RULES DON'T APPLY

Warren Beatty is More Than His Oscars 2017 Flub

In a new interview with W, the Oscar-winning director reflects on a long career that includes Hollywood classics like Bonnie and Clyde and Splendor in the Glass.


Photographs by Craig McDean. Styled by Edward Enninful. Hair and makeup for Beatty by Natalia Bruschi. Manicures by Michelle Saunders for Essie at Forward Artists. Set design by Piers Hanmer.

It’s possible many of the youngest viewers watching the 89th Academy Awards didn’t recognize or know the distinguished veteran actor and director, not to mention the lady by his side, who presented the Best Picture category on Sunday night. But that’s likely not the case this morning, as many raced to Google the name Warren Beatty after an inadvertent gaffe for the ages at the very end of the ceremony. In announcing the award, Beatty and Faye Dunaway mistakenly announced La La Land as the winner, when in fact it was Barry Jenkins’ Moonlight that had taken the prize. Beatty apologized on stage for the mix-up, but the faux pas was an embarrassing flub for a Hollywood legend, not to mention for the industry’s biggest night. (PricewaterhouseCoopers, the accountants who tabulate the Oscars voting, later apologized for a mix-up that resulted in two envelopes being handed to the veteran actors.) Beatty, who won the Best Director award for Reds in 1981—four years before the birth of Damien Chazelle, the Oscars’ youngest Best Director winner ever at 32—was back in theaters this year with the little-seen Rules Don’t Apply, but his last major film before that had been nearly 20 years ago with the political—and surprisingly relevant today—satire Bulworth. His heyday was in the ’60s and ’70s, when his starring role in Bonnie and Clyde—the film whose 50th anniversary he and Dunaway were celebrating—led Hollywood into a so-called American New Wave. But younger viewers should note that beyond Sunday’s foul-up, Beatty has a much, much longer career to be remembered for, one that includes serving as the inspiration for Carly Simon’s “You’re So Vain,” dating and directing Madonna (in Dick Tracy), marrying Annette Bening, the classics Shampoo, McCabe & Mrs. Miller, and Bugsy, and setting a roadmap for the actor moguls of today who not only act in their starring vehicles, but also produce and direct. In a new interview conducted for W‘s February Best Performances issue—where both he and his wife Bening are featured—he reflects on a long career, from auditioning for Splendor in the Glass with Natalie Wood to directing himself in his latest film.

Warren Beatty Hasn’t Read Any of the Books Written About Him “Because They’re Fiction!”

Everyone knows that your first movie was “Splendor in the Grass.” But was that the first movie that you auditioned for? No. Joshua Logan [director of Picnic and South Pacific] was gonna make a movie called Parrish, which he never made, and I made a screen test with a very nice woman named Jane Fonda.

Did you kiss in that screen test? I don’t want to be in indiscreet.

Jane Fonda told me you had a kissing scene. That’s up to her to be indiscreet about.

And then what was your audition for “Splendor in the Grass” like? It was a screen test made with a young woman named Natalie Wood and the director named Elia Kazan.

And what was the best advice Elia Kazan gave you as an actor? Get nine hours of sleep, nothing else is important.

When did you start thinking about making “Rules Don’t Apply“? I had been kicking it around in my head for quite a long time, like I do with most things that I think I might do. I found I had a near miss with a man named Howard Hughes, which I felt was rather amusing. I never met him, by the way, but I did have the feeling that I had met everyone who had ever met him and they all spoke very highly of him. I think he was well-liked but a little impossible. Unpredictable, eccentric and he had his own rules, you know?

Emma Stone, Natalie Portman, Michelle Williams and More Are the Best Performances of the Year

Stone wears Chloé tunic; Wolford leggings; her own rings. Beauty: Covergirl. Affleck wears Louis Vuitton jacket and shirt.

Photographs by Craig McDean. Styled by Edward Enninful. Hair for Affleck by Orlando Pita for Orlando Pita Play; Hair for Stone by Mara Roszak for L’Oréal Paris at Starworks Artists; Makeup for Affleck by Peter Philips for Dior; Makeup for Stone by Rachel Goodwin for Chanel at Starworks Artists; Manicures by Michelle Saunders for Essie at Forward Artists. Set design by Piers Hanmer.

Portman wears Dior dress; Mish New York earrings. Beauty: Dior. Negga wears Carolina Herrera dress; Lalaounis earrings. Beauty: Laura Mercier.

