C California Style & Culture

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Fall 2021

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Cover

LIGHTS CAMERA FASHION! The Unstoppable Julianne Moore

An Exclusive Look Inside the Academy Museum

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At Home With Hollywood’s No. 1 Power Couple

CO-STARRING ANDIE MacDOWELL / ÉDGAR RAMÍREZ / RUTH NEGGA / VAL KILMER

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Saint Laurent

Saint Laurent

Prada

Prada

Gucci

Gucci

Miu Miu

Miu Miu

Chanel

Chanel

Fendi

BEVERLY HILLS RODEO DRIVE BEVERLY CENTER SOUTH COAST PLAZA SAN FRANCISCO GRANT

Fendi

ROMA

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Cartier

Cartier

Max Mara

MAXMARA.COM

BEVERLY HILLS / COSTA MESA

Max Mara

866-ferragamo beverly hills beverly center westfield topanga south coast plaza fashion valley san francisco valley fair

Salvatore Ferragamo

A Future Together Directed by Wim Wenders Starring Gaia Girace, Tak Bengana & Amar Akway Milan, January 2021 Screening now: Ferragamo.com

Salvatore Ferragamo

Michael Kors

Michael Kors

Valentino

Valentino

Zendaya by David Sims at the Palace Theater in Los Angeles, 17th April 2021

VALENTINO.COM BEVERLY HILLS: 324 NORTH RODEO DRIVE 310.247.0103 SOUTH COAST PLAZA: 3333 BRISTOL STREET 714.751.3300 SAN FRANCISCO: 105 GRANT AVENUE 415.772.9835

Brunello Cucinelli

Brunello Cucinelli

Bulgari

Bulgari

Versace

Versace

A S U PE R I O R R EA L ESTATE E XPE RIE N C E

Compass

REX MCKOWN & MARCY WEINSTEIN | rex@mwaluxury.com | 949.689.5018 | DRE 01275953 | mwaluxury.com Crystal Cove Customs | Newport Coast Panoramic Ocean & Harbor Views | 7 Bed | 12 Bath | 15,000 Sq Ft | 27,667 Sq Ft parcel | $59,800,000 | 31Highwater.com

Compass

Compass is a real estate broker licensed by the State of California and abides by Equal Housing Opportunity laws. License Number 01991628. All material presented herein is intended for informational purposes only and is compiled from sources deemed reliable but has not been verified. Changes in price, condition, sale or withdrawal may be made without notice. No statement is made as to accuracy of any description. All measurements and square footages are approximate. This is not intended to solicit property already listed.

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Fall 2021 STATEMENTS A Palm Springs grande dame gets a makeover........................................................................................................................................................... 45 Fifty shades of beige is fall’s trend to contend with................................................................................................................................................. 47 Doug Aitken steals the show at Saint Laurent............................................................................................................................................................ 50

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Harry Winston’s Winston With Love collection comes to Beverly Hills.................................................................................................... 52

RAMÍREZ, MACDOWELL AND NEGGA: KURT ISWARIENKO. MOORE: JACK WATERLOT. POOL: MICHAEL CLIFFORD. INTERIOR: MARK GRIFFIN CHAMPION. HADID: ANTHONY HARVEY/SHUTTERSTOCK.

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Chef Nancy Silverton lands at The Roosevelt with a Hollywood classic................................................................................................ 54 Power dining is back but everything looks a little different.............................................................................................................................. 58

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Flashbulbs and floor-length glamour: Michael Kors Collection turns 40............................................................................................ 70 Val Kilmer’s life on both sides of the camera............................................................................................................................................................... 74

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FEATURES

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Julianne Moore on breaking with tradition by breaking into song............................................................................................................. 78 At home with Hollywood’s No. 1 power couple, Ted Sarandos and Nicole Avant........................................................................... 92 Édgar Ramírez, Andie MacDowell and Ruth Negga tour the Academy Museum of Motion Pictures........................ 102

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Red-carpet beauty trends, from Cannes to California......................................................................................................................................... 121 What’s new in the valley? How Napa and Sonoma bounced back............................................................................................................ 125

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Tiffany Haddish’s Zen Moments.............................................................................................................................................................................................. 130

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Ralph Lauren

R A LPH L AUR EN

Ralph Lauren

D I G ITA L

C O N T E N T S

T H I S J U ST I N . . .

WHAT’S HOT ON MAGAZINEC.COM FEATU R I NG

EXCLUSIVE VIDEOS In the Heights star Melissa Barrera shares her story of dancing her way to Hollywood

FASHION NEWS

TOC 2 DECOR & DESIGN A look inside the most stylish homes in the state and the creatives behind them

WHAT INSPIRES MELISSA BARRERA

PLUS TH E L ATEST

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MELISSA BARRERA: EMMAN MONTALVAN. FASHION NEWS: CELINE. DECOR & DESIGN: TIM STREET-PORTER. EVENTS: PAOLA KUDACKI. TIPS: FLOWERBX. TRAVEL: SAN YSIDRO RANCH.

