’re having one, because . . . wouldn’t you?

“This is delicious,” Lawrence says, pulling a blanket over her sweater and wide-leg Zimmermann pants.

And this booze cost only $19.99, I tell her.

“Wow,” she says, deadpan. “I shouldn’t be wasting this on you. I’m going to save it for company.”

A few days prior, Lawrence had visited with the acclaimed American painter John Currin for the work that appears opposite. “Pretty unbelievable,” she says. “He took photos, and posed me like one of those French girls. I think Pippi might actually be in some of them.”

Is she going to get the finished Currin?

“How do I broach that?” she asks. “Who else would want it?”

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Amber Heard: “I’ve never seen myself defined by the person I’m with”

Amber Heard Talks About Coming Out as Bisexual in Hollywood

Amber Heard has opened up about coming out as bisexual and how so many people in Hollywood did not want her to talk about her sexuality.

The 30-year-old actress revealed during the Pride and Prejudice panel that she was “was never in. I was in a relationship and I never hid it and then my career and my life started to change.”

Amber was asked about her sexuality in an interview back in 2010 and was honest with her answers.

“I just answered honestly. I could tell by the look on this person’s face it was a big deal. My poor publicist. Then I realized the gravity of what I had done and why so many people—studio execs, agents, advisors—did not want this coming before my name. I became attached to a label. I’ve never seen myself defined by the person I’m with,” Amber said at the panel (via E! News). “I saw myself being in this unique position and having a unique responsibility. So, I bit the bullet.”

People in Hollywood told Amber that being labeled as bisexual in this industry would become a problem for her career.

“As a leading lady, there’s a certain amount of wish fulfillment. I was asked ‘How is anyone going to invest in you romantically if they think you’re unavailable?’” she said. “I said, ‘Watch me do it.’”

Amber concluded the topic by saying how the world would be a lot different if every gay man in Hollywood came out publicly.

“If every gay man that I know personally in Hollywood came out tomorrow, then this would be a non-issue in a month,” she said. “We have a long way to go.”

Just Jared

Ryan Gosling: “There’s no mystery anymore in the age of the Internet”

Ryan Gosling hated being a kid. He just didn’t like the way it felt, and he wanted it to be over.

“I just felt this sense of: I have a limited amount of time and, you know, I’ve got to get started. I also didn’t like the arbitrariness of control that people seemed to have over me.”

I think most kids don’t know to question that. They just accept it.

“I think my mother encouraged that. I had one teacher, because I was dancing, he thought that was funny and he would make jokes about it in class, and my mother said, ‘You know, if ever you feel like he’s being disrespectful, you can just leave.’ And I did one day. I called her and said, ‘Hey, I left.’ Also, when I was homeschooled for a year, I saw my curriculum come in the mail, and I saw that it was just this tangible stack of books—I guess I realized that there were other ways to do it. The fact that I could stay home and watch Planet of the Apes in the morning and then go downstairs and draw while I learned about some historical battle—draw these maps and scenarios and connect to it in a way that was personal to me—I just felt like: Oh well, then there must be another way to do everything.”

One evening when he was in first grade—he was raised in Cornwall, Ontario, where his father and most of his male relatives worked for the local paper mill—young Ryan Gosling saw Sylvester Stallone’s primal and brutal revenge drama First Blood, the original Rambo film, on videocassette. The next day, he packed his Fisher-Price magic kit with the Gosling family steak knives. Suitably armed, he headed to school, ready to put into action the new lessons he had just learned.

“I think I saw it too young,” he says. “I wasn’t able to separate those realities. I don’t blame it on the film. Part of being a kid in the ’80s was that these movies, we didn’t have the experience necessarily of going to the theater, of this thing outside your life. You would watch it while you were falling asleep on the couch, or you could re-watch it, and they were tangible things, these VHS tapes, and they were like friends of mine. And so I connected with them in a very, you know, personal way.”

Even so, you might assume that taking a set of knives to school was just some inappropriate, but ultimately harmless, playacting. But when I ask Gosling about what was going through his mind that morning, his reply makes clear that the boundaries between reality and fiction were still precarious, even dangerously shaky, at that point in his life.

“I just remember there being, like, some injustices on the playground, you know. That there was bullying going on, or something. And I felt like”—he laughs—“that’s the feeling I remember. There was something unjust going on.”

So you weren’t just going to school and playing Rambo—you were going to sort shit out?