Photographs by Craig McDean. Styled by Edward Enninful. Hair by Orlando Pita for Orlando Pita Play; Makeup by Peter Philips for Dior; Manicures by Michelle Saunders for Essie at Forward Artists. Set design by Piers Hanmer.

Adams wears Prada shirt; Djula earrings. Beauty: Giorgio Armani. McConaughey wears Burberry shirt.

Photographs by Craig McDean. Styled by Edward Enninful. Hair by Orlando Pita for Orlando Pita Play; Makeup by Peter Philips for Dior; Manicures by Michelle Saunders for Essie at Forward Artists. Set design by Piers Hanmer.

Driver wears AG T-shirt. Mortensen wears Alternative Apparel henley.

Photographs by Craig McDean. Styled by Edward Enninful. Hair by Orlando Pita for Orlando Pita Play; Makeup by Peter Philips for Dior; Manicures by Michelle Saunders for Essie at Forward Artists. Set design by Piers Hanmer.

Williams wears Louis Vuitton dress and bodysuit. Beauty: Nars. Edgerton wears Burberry T-shirt; Rolex watch.

Photographs by Craig McDean. Styled by Edward Enninful. Hair by Orlando Pita for Orlando Pita Play; Makeup by Peter Philips for Dior; Manicures by Michelle Saunders for Essie at Forward Artists. Set design by Piers Hanmer.

Kidman wears Chanel dress; Tiffany & Co. earrings. Beauty: Chanel. Ali wears Simon Miller T-shirt.

Photographs by Craig McDean. Styled by Edward Enninful. Hair by Orlando Pita for Orlando Pita Play; Makeup by Peter Philips for Dior; Manicures by Michelle Saunders for Essie at Forward Artists. Set design by Piers Hanmer.

La La Land

“My real name is Emily Stone, but when I started acting, that name was already taken by another actress, so I had to come up with a different one. For a 16-year-old, picking a new name is an interesting prospect, and back then I said, ‘I’m now going to be Riley Stone!’ So, for about six months I was called Riley. I landed a guest spot on Malcolm in the Middle, and one day they were calling, ‘Riley! Riley! Riley! We need you on set, Riley!’ and I had no idea who they were talking to. At that moment, I realized that I just couldn’t be Riley. So I became Emma. But I miss Emily. I would love to get her back.”

Sonia Rykiel sweater; Commando briefs.

Photographs by Craig McDean. Styled by Edward Enninful. Hair for Stone by Mara Roszak for L’Oréal Paris at Starworks Artists; makeup for Stone by Rachel Goodwin for Chanel at Starworks Artists. Manicures by Michelle Saunders for Essie at Forward Artists. Set design by Piers Hanmer.

Gold

“I was attracted to Gold because it reminded me of my dad. He loved shady deals. He’d much rather do a shady deal with fun people than a good deal with a bunch of straight-asses. He invested in diamond mines in Ecuador, and there were no fucking diamonds there. It was a scam, but he loved that. That’s the spirit of my character, Kenny Wells. There’s a little poem we have in the movie—‘Bird With No Feet Sleeps in the Wind.’ And that’s it: If Kenny, or my dad, gets the money or not, does it really matter? Would he change? No. Not that guy. These are people who are going to con, finagle, and boot-scoot their way in the side door. They never had the front-door entrance to the American Dream.”

AG jacket; Current/Elliott T-shirt; Levi’s jeans; John Hardy bracelet (right); Ann Demeulemeester boots.

Photographs by Craig McDean. Styled by Edward Enninful. Hair by Orlando Pita for Orlando Pita Play; makeup by Peter Philips for Dior. Manicures by Michelle Saunders for Essie at Forward Artists. Set design by Piers Hanmer.

Arrival and Nocturnal Animals

“Tom Ford became my muse on Nocturnal Animals. My character, Susan, was very personal to Tom, and so I based my interpretation on him. Tom would ask on set, ‘Why is Amy using her hands like that?’ And I said, ‘I’m copying you, Tom!’ I used him. I used him up.”

Gucci shirt; Djula earrings.

Photographs by Craig McDean. Styled by Edward Enninful. Hair by Orlando Pita for Orlando Pita Play; makeup by Peter Philips for Dior. Manicures by Michelle Saunders for Essie at Forward Artists. Set design by Piers Hanmer.