The latest from our favorite homegrown labels and international brands

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Founder, Editorial Director & CEO JENNY MURRAY

Editor & President Chief Content Officer ANDREW BARKER

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Beauty Director

Senior Editors

Graphic Designers

KELLY ATTERTON

KELSEY McKINNON

HANA ISHIJIMA

GINA TOLLESON

LAUREL LEWIS

Contributing Fashion Editor

ELIZABETH VARNELL

Contributing Photo Editor

REBECCA RUSSELL

Copy Editor

LAUREN WHITE

JEFF ANDERSON

Deputy Managing Editor ANUSH J. BENLIYAN

Masthead

Contributing Editors Caroline Cagney, Elizabeth Khuri Chandler, Kendall Conrad, Danielle DiMeglio, Nandita Khanna, Stephanie Rafanelli, Diane Dorrans Saeks, Andrea Stanford, Stephanie Steinman Contributing Writers Catherine Bigelow, Christina Binkley, Samantha Brooks, Kerstin Czarra, Peter Davis, Helena de Bertodano, Marshall Heyman, David Hochman, Christine Lennon, Ira Madison III, Martha McCully, Jessica Ritz, S. Irene Virbila, Chris Wallace Contributing Photographers Guy Aroch, David Cameron, Mark Griffin Champion, Gia Coppola, Victor Demarchelier, Amanda Demme, Michelangelo Di Battista, Lisa Eisner, Douglas Friedman, Sam Frost, Adrian Gaut, Beau Grealy, Zoey Grossman, Pamela Hanson, Rainer Hosch, Kurt Iswarienko, Danielle Levitt, Kurt Markus, Blair Getz Mezibov, Lee Morgan, Ben Morris, Pia Riverola, Alistair Taylor-Young, Jack Waterlot, Jan Welters

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L E T T E R

EDITORS’ PICKS This month’s wish list

EMILY P. WHEELER Tourmaline Crystal gold necklace with pink sapphires, $48,000, emilypwheeler.com.

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is a magazine based in and about California, so Hollywood has always loomed large in our editorial scope — we’ve highlighted the most intriguing and au courant actors, directors and creators on the scene over our 16 years.

For this fall issue, we decided to celebrate our intimate connection to the silver screen with a dedicated Fashion & Film theme. It all comes down to casting in this town, whether on film or in print. Let’s start with our cover subject, Julianne Moore. The Oscar winner and star of Dear Evan Hansen is in a rarefied class of talent yet still leads the way on the red carpet in always being best dressed.

Our next coup started with the ultimate Tinseltown locale — the soon-to-open Academy Museum of Motion Pictures. To be able to celebrate over 100 years of film and the best of the season’s styles in an award-worthy location was not lost on our portfolio’s subjects: the lauded actors Ruth Negga, Édgar Ramírez and Andie MacDowell. A better and more acclaimed trio I could not think of.

Throw in an interview with the legendary Val Kilmer about his documentary, which just premiered at Cannes, along with being welcomed into the home of Hollywood’s chief power couple (thank you, Netflix’s Ted Sarandos and former ambassador Nicole Avant!), and I’m not sure you could get any more insider. And isn’t that what it is all about? In this town, aren’t you either in or out? We are happy to be representing from our vantage point.

DIOR Micro Lady Dior bag, $3,500, dior.com.

Founders

Founder, Editorial Director and CEO

@ccaliforniastyle

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Asolo ceramic bowl, $380, shopstudio-c.com.

ON THE COVER

Photography by JACK WATERLOT. Fashion Direction by KATIE MOSSMAN. Hair by MARCUS FRANCIS at A-Frame Agency using Navy Hair Care.

Makeup by GITA BASS at The Wall Group.

Manicure by MO QIN at The Wall Group using Essie.

JULIANNE MOORE wears LOEWE coat and BULGARI and CARTIER jewelry.

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ILLUSTRATION: DAVID DOWNTON.

JENNIFER SMITH

MIRI MARA CERAMICS

Pomellato

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JACK WATERLOT

KATIE MOSSMAN

Born in Paris to a cinematic set-designer father and a painter mother, Jack Waterlot was destined to be a visual artist. Today based in New York City, the lensman — who photographed Julianne Moore for this issue’s cover feature, “Moore To Give,” p.78 — counts Tom Ford, Roberto Cavalli, Vogue and W among his clients. MY C SPOTS • I used to live in L.A. for a while, and to this day my favorite place to hang out is Topanga Canyon • I love Malibu Seafood on PCH • The Great Frog jewelry store on Melrose

New York City-based fashion stylist Katie Mossman has worked with industry legends including Patrick Demarchelier, Karl Lagerfeld and Peter Lindbergh, and has lent her talents to publications including Elle and Harper’s Bazaar. She did the fashion direction for our cover feature with Julianne Moore, “Moore To Give,” p.78. MY C SPOTS • Vintage shopping on 4th Street in Long Beach • Surfing at San Onofre Beach in San Diego • Pappy and Harriet’s in Pioneertown for amazing live music under the stars

Contributors

MICHAEL CLIFFORD Interior design and architecture photographer Michael Clifford has worked with the likes of Studio Jake Arnold, AD.com and The Wall Street Journal. For this issue, the Los Angeles-based California native focused his lens on the home of Ted Sarandos and Nicole Avant for “The Entertainers,” p.92. MY C SPOTS • Guisados has the best tacos in L.A. • Mani-pedis at Jackie’s Nails on Fairfax Avenue • The green curry at Galanga Thai Fusion in West Hollywood

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KELSEY McKINNON Kelsey McKinnon is a writer and editor whose work has appeared in various outlets including Vogue.com and C Magazine, where she has been on staff for over 10 years. Her first book, Modern Wedding, was published in December 2018 by Artisan Books. McKinnon — who penned “The Entertainers,” p.92, among other stories in this issue — lives in Los Angeles with her husband and their three children. MY C SPOTS • Pasadena Antiques and Design • Low-tide walks on Broad Beach in Malibu • Spartina in WeHo for margs and pizzas

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Loewe

Fall Winter 2021 2022

loewe.com South Coast Plaza, California

Country Mart

S T A T E The retro-chic pool at COLONY PALMS HOTEL.

