Mine is…not something we need to talk about. Wilde’s piece is a beautiful, display-worthy salad bowl. Open and flexible, yes.” As for emotion? “There’s no time for emotion.” “Actors don’t want to sense that a director is ever unsure of themselves.
Olivia wilde age movie#
I ask how she maintained her zen while captaining a movie during a pandemic. The symbolism calms her: When everything is in chaos, you just have to stay focused. Wilde nods at the clay bowl she’s making and tells me she can tell that it’s centered because it suddenly looks still while the wheel spins wildly around it. “To be among those filmmakers,” she says, “holy fuck.” When we meet in London in July, Wilde is still floored by the fact that Darling will premiere at the Venice International Film Festival in the company of works by Darren Aronofsky, Noah Baumbach, and Alejandro G. Darling, though, takes an ambitious leap, not just in its surreal, almost sci-fi beauty but in the depth of its message about the strength of women and the courage it requires to question an oppressive system when absolutely everyone is saying, What system? What oppression? Pugh is ferociously good as the rebellious Alice, who’s either as crazy as they all say or being gaslighted by an entire palm-fringed oasis of a company town in the desert, including her stylish, exuberant husband, Jack (Styles). The comedy updated the John Hughes coming-of-age formula, debunking social stereotypes, spreading kind and inclusive messages, and examining the complexities of female friendship. Wilde’s first movie was a funny, slyly subversive story about two overachieving seniors (Beanie Feldstein and Kaitlyn Dever) who realize they’ve unfairly judged their fun-loving classmates and try to pack four years’ worth of high school extracurriculars into one night. Watching Olivia on the set, I was like, Oh, this is the image of a director that my daughter’s going to have-this really talented, powerful, beautiful woman with her own daughter on her hip directing and leading all of these men and women on this set that she was so empathetically in charge of.”ĭon’t Worry Darling is a bold pivot after Booksmart. Later, Katie Silberman, a writer-producer on both Darling and Wilde’s first movie, Booksmart, will tell me, “When I was little and I pictured a director in my head, it was always a man with a beard and glasses in a jean jacket with a bullhorn.
As we talk about Don’t Worry Darling-and the demands on someone who’s acting in, directing, and producing a movie-there’s a nice irony to the fact that she’s blissed out and making a bowl. (When we’ve parted for the day, Wilde texts me a photo she took of me looking bemused at the wheel, along with the winking caption, “Master of her craft.”) Wilde herself is warm, serene, and engaged at the wheel. Our instructor is an artist named Freya, who serves us tea in proper cups and encourages us with phrases like “just squidge it up.” If Freya or Wilde is appalled by my interpretation of an ancient art form, they do not show it. My entire Instagram feed is just, like, people throwing pots.” Soon we’re each seated at pottery wheels with mounds of clay. This is the one thing that I feel completely zen about. “I’ll go to a Pilates class or dance class and get really competitive. “Everything else in my life, I want to be very good at: work, parenting, friendships, exercise,” she tells me. Wilde is a perfectionist-she ends up being on time-but pottery puts her at ease. Tube strike made getting a car a bit of a clusterfuck but I will be with you by 11:05. She’s running very slightly late, so she texts: “Julie! Hi it’s Olivia! I’m on my way. I asked if we could start our interviews somewhere other than a restaurant, and Wilde gamely suggested this. We talk at a pottery class in North London. If Mirren had known what Wilde went through to make the movie-let alone the nasty surprise that awaited her when she walked on the stage moments later, or the wind tunnel of gossip in store at the Venice International Film Festival in September-she’d have hugged her even harder.
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