Jackie

“Playing Jackie Kennedy is scary. I was nervous at first, and I started by doing a lot of research. The biographies on her are all a little bit trashy, but the transcripts of her interviews with the historian Arthur Schlesinger were really helpful. He taped everything, and you can hear Jackie’s voice. Her intellect and her wit and what she’s bitter about are immediately apparent. At the same time, I was going to costume fittings and makeup tests. When I put on the Jackie wig, the physical and emotional sides came together. The hair itself is so iconic that once you have it right, you can start to see Jackie. I don’t really look like her, but I felt like I was in her skin.”

Equipment dress.

Photographs by Craig McDean. Styled by Edward Enninful. Hair by Orlando Pita for Orlando Pita Play; makeup by Peter Philips for Dior. Manicures by Michelle Saunders for Essie at Forward Artists. Set design by Piers Hanmer.

Paterson and Silence

Silence is the story of two Jesuit priests on a journey from Macao to Japan in search of their mentor, a priest who may have renounced his faith. When Martin Scorsese asked me to come to his house to talk about the movie, I already knew that for 28 years it had been his passion project. We talked about Silence, but when Scorsese starts a sentence, ‘When we were shooting Raging Bull…’ you can’t help but say, ‘Yeah, okay, tell me everything.’ So we talked for a long time, and finally he asked me if I would be willing to lose weight for the role. It made sense: How can you play a 17th-century persecuted priest while eating great meals? So I lost around 51 pounds. The weight loss was only bad in that, you know, I’d try to figure out how to play a scene and I had no ideas, because I was so damn hungry. Then I’d have a scoop of peanut butter and suddenly everything turned on!”

Dior Homme jacket; Rag & Bone Standard Issue T-shirt and jeans; Rolex watch. On model: Wolford  stockings.

Photographs by Craig McDean. Styled by Edward Enninful. Hair by Orlando Pita for Orlando Pita Play; makeup by Peter Philips for Dior. Manicures by Michelle Saunders for Essie at Forward Artists. Set design by Piers Hanmer.

Hell or High Water

What was your first audition? My parents were both actors. I had just graduated from college, and my father had gone in for an audition for Gilmore Girls. He told the casting directors, “My son is back in town. Will you have him in for a reading?” So it was nepotism at its best. I can’t remember the role—maybe a boyfriend to someone? I got my start playing boyfriends, husbands-to-be, and princes.

In Hell or High Water you play a kind of modern Western antihero. You don’t speak much. When I read the script, the image that came to mind was of a man on a porch squinting through harsh sunlight into the distance, but not talking. I have a lot of similar memories of my father, where we are sitting next to each other and not saying much. Westerns have a stoic silence I’ve always appreciated. These days, we have so many distractions. I have minor ADD, so if anything grabs me and keeps me from petting my dog or collaging or just daydreaming, I immediately pay attention.

Brunello Cucinelli sweater; Sandro trousers; Loewe shoes.

Photographs by Craig McDean. Styled by Edward Enninful. Hair by Orlando Pita for Orlando Pita Play; makeup by Peter Philips for Dior. Manicures by Michelle Saunders for Essie at Forward Artists. Set design by Piers Hanmer.

Michael Kors henley. Model wears Araks robe; Stella McCartney Lingerie bra; Fifi Chachnil briefs; Falke stockings; Gianvito Rossi shoes.

Photographs by Craig McDean. Styled by Edward Enninful. Hair by Orlando Pita for Orlando Pita Play; makeup by Peter Philips for Dior. Manicures by Michelle Saunders for Essie at Forward Artists. Set design by Piers Hanmer. Retouching: DTouch; Produced by Kyle Heinen and Joey Battaglia for Rosco Production; Digital Technician: Nicholas Ong; Photography assistants: Nick Brinley, Maru Teppei, Kris Shacochis, Brian Bee; Fashion assistants: Ryann Foulke, Sam Walker, Dena Giannini, Schanel Bakkouche; Hiar assistants: Quentin Barnette, Kristin Heitkotter, Louis Orozco; Makeup assistants: Grace Ahn, Miguel Ramos; set-design attestants: Tony Cecilia, Lizzie Lang, Andre Andrews; production assistants: Mike Stacey, Davin Singh, Damian Sanchez, Asli Akal; Special thanks to Quixote Studios, Los Angeles.

Loving

“When I auditioned for the part of Mildred Loving, I had to sort of disappear into her character. Usually, I don’t create a costume for an audition, but this time I wore a summer dress. I knew that coming in the door looking like this woman would have an impact. A year later, I learned I got the part. At the premiere at the Cannes Film Festival, I walked up the steps of the Palais in full makeup, and I walked down the steps with mascara dripping. It was such an emotional experience. All I could think was that I needed to blow my nose before it dripped all over my frock.”