CONTR I B UTORS KE LLY ATTE RTON AN DR EW BAR KE R AN USH J. B E N LIYAN MAX B E R LI NG E R AN NA FE RG USON-SPAR KS KE LSEY McKI N NON

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In the heart of Hollywood’s historic playground, a Palm Springs classic makes a comeback

J ESSICA R ITZ KATH RYN ROM EYN R E B ECCA R USSE LL E LI ZAB ETH VAR N E LL S. I R E N E VI R B I L A

STYLE

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rom its beginnings as a gangster hideout to a refuge for the Rat Pack, the Colony Palms Hotel is poised to enter its next chapter after a multimillion-dollar redesign thanks to its new owner, Steve Hermann (who also counts nearby L’Horizon Resort & Spa in his portfolio). Taking cues from its Old Hollywood past, the 3-acre property has shed its Moroccan aesthetic for crisp, classic green-and-white spaces imbued with glamorous vintage pieces à la The Beverly

CULTURE

DESIGN

Hills Hotel (a frond wallpaper even makes an appearance). The crown jewel of this now adults-only desert retreat is Hermann’s own 3,500-square-foot private residence (available for nightly bookings), with a fully equipped kitchen, a huge owner’s suite with steam shower, a billiards room and private yard. And while times may have changed, a dirty martini at the new Colony Club restaurant (formerly the Purple Room) overlooking the 65-foot saltwater pool has never sounded so good.

572 N. Indian Canyon Dr., Palm Springs, 760-969-1800; colonypalmshotel.com. K.M. X

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N EW S ADIDAS FOR PRADA A+P Luna Rossa 21 sneakers, $695.

S T Y L E Looks from DIOR's Fall Men's 2021 collection inspired by artist KENNY SCHARF.

CUFF LOVE Chunky bracelets are setting the gold standard

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SMOOTH SAILING Inspired by the innovative AC75 boat helmed by the Luna Rossa Prada Pirelli sailing team (the victors at this year’s Prada Cup), the Italian fashion house has teamed up with Adidas to launch two sleek new colorways of its A+P Luna Rossa 21 sneakers.

A black model subtly mirrors the look of the team’s 75-foot yacht, and a new gray version is a lifestyle take on the performance kicks worn by the winners of the event’s Marc Newson-designed silver trophy. The shoe features an upper made with Adidas’ Primegreen recycled materials, a hydrophobic outer shell, an ergonomic tongue, a perforated synthetic suede inner saddle and a specially crafted lacing system designed for speed.

The detailing makes for a silhouette as sleek as the boat itself. 343 N. Rodeo Dr., Beverly Hills, 310278-8661; prada.com. E.V.

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1. TIFFANY & CO. Elsa Peretti Bone cuff, $28,000. 2. BULGARI High Jewelry Parentesi bracelet, price upon request. 3. CARTIER Agrafe High Jewelry bracelet, price upon request. 4. POMELLATO Catene bracelet, $117,600. 5. DAVID WEBB Scroll cuff, $38,000.

UMBRIAN INFLUENCE Worn beachside, Brunello Cucinelli’s understated natural linen suits and polished poplin sundresses, all meticulously made in Italy, seem plucked from a Peter Lindbergh photograph. So it’s fitting that the Italian line’s sand-and-rock-hued designs are the latest addition to Rosewood Miramar Beach’s curated clutch of seaside shops. Cucinelli’s mindful approach to modern design — and to distribution (he’s donating all pandemicinduced surplus to charities) — includes tailored evening looks and weekend essentials like cable-knit sweaters and raffia totes. 1759 S. Jameson Lane, Montecito, 805-456-5201; brunellocucinelli.com. E.V. BRUNELLO CUCINELLI's boutique at ROSEWOOD MIRAMAR BEACH includes women’s and men’s designs in cashmere, soft alpaca, mohair and sporty cotton.

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MIU MIU: PHOTOGRAPHY BY MARK GRIFFIN CHAMPION; FASHION DIRECTION BY REBECCA RUSSELL.

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Statements - Fashion News

Growing up in the San Fernando Valley, painter Kenny Scharf had a vision for the future. “Everything was brandnew, plastic, Googie, which is a forward, optimistic, Space Age fantasy,” he explains. His hypercolored and captivating spray-painted world comes to life in Kim Jones’ Fall Men’s capsule collection for Dior. Shirts and suits are awash in the bold hues Scharf adopted on the opposite coast in the 1970s while creating street art alongside New York friends Keith Haring and Jean-Michel Basquiat. The artist’s work informs Jones’ collection, which includes Technicolor jacquard shirts and delicate seed-stitch embroidery using an ancient Chinese technique. A myriad of Scharf’s recurring characters, across the emotional spectrum from happy to angry and mad to sad, emblazon saddle bags and slippers. “I want extremes and I want clashing colors,” explains the artist. “When you take opposites and you put them together, that creates the tension and the excitement.”

319 N. Rodeo Dr., Beverly Hills, 310-247-8003; dior.com. E.V.

STUDS Melrose Place storefront.

MAKE A SQUISH

ALL EARS

A padded Miu Miu bag and boots are the last word in comfortable cool

Just as “earscapes” — ear decoration with personalized piercings and earrings — are having a moment, New York-based Studs has landed in Los Angeles to elevate the piercing game. “A few years ago, I got a piercing at a tattoo parlor. The piercing was good, but I felt out of place in the environment, and I didn’t love the earring options,” says Anna Harman, co-founder of the brand, whose celebrity clientele includes Kaia Gerber and Gwyneth Paltrow. At Studs, she and co-founder Lisa Bubbers bring safe, affordable needle piercing in a cool environment with trendy jewelry. 8478 Melrose Pl., L.A., 831-217-6746; Westfield Century City, 10250 Santa Monica Blvd., Ste. 9194, L.A., 831217-6746; studs.com. K.A.

Statements - Fashion News

MIU MIU bag, $2,400, and boots, $1,050.

CAFÉ AU LAIT

Cream and camel tones dominate the ready-towear runways From left: MAX MARA Fall/Winter 2021.

ACNE STUDIOS Fall/Winter 2021.

BRUNELLO CUCINELLI Fall/Winter 2021. ADAM LIPPES Fall/Winter 2021.

120% LINO Pre-Fall 2021. BURBERRY Fall/Winter 2021.