“I didn’t think it through, you know. I just thought, in my mind: This is not right, what is happening, and something has to be done. Thank God, you know, I was suspended.* I should have been. My mother was mortified. And it was like reality came in. I had to get control of my imagination.”

Did that feel like a good lesson learned? Or like you’d had your imagination reined in?

“No, it felt like a lesson learned. I think I felt pretty guilty about that. I think. Although, I don’t know. I was so young, I don’t know what the fuck was going through my head.”

In all these things, did you feel as though you were different from most of the kids you were around?

“Not in a good way. I was doing very badly in school, and I just couldn’t remember what the teachers were talking about. I felt like it looked easier for everyone else and it was harder for me. It affected my self-worth.”

Did people tell you that you weren’t smart?

“I mean, they started feathering me into some special-education classes and things like that. I mean, I remember playing chess with a kid who was eating his queen, you know.”

Gosling has been in Hungary for most of the past four months, filming the Blade Runner sequel, Blade Runner 2049. “It’s like three movies that I usually make in one,” he says. “Just in terms of the length and just the whole scope and experience.” I ask how it’s going, and he quotes something his co-star Harrison Ford said the other day: “cautiously optimistic.” But he knows that people have high expectations, and how treacherous those can be. “The snipers,” he says, “are in the bell tower, waiting.” But, that aside, he says that he can’t tell me much: “I’ve never done something so shrouded in secrecy or where there’s so much anticipation.”

Did I hear that Harrison Ford punched you in the face?

He looks surprised. “How did you hear that?”

I’ve got people on every corner, too.

“Yeah, he did. It was kind of, you know, a rite of passage.”

How did it happen?

“We were just doing a fight scene and, you know, it just happened. But what was funny was, when it was over, they brought ice for my face, and Harrison pushed me out of the way and stuck his fist in the ice.” He laughs. “I asked him the other day where he got his sense of humor from—was it from his mother or his father? He said, ‘Sears.’ And he didn’t have much time to shop around so he just had to grab one and get out.”

So did it hurt when he hit you?

“You know…he’s tough. He’s been an inspiration to everyone—everyone is doing push-ups now and taking an interest in their fitness. As soon as it happened, the director came up to me and said, ‘Look at it this way—you just got hit by Indiana Jones.’ ”

Was he suitably apologetic?

“He came by afterward with this bottle of scotch, and I thought, ‘Oh, I knew this was coming.’ And he pulled out a glass from his pocket, poured me a glass, and walked away with the rest of the bottle. So I guess he felt like he didn’t connect enough to earn a whole bottle.” He smiles. “You know, they say don’t meet your heroes, but I would say the addendum to that is ‘…unless they’re Harrison Ford.’ ‘Cause he’s a cool motherfucker.”

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Alicia Vikander: “I probably wouldn’t have been cast in Anna Karenina if they’d had to pay for a working visa”

With Vikander, as you will find out for yourself in the interview, there is no judging her by the cover. She is everything, and then some. From girl-next-door to Hollywood star, the Swedish actress is a synchrony of strength and sensitivity; beauty and intellect, grace and grit. Here, she talks about her teenage ballerina days in Stockholm, her rave days with pals Tove Lo and Icona Pop, her love of acting, championing women in film and, yup, dating The Light Between Oceans co-star Michael Fassbender. But we’ll let you be the judge.

On why people thought she was stilted in English-speaking interviews:
“You can seem reserved when it’s not your own language, because you think about what you want to say. And you get frustrated. The worst thing is when you start to sound fluent, so people assume that you are, but you don’t have a tenth of the vocabulary as everyone else. And you don’t have the same ease with it. There is this filter between your thoughts and speech.”

On having to rent an apartment with other students while studying ballet:
“We had five moms of five girls, and they took turns visiting. They came up to cook and make meals for us, and do laundry. I remember we were like, ‘Aw, Mommy you don’t have to!’ But they made sure at least one mom was there every weekend.”

On making friends with music students such as Icona Pop and Tove Lo:
“I kind of set myself the rule that I was going to find friends who weren’t part of that, to get a break. (She began making friends with the students in the Royal Academy’s music program) They were like the cool girls (as opposed to) the nerdy ballet girls.”

On being introduced to Stockholm’s electronic music scene:
“That was kind of my rave period. I couldn’t even drink because I had to go to school, but it was kind of a relief to go out and dance. We had a bed in our locker rooms so that people could have naps, and I remember getting back to ballet school around 4am and would sleep in there before going to dance all day.”