Prada top and skirt; Fabiana Filippi  top (underneath).

Photographs by Craig McDean. Styled by Edward Enninful. Hair by Orlando Pita for Orlando Pita Play; makeup by Peter Philips for Dior. Manicures by Michelle Saunders for Essie at Forward Artists. Set design by Piers Hanmer.

Hidden Figures

“I’m a pretty good actress. You could say that, right? Well, to play Katherine Johnson, a mathematician who figured out a way to get NASA astronauts into space, I had to be believable as a math expert—and I failed math in college. Precalculus looked like Chinese to me. Even with two tutors, I still failed. So God has an incredible sense of humor, because now I am playing a mathematician! Even on set, they would have a professor there to try and teach me. I said, ‘Show me what I have to write and I’ll memorize it, because I’m not gonna get it.’ Take that, math! I won: I became an actress.”

Monse shirt; La Perla bra; Forevermark by Natalie K earrings; Jimmy Choo shoes.

Photographs by Craig McDean. Styled by Edward Enninful. Hair by Orlando Pita for Orlando Pita Play; makeup by Peter Philips for Dior. Manicures by Michelle Saunders for Essie at Forward Artists. Set design by Piers Hanmer.

Rules Don’t Apply

“I never knew Howard Hughes, so I’m able to take liberties, to allow my imagination to go to work. I like to quote Henry Ford, who said, ‘History is bunk.’ I like to quote Winston Churchill, who said, ‘History will be kind to me, because I intend to write it myself.’ And, in Rules Don’t Apply, I quote Mr. Hughes himself. He said, ‘Never check an interesting fact.’ ”

Jeffrey Rüdes sweater.

Photographs by Craig McDean. Styled by Edward Enninful. Hair and makeup for Beatty by Natalia Bruschi. Manicures by Michelle Saunders for Essie at Forward Artists. Set design by Piers Hanmer.

Manchester by the Sea

“I used to love movies that made me cry, and now all movies seem to make me cry. I don’t like that so much. I have my own things to cry about. I remember being young and sitting on the floor in my father’s apartment watching The Elephant Man on his black and white TV. When the Elephant Man did his speech—‘I am not an animal’—I started sobbing. That’s a tearjerker. That film made a superstrong impression on me. It set a certain standard in my mind of what was possible.”

Louis Vuitton pants; Falke socks. On model: Alexander Wang sweater.

Photographs by Craig McDean. Styled by Edward Enninful. Hair by Orlando Pita for Orlando Pita Play; makeup by Peter Philips for Dior. Manicures by Michelle Saunders for Essie at Forward Artists. Set design by Piers Hanmer.

A Monster Calls and Rogue One: A Star Wars Story

“Recently, I seem to be doing a lot of dying onscreen. Lizzie, my character in A Monster Calls, has cancer, and I became obsessed with the way someone’s voice changes as their body deteriorates, and how they change the way they hold their body. Cancer patients would tell me things like, ‘You become obsessed with painting your nails, because your body is out of control.’ It became harder and harder to play Lizzie. I don’t think I’m going to die anymore.”

Giorgio Armani dress; Djula earrings; Tacori  ring.

Photographs by Craig McDean. Styled by Edward Enninful. Hair by Orlando Pita for Orlando Pita Play; makeup by Peter Philips for Dior. Manicures by Michelle Saunders for Essie at Forward Artists. Set design by Piers Hanmer.

Allied, It’s Only the End of the World, and Assassin’s Creed

“It might sound weird, but I always cry at the end of Step Brothers. I’ve seen the movie 10 times, and it still touches me at the end, when Will Ferrell sings. You don’t expect to cry watching that type of comedy, but I always do.”

Burberry trenchcoat; Loro Piana sweater; Chopard earrings.

Photographs by Craig McDean. Styled by Edward Enninful. Hair by Orlando Pita for Orlando Pita Play; makeup by Peter Philips for Dior. Manicures by Michelle Saunders for Essie at Forward Artists. Set design by Piers Hanmer.

Hell or High Water

“I remember doing an interview years ago and being asked if I was one of those actors who takes the part home with me. I answered, ‘No. Not really.’ My wife happened to be in the room, and she started to laugh. Apparently, I had been playing a terrible person—a killer or someone who buries people alive or something—and she definitely noticed. I wasn’t fun to live with.”