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RACY LADY Horse around with this jockey-inspired Gucci bag

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GUCCI shoulder bag in black leather with multicolor horseracing print and horse-bit detail, $2,900.

Photography by MARK GRIFFIN CHAMPION Fashion Direction by REBECCA RUSSELL 48

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Loewe ©2021 South Coast Plaza

South Coast Plaza SOUTHERN CALIFORNIA’S ULTIMATE SHOPPING DESTINATION A. Lange & Söhne · Alexander McQueen · Audemars Piguet · Balenciaga · Bottega Veneta · Burberry Bvlgari · Cartier · Celine · Chanel · Chloé · Christian Louboutin · Dior · Dolce&Gabbana · Fendi · Givenchy Gucci · Harry Winston · Hermès · Intermix · Isabel Marant · Lanvin · Loewe · Louis Vuitton · Maje · Marni Max Mara · Moncler · Monique Lhuillier · Moynat · Mulberry · Oscar de la Renta · Prada · Reiss London Roger Vivier · Saint Laurent · Salvatore Ferragamo · Sandro · Stella McCartney · The Webster Thom Browne · Tiffany & Co. · Tod’s · Valentino · Van Cleef & Arpels · Versace · Zimmermann partial listing

San Diego FWY (405) at Bristol St., Costa Mesa, CA SOUTHCOASTPLAZA.COM 800.782.8888 @SouthCoastPlaza #SCPStyle

S S T ysl.com T A A T T E E M M E E N N T T S S

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D E S I G N The new ROSE TARLOW MELROSE HOUSE on Robertson.

IN RARE FORM

From top: DOUG AITKEN's Green Lens installation commissioned by SAINT LAURENT's ANTHONY VACCARELLO. A look from the Saint Laurent Men's Spring/Summer 2022 show.

The one-off furnishings and found objects of Olive Ateliers might have bumps, bruises and blemishes, but that’s precisely the point. The woman-founded, Venicebased business, which launched earlier this year, embraces the charismatic imperfections of its globally sourced offerings.

The ever-changing limited inventory ranges from 200-year-old-plus Moroccan pots and vessels (historically used as olive-oil jars or butter churns) to reclaimed vintage elm-wood stools, benches and coffee tables from China. Be sure to check their Instagram stories for their latest drops, and act fast — their objects sell out before you could say “wabi sabi.” @oliveateliers; oliveateliers.com. A.J.B.

PAST MASTER Los Angeles’ legendary design doyen Rose Tarlow has finally debuted the new location of her eponymous decor and antiques showroom. The move — from her longstanding Melrose Place perch, founded in 1976, to a 7,000-square-foot space on Robertson Boulevard — was four years in the making, and well worth the wait. Housed in a striking contemporary wooden farmhouse designed by architect Marc Appleton, the new iteration of Rose Tarlow Melrose House (it’s retained its Melrose moniker) stocks the elusive decorator’s one-of-a-kind refurbished antiques, from iron garden chairs to handpainted chinoiserie Queen Anne secretaries. Also in store are the latest pieces from her line of timeless, expertly handcrafted furnishings, textiles, lighting, decor and more.

425 N. Robertson Blvd., L.A., 323-651-2202; rosetarlow.com. A.J.B.

The reflective mirrors of artist Doug Aitken’s new immersive work Green Lens, installed on the island of La Certosa in the Venetian Lagoon, reveal a kaleidoscopic view of lush botany, shifting clouds and rolling Adriatic waves. The piece, which the Los Angeles native envisions as a modern lighthouse illuminating viewers’ personal eco-visions of the future, was commissioned by Saint Laurent creative director Anthony Vaccarello, who staged his Men’s Spring/Summer 2022 show in and around it. Coinciding with the Venice Biennale of Architecture, the large-scale freestanding work joins Aitken’s canon of light sculptures, multichannel video projections and installations that all play wildly with perception. ysl.com. E.V.

Antique Moroccan terra-cotta jars curated

by OLIVE ATELIERS.

MAKING SPACE As Jessica Silverman set about relocating her 13-year-old eponymous San Francisco art gallery, she studied the city’s social dynamics and found herself fascinated by Grant Avenue. “Despite being only a mile long, the street unifies three distinct neighborhoods — Little Italy, Chinatown and what my partner jokes is the ‘French ghetto’ of designer boutiques: Dior, Cartier and Hermès,” she says.

Silverman’s new 5,000-square-foot Chinatown gallery houses works from her roster of 30 artists, including Sadie Barnette, Andrea Bowers and Judy Chicago (whose exhibit “Human Geometries” is on view through September 25). 621 Grant Ave., S.F., 415-255-9508; jessicasilvermangallery.com. E.V. Gallerist JESSICA SILVERMAN (right) with graphic designer JESSICA FLEISCHMANN.

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ROSE TARLOW: JOHN CIZMAS PHOTOGRAPHY. JESSICA SILVERMAN: DREW ALTIZER PHOTOGRAPHY.

MIRROR, MIRROR Statements - Art & Design News

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HEARTS OF STONE

Harry Winston Harry Winston Winston’s vibrantly colored new collection

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at its Beverly Hills salon honors the four phases of true love

fter a year like no other, emotion-fueled connections are instantly intensified and more inspiring than ever. Such is the complex landscape of feelings that fuels Harry Winston’s newest collection — based on an acrostic poem of the letters that spell “love” — debuting stateside at the house’s Beverly Hills salon in September. Each of the four letters evokes a phase of the all-encompassing feeling, moving from the first spark of light in a relationship to a building obsession to the promise of vows to the possibility of an intertwined eternity.

Winston With Love evolves from gemstone Sparks pendants, earrings and rings to oneof-a-kind high-jewelry designs, culminating in the intricate Endless Love suite, adapted from an archival Winston necklace pattern with diamonds and rubies paired together in an

elegant mixed-metal neck-framing twist.