On being rejected twice for theater school and deciding to go to law school instead:
“I thought, ‘Oh, that’s a good, wide education, and I might be able to be in the same industry.’”

On learning the technique for giving birth on camera:
“I’ve actually tried to give birth on camera three or four times. On A Royal Affair there was this amazing woman who worked in makeup. She had five kids and she really helped me. She would say, ‘It takes ten seconds between contractions and this is what I looked like during a contraction.’”

On her relationship with Michael Fassbender and working with him on The Light Between Oceans:
“We’ve never hidden the fact that we’re a couple… He’s extremely hardworking. He was like, ‘Give me something new! I just need a new idea. I need to do it differently.’ I just thought that was cool. Because that was what I was trying to do, too. To push each other and come up with new ideas each time.”

On working with women:
“I can count on my hands the scenes I’ve done with women.” (She recalls acting in a scene with Holliday Grainger for the upcoming Tulip Fever.) “At the end, I was like, ‘That was fun.’ And then I kind of looked up at her and we talked about it. ‘Something’s different. What is it?’ And I realised that I hadn’t had a proper two-page scene with another woman, just playing off each other.”

On the Brexit vote:
“I couldn’t believe my eyes. I am European. I grew up in a small country. Without it, I would not be where I am right now in my career – I wouldn’t have been able to live with my three girlfriends in London. As a foreigner, I probably wouldn’t have been cast in Anna Karenina if they’d had to pay for a working visa. I hope here in America that it opens people’s eyes that you can’t just let things happen. You need to get involved.”

By Karman Tse (Porter magazine)

12 October 2016

Rooney Mara: “I basically live my life in order to avoid embarrassment”

I’ve never seen a movie that so accurately conveys what it feels like to fall in love. Why is Carol so universal?
“I think one reason is because so much of it is unspoken. So much of it is just in the way they look at each other. Falling in love is such an interesting thing. So much of it is projection. It’s in your mind and what you imagine the other person to be. It’s this rollercoaster, and then you’re with them and their real self.”

Is that terrifying as an actor, when so much is unspoken? It’s all about what’s going on behind your eyes.
“Not really. For me, that is kind of what acting is. And I’m much more of an internal person anyway. I’m someone where you can tell a lot more about me from my body language and what I don’t say than from what I am saying.”

You have this incredible dynamic with Cate Blanchett, who plays Carol. Did that come very naturally to you?
“Yes. People keep asking me what we did to work on our chemistry. But you can’t force chemistry. Either it’s there or it’s not. Actually, for most of our relationship in the film there is this tension between our characters. There isn’t closeness. We’re sort of figuring each other out. Therese is just in awe of this creature Carol, and I was very much in awe of Cate.”

In awe of her how?
“Well I remember the day we did the screen test for costumes and makeup. I walked out and Cate had on her blonde, beautiful Carol wig and her mink coat. I just remember seeing her and being, ‘Oh my God.’ I felt the same way Therese must have felt the first time she saw Carol: ‘Who is this woman, and how can I be a little bit more like her?’”

The film is based on a book by Patricia Highsmith. Did you refer back to it a lot?
“Definitely. I had a copy in my trailer. It’s written from my character’s point of view, so you get to be in her head for the entire book. That’s a gift for an actor. Therese doesn’t fit into this cookie-cutter world that she’s in, and she’s not really sure why.”

The director Todd Haynes also made Far from Heaven and Mildred Pierce. How does he make such beautiful stories about women?
“A woman couldn’t have made this movie any more beautifully than Todd did. He just has this way into female stories and characters. I think he deeply loves and respects women, and he’s not afraid of them. There’s no gap between men and women with him. I know a lot of writers who are terrified of writing female dialogue. Why? We’re all humans. And I felt very safe with Todd. The character is super-vulnerable and naïve. I have those qualities in myself. They’re not qualities that I let out easily or often, and it felt very safe to do it around Todd.”

Do you have a favorite film about love?
“So many! But I can find a love story in pretty much any film – between a father and son, sister and sister, friends. I think all of life is a love story. But maybe A Woman Under the Influence.”

Your most high-profile role was Lisbeth Salander in The Girl with the Dragon Tattoo. But you were unrecognizable in that film. Do you prefer not to be a celebrity, to live your life?
“Yes. Thank God. If you don’t have life experience then how can you pretend? How can you make believe? Even now, if I work too much I have to take time off because I feel like I have to fill myself back up with life.”