Boss coat; A.P.C. jeans; the Frye Company boots.

Photographs by Craig McDean. Styled by Edward Enninful. Hair by Orlando Pita for Orlando Pita Play; makeup by Peter Philips for Dior. Manicures by Michelle Saunders for Essie at Forward Artists. Set design by Piers Hanmer.

Lion

“When I was cast in Slumdog Millionaire I was 17. At our first major screening, I walked the red carpet in my school shoes and a terrible suit I found on the high street, in London, with my mum. My costar, Freida Pinto, was very beautiful, very glamorous, and they said, ‘We can’t have this kid walking the red carpet with her! He’s spoiling the whole picture!’ So they gave me a new suit and fixed me up. It was a bit like Pretty Woman.”

Hermès sweater; Frame Denim jeans.

Photographs by Craig McDean. Styled by Edward Enninful. Hair by Orlando Pita for Orlando Pita Play; makeup by Peter Philips for Dior. Manicures by Michelle Saunders for Essie at Forward Artists. Set design by Piers Hanmer.

The Edge of Seventeen

Where was your first kiss? My first kiss was actually onscreen. I was in a graduate-thesis film called She’s a Fox, and I had to kiss two guys in it. I think I was 12. I was very nervous. One of the guys was shorter than me, and he had to stand on an apple box… Awkward! He told me, “I’m going to pretend I’m kissing my mom!” I was pretty sure that’s not the thing you say before you kiss a girl, so I looked at him and said, “Okay, I’m going to pretend I’m kissing my dog!”

Where was your first real-life kiss, then? At my house, by my front door. Which kind of sucks, because every time I walk through my front door I think about it. The kiss was a little messy, and I looked at the guy and said, “No, no, you can do better.” That’s not what you’re supposed to say, but I said it anyway.

Max Mara bralette; DKNY pants; Cartier earrings; Jimmy Choo shoes.

Photographs by Craig McDean. Styled by Edward Enninful. Hair by Orlando Pita for Orlando Pita Play; makeup by Peter Philips for Dior. Manicures by Michelle Saunders for Essie at Forward Artists. Set design by Piers Hanmer.

Max Mara bralette; DKNY pants; Cartier earrings.

Photographs by Craig McDean. Styled by Edward Enninful. Hair by Orlando Pita for Orlando Pita Play; makeup by Peter Philips for Dior. Manicures by Michelle Saunders for Essie at Forward Artists. Set design by Piers Hanmer. Retouching: DTouch; Produced by Kyle Heinen and Joey Battaglia for Rosco Production; Digital Technician: Nicholas Ong; Photography assistants: Nick Brinley, Maru Teppei, Kris Shacochis, Brian Bee; Fashion assistants: Ryann Foulke, Sam Walker, Dena Giannini, Schanel Bakkouche; Hiar assistants: Quentin Barnette, Kristin Heitkotter, Louis Orozco; Makeup assistants: Grace Ahn, Miguel Ramos; set-design attestants: Tony Cecilia, Lizzie Lang, Andre Andrews; production assistants: Mike Stacey, Davin Singh, Damian Sanchez, Asli Akal; Special thanks to Quixote Studios, Los Angeles.

The Witch and Split

You say you don’t like watching horror films—so what’s it like for you to act in them? I’m a real scaredy-cat. I’m not good at being frightened. But I do like acting in a horror movie, because I get to feel so intensely. You put yourself in these extreme emotional situations, and it wears you out in a great way. Afterward, I go home and get a good night’s sleep. The work chills me out: I’m a lot more stable since I’ve been in scary movies.

What frightens you? Revolving doors. I worry they’ll cut me in half. Strangers will see me tense up and hold my hand as I’m going through them. I’m constantly worried that I’m not going to make it through the door alive.

Gucci  jacket, shirt, and pants.

Photographs by Craig McDean. Styled by Edward Enninful. Hair by Orlando Pita for Orlando Pita Play; makeup by Peter Philips for Dior. Manicures by Michelle Saunders for Essie at Forward Artists. Set design by Piers Hanmer.

Midnight Special, Elvis & Nixon, and Nocturnal Animals

“Doing a sex scene is just like having sex, except without any of the pleasure. The horror, fear, anxiety, sadness, and loneliness of sex is all there to enjoy—but none of the happiness.”

Saint Laurent jacket, shirt, and tie; Tiffany & Co. watch.