The new four-chapter, 39-piece collection continues the jewelry house’s exploration of its current theme: “Love Is.” The introductory Sparks chapter, interpreting the L in “love” (signifying “light”) as exploding fireworks, manifests in handmade orange spessartite, blue tanzanite or red rubellite-centered rings, pendants and earrings. Radiant mixed-metal rays, meant to symbolize fiery beginnings, introduce the house’s touchstones of color, movement, meaning and form. Winston’s gem-setting skill surfaces in high-jewelry suites headlined by brightly hued gemstones to symbolize love’s intense heat and conjure the O in “love” (for “obsession”). Subtle heart motifs comprise romantic V (“vow”) designs. And interlocking hearts or twisting combinations of diamonds and rubies celebrating two linked lives make up the final phase of love, E for “eternity.”

Words by ELIZABETH VARNELL 52

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Each unique Winston With Love piece evokes Winston’s innovative philosophy that gems should inspire the jewelry design, as happened with both the Jonker diamond and the blue Hope diamond.

Just as tree branches support leaves, Winston created unique settings to serve as architectural buttresses for newly cut sparklers of all colors and shapes.

Winston designs — donned on-screen

by Ingrid Bergman in Notorious, peeled off by Anne Bancroft in The Graduate and rhapsodized over by Marilyn Monroe in Gentlemen Prefer Blondes — have always turned heads.

The bold stones entwined in the Winston With Love collection’s heartfelt cocktail rings and high-jewelry suites on display this fall — at once evoking past masterpieces and hinting at multidimensional future innovations — can also be viewed via private appointment. September 6-30. 310 N. Rodeo Dr., Beverly Hills, 310-271-8554; harrywinston.com. 2

Harry Winston

Clockwise from top left: HARRY WINSTON Winston With Love Promise pendant.

Sweet Heart ring. Dancing Flames necklace. Midnight Automatic 36mm timepiece.

Opposite, clockwise from top left: Sparks ring. Flare rings. The Beverly Hills salon.

Dancing Flames ring. Prices upon request.

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Two California icons — one a chef, the other a storied hotel — are ushering Tinseltown into a new era

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Clockwise: The NICKEY KEHOE-designed lobby at THE HOLLYWOOD ROOSEVELT. Chef NANCY SILVERTON personally sourced some of the tabletop pieces from Europe.

A farmhouse roll with Rodolphe Le Meunier butter. Rigatoni al forno with squash, goat cheese and vadouvan.

ancy Silverton has just finished a new project she couldn’t resist: reimagining the restaurant at The Hollywood Roosevelt. The iconic hotel across from the Chinese Theatre hosted the first Academy awards in 1929, after all. “I wanted to bring the city something new that still felt traditional — the wonderful feel of Old Hollywood with a fresh, forward-looking cuisine,” says the lauded Los Angeles chef. Named after her grandmother’s Jewish immigrant family, who had a cattle ranch in Saskatchewan in the late 1800s, the Barish is pure Silverton. “What could be more fitting than a steak house? Add in my Mozza roots and there you have it: an Italian steak house.”

In a bold move, her kitchen forgoes the usual sauté pans in favor of cooking nearly exclusively over the wood fire. It’s a daunting challenge, one that executive chef Armen Ayvazyan carries off with precision, sending out delicate grilled sweetbreads in salsa verde, rustic pastas from the wood oven, sea bream sparked with ’nduja and hefty pork chops dusted with fennel pollen. Not to mention the formidable dry-aged steaks and the giant baked steak fries. Dessert? No question.

Go for the silky fior di latte gelato drizzled with honey.

Local design firm Nickey Kehoe gave the dining room the sophisticated sheen of Old Hollywood glamour with posh banquettes, supple textiles and lampshades flaunting tiny bobbles. “Grandeur doesn’t necessarily mean fancy,” says designer Amy Kehoe. She and her partner Todd Nickey are masters of casual elegance. Case in point: The hotel’s historic lobby was transformed from gloomy to inviting by bringing color into the dark high-ceilinged space. Populated with roomy velvet sofas and armchairs, jewel-toned rugs and textured lamps that glow softly, it’s just the place for a cocktail. Or two.

The personal touches are everywhere. The private Writer’s Room off the lobby pays tribute to Silverton’s Hollywood writer mom, Doris, with a black-and-white portrait. Soon to come: Lorenzo’s, a wine-and-cheese bar named for her late father in which the fondue pot will play a part.

Come for cicchetti (Venetian snacks) or a massive dry-aged Porterhouse. Any excuse will do. 7000 Hollywood Blvd., L.A., 323-856-1970; thehollywoodroosevelt.com. 2

“I wanted to bring the feel of Old Hollywood with a fresh cuisine” N A N C Y S I LV E R T O N

Words by S. IRENE VIRBILA 54

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LOBBY AND TABLETOP: AMY NEUNSINGER. FOOD: ANNE FISHBEIN.

Statements - The Barish

Favorite Daughter

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A Valentino heel-and-purse combo is the one that you want

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VALENTINO GARAVANI Stud Sign bag in ivory, $3,400, and Rockstud Alcove pump with platinum studs in rose canelle/light ivory, $980.

Photography by MARK GRIFFIN CHAMPION Fashion Direction by REBECCA RUSSELL 56

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Statements - Power Dining

HOW POWER DINING GOT ITS GROOVE BACK

Hollywood’s dealmakers are fully vaxxed and adapting to life after the pandemic

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ovie sets are bustling (with COVID compliance officers on hand), theaters are filling up (masks compulsory), studio execs are fighting for prime parking spots and international film festivals are back on — flashbulbs, red carpets and all. But nothing says “Hollywood is back open for business” quite like a high-powered deal executed over lunch or dinner.

West Hollywood, home to entertainmentmogul mainstays like Craig’s, Cecconi’s and the Tower Bar, is buzzing. The Ivy, The Palm and La Scala are all booked up (unless, of course, you know the maître d’). And despite the toxic fallout from last year’s layoffs and lawsuits, a line of exotic sports cars gleamed in the midday sun outside of the Chateau Marmont on a recent afternoon.