You’ve talked about being obsessed with directors. Whom would you like to work with?
“Do I say? What if they don’t want to work with me, it’ll be embarrassing! There are so many. But I’d love to work with Paul Thomas Anderson and Michael Haneke.”

Do you watch your films?
“No. I’m so brutally hard on myself. Not only is it horribly painful and torturous to watch yourself and hear the sound of your own voice, but a lot of the time you can’t lose yourself and enjoy it. I see the work behind it. And I don’t want to see that. I want to just remember it how it was and feel what the experience felt like.”

Speaking of the directors you’ve worked with, David Lowery, who made Ain’t Them Bodies Saints, described you as “flawless and incapable of embarrassment.” Agree?
“No! I basically live my life in order to avoid embarrassment. I hate being embarrassed. That’s why I’m so hard on myself, there’s nothing worse than being embarrassed. I’ve definitely embarrassed myself many times.”

(1 February 2016)

Lillian Gish: “I’ve loved many men, but I’ve never been in love”

Lillian Gish was in a dither. In honor of the expected guest, who was invited by PEOPLE, she had put on her best opal necklace and a sumptuous velvet skirt. “And you say the young lady’s name is Molly Ringwald?” she asked excitedly as she set out cookies. “And we are to talk about the difference between actresses then and actresses now? Oh, dear, I hope I won’t bore her.” She didn’t get the chance—La Ringwald never arrived. The carrot-topped teen, who achieved quickie celebrity in Sixteen Candles and Pretty in Pink, stood up the 86-year-old grande dame of the movies, the superstar of Hollywood’s first masterpieces; D.W. Griffith’s The Birth of a Nation and Intolerance. The appointment was for noon. Miss Gish waited patiently until almost 3 p.m. Then she said sadly, “I guess she doesn’t care because I’m old.” Some hours later Ringwald sent a dozen roses, along with an excuse that to a lady of Miss Gish’s generation sounded like another insult: “Just as I was leaving, I smashed my hand in the door, and I had to put some ice on it to keep it from swelling. Then…I couldn’t find a taxi, and when I finally did, I didn’t have the right address.” Meanwhile, to pass the time, Miss Gish regaled her company with lively memories of movieland:

Hollywood? Just a village in 1914. Little old ladies sitting on white porches. My sister Dorothy was 13; I was 15. We’d been on the stage for 10 years, but Mother wouldn’t let us tell anybody. In those days, boardinghouses put up signs: “No dogs or actors allowed.” One day we went to the Biograph Studio in New York to visit Gladys Smith, a teenage actress who had changed her name to Mary Pickford. A man pulled out a gun and chased us all over. We were terrified—until we found out he was D.W. and that was his way of giving us a screen test. He was very demanding. In Way Down East I had to lie for hours on the ice with my hand and hair in freezing water. Two fingers on my right hand were permanently damaged. He came to trust me later. People said we were lovers, but we weren’t. If he was in love with anybody, it was with my mother.

D.W. made me famous. By the ’20s I was getting 5,000 letters a day. I also got offers to work with other directors for huge sums, $8,000 a week, and he forced me to accept. When sound came in, I was at MGM. L.B. Mayer told me he wanted to stir up the public by inventing a scandal involving me and an actor. When I refused, he said: “I can ruin you!” And he did. He had me blackballed at every other studio in town. So I left Hollywood. I’ve made only a few movies since 1930—Night of the Hunterior Charles Laughton, A Wedding for Robert Altman and Sweet Liberty for Alan Alda.

People ask me about my love affairs. I’ve loved many men, but I’ve never been in love. I’ve had no time for romance. I’ve always been working. Besides, my idea of heaven was to be with my mother and my sister. We always slept together—with me in the middle because I had nightmares that trees were chasing me. Dorothy got married, but she never lived with her husband. She said men and women just weren’t meant to live together. I’m so glad I didn’t ruin a man’s life by marrying him.

People also ask me why I never go to movies now. There are so many degrading movies. When actors kiss, they try to swallow each others’ tonsils. Audiences seem to laugh only at bad language; in my time, a man would be knocked down for saying such things in the presence of a lady. On top of that, movies nowadays are all alike, as if they were made on an assembly line. Hollywood has turned into an emotional Detroit.

People magazine

Published on 9 February 1987