Photographs by Craig McDean. Styled by Edward Enninful. Hair by Orlando Pita for Orlando Pita Play; makeup by Peter Philips for Dior. Manicures by Michelle Saunders for Essie at Forward Artists. Set design by Piers Hanmer.

Hacksaw Ridge and Silence

“The majority of my process in playing a priest in Silence was praying. I’d never really prayed before, and I developed a relationship with a power greater than myself—call it God, call it love, call it what you will. It became very natural to me, and I realized that we’re all praying all the time. There’s that human impulse to worship and to long for a connection to the divine. Unfortunately, in our culture we are driven to worship things that are false and empty. I had a year of exploring this idea of what we are truly longing for and how we actually go to the places that can feed that longing. We all get glimpses of eternity every day. It’s just a question of whether we’re looking up from our iPhones long enough to notice.”

Alexander McQueen jacket and pants; A.P.C. shirt.

Photographs by Craig McDean. Styled by Edward Enninful. Hair by Orlando Pita for Orlando Pita Play; makeup by Peter Philips for Dior. Manicures by Michelle Saunders for Essie at Forward Artists. Set design by Piers Hanmer.

Maggie’s Plan and 20th Century Women

What is your karaoke song? It’s the nerdiest one ever: “We Didn’t Start the Fire,” by Billy Joel. It’s one of those songs that if you were a certain kind of teenage girl—me!—you thought knowing all the words would help you get a boyfriend. And then, about 30 seconds too late, you realize that it won’t. But it remains my song. I had the same thought about “Modern Major General,” by Gilbert and Sullivan. I thought guys were looking for a girl who could memorize a lot of names, but they didn’t care about that. They just cared about getting a hand job or something.

Do you have a cinematic crush? I would have to say Melanie Griffith in Working Girl—the first time she meets Harrison Ford at the bar. She’s all done up and she tells him, “I’ve got a head for business and a bod for sin.”And young Harrison Ford…what a dreamboat! But it’s her I truly love. She’s so compelling and funny. She’s sexy without being plastic. I think a lot of people miss seeing women that way.

Proenza Schouler dress; Guidi boots.

Photographs by Craig McDean. Styled by Edward Enninful. Hair by Orlando Pita for Orlando Pita Play; makeup by Peter Philips for Dior. Manicures by Michelle Saunders for Essie at Forward Artists. Set design by Piers Hanmer.

Moonlight

Were you a dramatic child? Yes, I used to stand in front of the mirror and try to make myself cry. I would also try different accents. I was living in an imaginary world, usually with Michael Jackson. He was going to rescue me! I used to draw pictures of me and Michael getting married, and I would send them to his fan club. I would imagine Michael waiting for me at the gate of my school, eager to whisk me away to a happier world.

Why Michael Jackson? I imagined myself as a Peter Pan kind of character, and Michael represented that existence. He was my guy.

Miu Miu coat, sweater, shorts, and shoes.

Photographs by Craig McDean. Styled by Edward Enninful. Hair by Orlando Pita for Orlando Pita Play; makeup by Peter Philips for Dior. Manicures by Michelle Saunders for Essie at Forward Artists. Set design by Piers Hanmer.

Manchester by the Sea

“As a little kid, my first love was IMDB [the data bank for movies and television]. I would memorize the birthdays of child actors. I really wanted to be an actor, and I related to the kids in the industry. But now that I think about it, memorizing their birthdays is not cute at all—it’s a little serial killer–ish.”

Prada sweater; Brooks Brothers  boxers.

Photographs by Craig McDean. Styled by Edward Enninful. Hair by Orlando Pita for Orlando Pita Play; makeup by Peter Philips for Dior. Manicures by Michelle Saunders for Essie at Forward Artists. Set design by Piers Hanmer.

Lion

What was your favorite birthday? When I turned 40, my husband, Keith [Urban], drove me up to the top of this small hill in Australia and sat me down. He had put together this huge fireworks display. It was just for the two of us! It was sexy.

What is your pet peeve? When people say they will do something and they don’t. And I know it’s terribly demanding, but I don’t like it when my husband doesn’t answer his phone. I have to keep calling and calling, and I get anxious. Does that make me high-maintenance?

What movie has made you cry? Last year I saw Room, and I was absolutely devastated by it. I’m raw as I get older. I have to be careful what I let in.

Where was your first kiss? This is crazy: We were playing hooky from school. I had my first kiss while watching The Shining. Is that not weird? And we did a few things other than kiss too! I didn’t see a lot of the movie.