And as Los Angeles’ infamous deals-anddining scene rises from the curbside, things look a little different than they did preCOVID: Newer, younger, faces are populating buzzy patios, business is being conducted in

far-flung parts of town (including the Valley) and a crop of new potential power spots is gaining steam.

“Everyone is back and hustling and bustling about, trying to get some business done,” says Jeffrey Lane, a longtime L.A. publicist with his own eponymous firm (he dropped that Jeffrey Katzenberg was at the Polo Lounge the day before we spoke). “So much of Hollywood is about that in-person dynamic,” says one GM of a busy hotel restaurant (they had just hosted Madonna and Justin Bieber). “You know, it’s all about the schmooze. You feel that now, because everyone has a serious case of Zoom fatigue.” When I ask him if it isn’t just easier to conduct all these meetings over video calls, especially for celebrities who enjoy their privacy, he shrugs it off. “Look — energy and charisma is the unconscious energy that drives so many of these deals. It’s one thing to see someone on-screen, but Hollywood has always been about someone being amazing in the room.”

Data backs this up; according to the online reservation platform Resy, restaurant bookings in Los Angeles started picking up in

Words by MAX BERLINGER Illustrations by DEREK CHARM 58

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home. These commuters are banking on swinging into town just a few days a month, which means back-to-back client meetings in quick succession … and preferably in public venues, to make their presences known.

Expect marathon, daylong negotiations — over lattes (at Alfred Coffee on Melrose Place) in the morning, lunch at Spago in the afternoon and an early dinner at San Vicente Bungalows — before they hightail it back from whence they came.

Additionally, now that agents’ corner offices in the power nexus of Beverly Hills, Century City and WeHo are sitting empty, the gravitational pull of the power lunch has shifted outward. It’s not uncommon for casual meetings to take place in neighborhoods that the big shots call home. The Brentwood crowd, for instance, is dining at the newly opened A.O.C., Jon & Vinny’s or Toscana, while in Studio City, establishments such as Joan’s on Third and Petit Trois on Ventura are buzzing with A-listers come lunchtime. A clientrelations manager at a beloved members-only club said that Downtown is finally gaining traction thanks to recent neighbors like Warner Music’s L.A. headquarters. “The vibe is much cooler, younger, and hipper Downtown,” he said, noting that it attracts much of the hipster Eastside crowd over the more old-school Westside usuals. “It’s way more diverse and inclusive.”

And while Angelenos are notoriously creatures of habit, they’re also “heat-seeking missiles,” one celebrity publicist smirked — always looking to discover the next big thing.

After all, few things help reinforce someone’s status (and self-esteem) better than a hardto-land reservation at a buzzy spot. Lucky for them, there are quite a few contenders.

The French fine-dining venue Bicyclette Bistro (see p.68), from the République team, just bowed on Pico near Beverly Drive, and it’s already a trial to get a table (the tastingmenu-only restaurant upstairs is set to debut later this year). The Pendry hotel, on Sunset, is also making waves with Wolfgang Puck’s rooftop upscale dining establishment Merois and a basement private member’s club, The Britely, as the spot for PYTs to party post-COVID. A few people, including Lane, mentioned that the former maître d’ of Craig’s was opening a new restaurant in the former Bouchon space on Canon Drive that already has assistants battling to get their bosses in on the first wave. 2

Statements - Power Dining

April and May and consistently reached prepandemic levels again starting in June. Diners, anticipating the new jolt of energy, have been shifting from day-of bookings to making reservations days and weeks in advance.

That’s not the only change. A host at a high-powered West Hollywood eatery told me a new type of celebrity is being not only accommodated but prioritized these days: influencers. While the Zendayas and Lakeiths of the world will effortlessly snag a prime table, they’ll now be picking at their chopped salads elbow-to-elbow with youngsters who wield their influence not through movie screens but through touch screens. Tinseltown power brokers may be surprised to return to their favorite haunts and be greeted by a sea of streetwear-clad 20-somethings wielding iPhones and

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livestreaming their rib eye to a sizable online audience. An agent I spoke with lamented that her beloved Mr Chow, once home to a demure Beverly Hills set, has a new kind of clientele. “It’s just not the same,” she sighed. “The last time I was at Craig’s,” Lane commiserates, “the backroom was filled with … I won’t say tourists, but they weren’t the regulars.”

Another way that the old paradigm is shifting is how the power meal will be used by those who have forsaken traditional corporate hours. Once a tightly orchestrated midday office escape, it may look vastly different in a post-pandemic world. Many managers and agents have found they can work mostly through Zoom and email, and used that as an excuse to move farther afield — now many are calling Santa Barbara, Ojai or Palm Springs

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The two heritage brands — which first collaborated on a joint design in 2017 and again in 2018 — just released their latest take on the Classic Cabin suitcase, which pairs Rimowa’s time-honored durable construction with Fendi’s style savvy.

Available in a black or natural aluminum finish, the limited-edition valise features black Cuoio Romano leather handles, black neoprene lining and, of course, the trademark FF logo, whose subtle brushed effect on the exterior grooves changes with the light. To further distinguish your limitededition case, opt to have your initials hot-stamped onto the leather luggage tag. fendi.com. A.J.B.

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GLOW UP Three California beauty brands stealing the spotlight

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The cosmetic label's four new sciencebased skincare products are each formulated with sustainable botanical materials. $24-$30, makebeauty.com. K.A.

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Studio C’s new beachside boutique

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Clockwise from top left: HEIDI MERRICK surfboards at STUDIO C in Playa Vista. Fashion and home accessories. BARTON PERREIRA Courtier sunglasses, $590. VINTNER’S DAUGHTER Active Botanical Serum, $185. The Studio C storefront at FREE MARKET PLAYA VISTA.. The new outpost is open 10 a.m. until 6 p.m. NINAKURU Blake hat, $320.

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over its 16 years and some fresh faces we couldn’t wait to work with, giving them an IRL platform from which to sell their wares — the magazine coming to life, if you will.

Inside, you can find surfboards by Heidi Merrick, sunglasses from Barton Perreira and swimwear from Left on Friday and Thorsun; there are sun hats and beach bags from Ojai’s Ninakuru and on-trend bucket hats from ReWeave L.A. (an innovative business which takes the Pacific Design Center’s luxurious past-season fabric swatches and upcycles them into accessories, furniture and ready-to-wear); there’s beauty by Vintner’s Daughter (from Napa Valley) and bath and body products from Nature of Things; plus there are candles by Flamingo Estate Organics and Malibu Apothecary. The curated selection of clothing, design, beauty, homewares and jewelry offers everything you need for a sun-filled, nature-infused life on the Best Coast.

Every week there will be deliveries through the doors, so stop by regularly to see what’s new, and then maybe pay our neighbors at Jeni’s and County Line Florals a visit for your ice cream and flower fixes. Studio C, Free Market Playa Vista, 12751 Millennium Dr., Ste. 180, Playa Vista; info@shopstudio-c.com; shopstudio-c.com. 2

Statements - Studio C

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hen debating the next stage in the evolution of Studio C, C Magazine’s platform for California brands, we thought, “What could be better than a beach boutique?”

And that’s exactly what you will find if you mosey on down to Free Market in the newish neighborhood of Playa Vista, aka the beating heart of Silicon Beach, with its Los Angeles hubs for Facebook, YouTube, Google and SpaceX. Opening just in time for summer, the concept store curated by the editors of C Magazine brings together the finest independent designers, artisans and forward-thinking creatives plying their trades on The Golden State’s shores. These are a mix of the friends we have championed in the magazine

Words by ANDREW BARKER Photography by MARK GRIFFIN CHAMPION 64

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The eclectic interiors of BAR CECIL include original artworks from the owners' private collection.

Solvang has received a powerful hit of culinary prowess with the newest project from dream-team chefs Anthony Carron (800 Degrees), Steven Fretz (Nic’s on Beverly) and Lincoln Carson (Bon Temps). The three-part concept — in partnership with Hillary Calhoun, mixologist Joseph Sabato and renowned sommelier and winemaker Rajat Parr — includes the steak-andseafood restaurant Coast Range, cocktail haven Vaquero Bar and a daytime cafe and deli. Expect steaks from Central Coast ranches (think an 18-ounce woodfire-grilled rib eye) and fresh local seafood including Channel Islands box crab. A steak-house dining room lined with private booths gives way to the daytime deli, which, come evening, transforms into a butcher counter where diners choose their own cuts.

1635 Mission Dr., Solvang, 805-691-9134; coastrange .restaurant. A.F.-S.

DESERT SPRING A Palm Springs shopping center doesn’t exactly seem like the place to stumble upon a lush, effortlessly chic cafe that feels plucked from the streets of Paris. But part owners Jeff Brock and Richard Crisman — also of Holiday House and Sparrows Lodge — could make anything into a dashing destination. At their new 75-seat restaurant Bar Cecil, cerulean leather stools, chartreuse velvet booths, classic English floral wall coverings and signed prints and photos by Damien Hirst, Andy Warhol and Cecil Beaton himself set the jubilant mood, as does a selection of chilled bubbly ready to be poured into coupes. Atmosphere aside, chef Gabriel Woo’s menu is full of crowdpleasers, from a Wagyu tomahawk to The Fifty Dollar Martini, complete with a caviartopped deviled egg. Says Woo, “We found inspiration and hope in Cecil Beaton’s zest for life, freedom of expression, celebration of diversity and, of course, his talents.”

1555 S. Palm Canyon Dr., Ste. H104, Palm Springs, 442-332-3800; barcecil.com. K.R.

OUI, CHEF While the rest of us were daydreaming about going somewhere — anywhere — this past year, Walter Manzke was busy dreaming up a French restaurant, and even building a few of the tables for the new Los Angeles spot. “I wanted to create the look and feel of bistros where Parisians who know and love food and wine go to regularly,” he says. At Bicyclette Bistro, the chef behind République serves up dainty escargots en croute, bouillabaisse and his dreamy soft egg in the shell. His wife, pastry chef Margarita, is behind the Parisian-style pastries, and the wine list is strictly French (oui, in Cali). 9575 W. Pico Blvd., L.A., 424-500-9575; bicyclettela.com. S.I.V. Chef WALTER MANZKE's signature soft egg in the shell with smoked sturgeon and kaluga caviar at BICYCLETTE BISTRO.

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BAR CECIL: ELEVATION CREATIVE AGENCY. BICYCLETTE: ANNE FISHBEIN. COAST RANGE: JEREMY BALL, BOTTLE BRANDING.

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Colette Cosentino

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Michael Kors celebrates 40 years of glamour and gowns for the jet set and the film set

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here’s a balance between opulence and simplicity that Michael Kors has sought to strike in each collection he’s created over the past four decades. Mindful of that legacy, he tapped Californians including Carolyn Murphy and Bella Hadid to debut his newest spin on this ongoing less-ismore quest. His latest Michael Kors Collection looks call for a reemergence, with a touch of nonchalance.

Kors filmed his Fall/Winter show on location along New York’s 45th Street with singer Rufus Wainwright belting “City Lights.” Perfectly pared-down silhouettes are at once as easy to wear as a sweatshirt and as elegant as a cocktail dress. Sharply tailored sheaths in Prince of Wales wool, camel-colored turtleneck sweater dresses, black puffer capes and silk jersey gowns worn under borrowedfrom-him topcoats retain a tossed-on ease. The constant collision of thoroughly casual and impeccably polished is the nexus of the designer’s genius, and his West Coast appeal.