Chanel sweater, dress, shorts, and shoes; Bulgari earrings.

Photographs by Craig McDean. Styled by Edward Enninful. Hair by Orlando Pita for Orlando Pita Play; makeup by Peter Philips for Dior. Manicures by Michelle Saunders for Essie at Forward Artists. Set design by Piers Hanmer.
1/30

You have played real people more than most actors I know—John Reed, Clyde Barrow, now Howard Hughes. Tell me why you play real life people? Why I played real life people? Don’t you think that, in some sense, that all of history is crammed with fiction? I do. I don’t think I would be able to play somebody that I actually knew, but, I never knew Clyde Barrow or Bugsy Siegel or John Reed or Howard Hughes, and so I’m able to take liberties and allow the imagination to go to work on what these people might have been. I like to quote Henry Ford, who said, “History is bunk.” I like to quote Winston Churchill, who said, “History will be very kind to me because I intend to write it.” I like to quote Napoleon, who said, “History is a set of lies agreed upon.” But with this movie I got rid of those quotes and I quoted Howard Hughes himself, who said, “Never check an interesting fact.” So, I would hear these interesting facts, supposed facts about Howard Hughes from people that knew him and they were all kind of funny and there was no point in checking them because, how do you know if you’re getting the right description of what has happened? As someone who has had, how many books have I had written about me? I’ve never read more than 10 pages of any one of these books because they’re fiction, they’re fiction.

Was there a film that made you want to become a movie actor? No. Somebody told me I was good as an actor and that made me want to act. I was 19. There was a woman by the name of Stella Adler who was a brilliant teacher.

The Style Evolution of Faye Dunaway, from ‘Bonnie and Clyde’ to Today

‘Barfly’ New York Premiere – September 30, 1987

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42nd Annual Golden Globe Awards. 1985.

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Los Angeles California. 1990.

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1992 HBO Comic Relief event with Sharon Stone. 1992.

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Life Achievement Awards. 1993.

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The American Film Institute event. 1994.

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Los Angeles, California. 1996.

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Vanity Fair Oscar Party. 1998.

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Cannes Film Festival. 1999.

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Old Hollywood glam in all white at the 7th annual Vanity Fair Oscar party. 2000.

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‘The Rules of Attraction’ premiere. 2002.

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’21 Grams’ premiere in Los Angeles. 2003.

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2004 Vanity Fair Oscar party. 2004.

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AMFAR’s Cinema Against AIDS Benefit in Cannes. 2006.

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79th Annual Academy Awards. 2007.

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MTV Video Music Awards. 2009.

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‘Midnight in Paris’. 2011.

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64th Annual Cannes Film Festival. 2011.

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66th Locarno Film Festival. 2013.

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2016 Vanity Fair Oscar Party with Naomi Campbell. 2016.

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1/20

And will you please tell me what your first memory of acting was? What did you feel? This would be—weren’t you working in like the docks or something? I was for a short period of time a sandhog in the third tube of the Lincoln Tunnel.

Aren’t you impressed I remembered that? And you got pneumonia. No. Why are you saying that?

I thought you did. I just made that up? See that’s the kind of invented memory that is so destructive to our society today. [Laughs] You were just told a story that has no basis in reality. Are you sure you don’t want to write a book about me because it would be in such good keeping with what has been done? Yeah, he was working as a sandhog and he started to sneeze, you know, and they didn’t know what it was so…

He became an actor. [Laughs] Well, that’s kind of a quick jump. I mean can we save that for like the third or fourth chapter?

Okay. So when you were doing this recent movie, “Rules Don’t Apply,” how difficult was it to direct yourself? I think that when an actor is directing himself, he has at least one actor who knows, sort of, what the director has in mind.

What do you think the most important quality in a director is? The capacity to say at the right time cut. [Laughs] That’s good, huh?

Oscars 2017: See What Everyone Wore On The Red Carpet

Ruth Negga in Valentino and Irene Neuwirth jewels attends the 89th Annual Academy Awards at Hollywood & Highland Center on February 26, 2017 in Hollywood, California.

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Jessica Biel in KaufmanFranco attends the 89th Annual Academy Awards at Hollywood & Highland Center on February 26, 2017 in Hollywood, California.

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Ava DuVernay in custom Ashi Studio attends the 89th Annual Academy Awards at Hollywood & Highland Center on February 26, 2017 in Hollywood, California.

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Emma Roberts in Armani Prive attends the 89th Annual Academy Awards at Hollywood & Highland Center on February 26, 2017 in Hollywood, California.

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Kirsten Dunst in Dior Haute Couture attends the 89th Annual Academy Awards at Hollywood & Highland Center on February 26, 2017 in Hollywood, California.

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Chrissy Teigen in Zuhair Murad attends the 89th Annual Academy Awards at Hollywood & Highland Center on February 26, 2017 in Hollywood, California.

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Karlie Kloss in Stella McCartney attends the 89th Annual Academy Awards at Hollywood & Highland Center on February 26, 2017 in Hollywood, California.

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Taraji P. Henson in Alberta Feretti attends the 89th Annual Academy Awards at Hollywood & Highland Center on February 26, 2017 in Hollywood, California.

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Felicity Jones in Dior attends the 89th Annual Academy Awards at Hollywood & Highland Center on February 26, 2017 in Hollywood, California.

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Sofia Carson in Monique Lhuillier attends the 89th Annual Academy Awards at Hollywood & Highland Center on February 26, 2017 in Hollywood, California.

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Isabelle Huppert in Armani Prive attends the 89th Annual Academy Awards at Hollywood & Highland Center on February 26, 2017 in Hollywood, California.

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Hailee Steinfeld in Ralph & Russo Couture attends the 89th Annual Academy Awards at Hollywood & Highland Center on February 26, 2017 in Hollywood, California.

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Andrew Garfield in Tom Ford attends the 89th Annual Academy Awards at Hollywood & Highland Center on February 26, 2017 in Hollywood, California.

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John Legend in Gucci attends the 89th Annual Academy Awards at Hollywood & Highland Center on February 26, 2017 in Hollywood, California.

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Teresa Palmer attends the 89th Annual Academy Awards at Hollywood & Highland Center on February 26, 2017 in Hollywood, California.

Kevin Mazur

Pharrell Williams in Chanel attends the 89th Annual Academy Awards at Hollywood & Highland Center on February 26, 2017 in Hollywood, California.

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Cynthia Erivo attends the 89th Annual Academy Awards at Hollywood & Highland Center on February 26, 2017 in Hollywood, California.

Kevork Djansezian

Leslie Mann in Zac Posen attends the 89th Annual Academy Awards at Hollywood & Highland Center on February 26, 2017 in Hollywood, California.

Kevin Mazur

Olivia Culpo in Marchesa attends the 89th Annual Academy Awards at Hollywood & Highland Center on February 26, 2017 in Hollywood, California.

Kevin Mazur

Riz Ahmed attends the 89th Annual Academy Awards at Hollywood & Highland Center on February 26, 2017 in Hollywood, California.

Kevork Djansezian

Octavia Spencer in Marchesa attends the 89th Annual Academy Awards at Hollywood & Highland Center on February 26, 2017 in Hollywood, California.

Kevin Mazur

Ginnifer Goodwin attends the 89th Annual Academy Awards at Hollywood & Highland Center on February 26, 2017 in Hollywood, California.

Kevin Mazur

Terrence Howard in La Perla attends the 89th Annual Academy Awards at Hollywood & Highland Center on February 26, 2017 in Hollywood, California.

Kevin Mazur

David Oyelowo in Dolce & Gabbana attends the 89th Annual Academy Awards at Hollywood & Highland Center on February 26, 2017 in Hollywood, California.

Kevin Mazur

Justin Timberlake in Tom Ford attends the 89th Annual Academy Awards at Hollywood & Highland Center on February 26, 2017 in Hollywood, California.

Kevin Mazur

Mahershala Ali attends the 89th Annual Academy Awards at Hollywood & Highland Center on February 26, 2017 in Hollywood, California.

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Dev Patel in Burberry attends the 89th Annual Academy Awards at Hollywood & Highland Center on February 26, 2017 in Hollywood, California.

Kevin Mazur

Janelle Monae in Elie Saab Couture attends the 89th Annual Academy Awards at Hollywood & Highland Center on February 26, 2017 in Hollywood, California.

Kevin Mazur

Casey Affleck attends the 89th Annual Academy Awards at Hollywood & Highland Center on February 26, 2017 in Hollywood, California.

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Michelle Williams in Louis Vuitton attends the 89th Annual Academy Awards at Hollywood & Highland Center on February 26, 2017 in Hollywood, California.

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Jane Fonda Opens Up About Doing a Sex Scene at 78

Jane Fonda Opens Up About Doing a Sex Scene at 78