While helming the French sportswear house Celine in the late ’90s and early 2000s — in addition to his namesake line — Kors dressed Celine Dion for the Oscars in a spare turtleneck gown and created Rene Russo’s wardrobe for a remake of The Thomas Crown Affair and Gwyneth Paltrow’s no-nonsense yet entirely luxe 10-ply cashmere sweaters and coats in Possession. The former Project Runway judge dressed Michelle Obama in sleeveless black jersey and made a sleek powder-blue suit for Vice President Kamala Harris, plus whipped up no-fuss red-carpet designs for Jennifer Lopez, Nicole Kidman and Zendaya. Now, as his brand turns 40, Kors is reminding fashion’s front line how to ease back into dressing once again. michaelkors.com. 2

Statements - Michael Kors Clockwise from top: ZENDAYA walks arm in arm with MICHAEL KORS at the 2016 Met Gala. The designer seated between MONICA BELLUCCI and SHAILENE WOODLEY at Cannes, 2019. MICHAEL MICHAEL KORS limited-edition 18-karat gold-plated sunglasses, $349.

MICHAEL KORS COLLECTION Beekman clutch, $990.

NICOLE KIDMAN at the 2019 Golden Globe Awards.

Words by ELIZABETH VARNELL 70

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BOUTIQUE, C'EST CHIC While brick-and-mortar retail is generally in a transitional moment, David Fishbein sees a prime opportunity. He and his wife, Jaime, and his Runyon Group and Platform cofounder, Joey Miller, share a mission “to set a next-generation women’s destination for Los Angeles.” Enter Teller, their recently opened multilabel women’s boutique that follows in the chic footsteps of its sibling men’s shop, The Optimist, at Platform Culver City. The 2,800-square-foot space stocks both local and international brands including A.L.C., Ganni and Nanushka. 8820 Washington Blvd., Ste. 103, Culver City, 310-945-5551; tellershop.com. J.R.

The POMELLATO Nudo Chocolate collection.

IN THE NUDO

The TELLER boutique was designed by MIKE MOSER and inspired by 1930s Mexico City.

SHROOM FOR IMPROVEMENT As the quest to ditch leather and develop sustainable materials reaches a fever pitch, two innovative Emeryville brands are leading the charge. Each is pioneering bio-fabrics made from mycelium, a network of fungal threads that are part of the soil’s natural structure and can grow to form mushrooms. Hermès is collaborating with MycoWorks on Sylvania, a durable cellular material that’s tanned and shaped in Hermès workshops into a new version of the French house’s Victoria duffel bag. Bolt Threads’ Mylo (an “unleather” also made from the infinitely renewable root systems of mushrooms) caught the eye of Stella McCartney and the luxury group Kering. McCartney collaborated with Bolt Threads on a 2018 prototype Falabella bag, and more recently on a chic jet-black bustier and utility pants. Other Mylo collaborations include those with Adidas and Lululemon. “Our mission is to look to nature’s 3.8 billion years of evolution as inspiration to create way better materials for a way better world,” says Bolt Threads CEO Dan Widmaier. mycoworks.com; mylo-unleather.com. E.V.

Pomellato’s solitaire Nudo rings in vibrant garnet, aquamarine, peridot, iolite and red tourmaline ushered in a new minimalist silhouette that set the tone for paredback baubles in the early 2000s. Now the Italian jewelry house is celebrating two decades of the designs and their intensely colored square stones — each hand-cut with 57 irregular facets — with two new launches: Nudo Chocolate, a range of cocoa-inspired moonstones and three shades of brown diamonds, and the new Nudo bracelet, a rose-gold banglestyle design set with diamonds and colorful rose quartz, white topaz, dark obsidian or two variations of blue topaz. 214 N. Rodeo Dr., Beverly Hills, 310-5505639; pomellato.com. E.V.

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The HERMÈS x MYCOWORKS Victoria bag in Sylvania (made out of Fine Mycelium), H Plume canvas and Evercalf calfskin.

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“I see myself Val Kilmer as a sensitive, intelligent human being, but with the soul of a clown” As the new documentary Val lands, Val Kilmer reflects on the highs and lows of his own story

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s Val Kilmer the greatest living actor never to win an Oscar? Even stranger, he has never once been nominated.

Yet if you were a teenager (or older) in the ’80s and ’90s, chances are he’s starred in one of your favorite movies. Whether it was playing a mercenary in Ron Howard and George Lucas’ fantasy epic Willow; Robert De Niro’s right-hand gunman in Michael Mann’s Heat; Doc Holliday, best friend to Kurt Russell’s Wyatt Earp in Tombstone; or Jim Morrison in Oliver Stone’s The Doors — across comedy, crime, action, fantasy: you name it, he nailed it. And that’s before we even get to the blockbusters: replacing Michael Keaton as the caped crusader in Batman Forever opposite Jim Carrey and Nicole Kidman, reviving Roger Moore’s master of disguise Simon Templar in The Saint and providing the voice of Moses for DreamWorks’ The Prince of Egypt.

The Los Angeles-raised actor super-spiked his way to fame playing Tom Cruise’s rival Iceman in Tony Scott’s Top Gun in 1986, and met his (now ex) wife Joanne Whalley two years later on the set of Willow. They have two children, Mercedes, 29, and Jack, 26. Kilmer’s prolific career largely overshadowed what was going on in his life off-set, but a new documentary he has made for Amazon, Val, looks back at the vicissitudes that fate has thrown his way amidst the highs of being a Hollywood leading man: from the early death of his brother Wesley to using up his own fortune to bail out his father and the throat cancer that has all but stolen his voice.

Here, we ask the Los Angeles-based actor, who has spent nearly 50 years documenting his own life (starting on Super 8), to delve a little deeper into his story.

C Magazine: You describe your life as “magical.” What do you mean by that?

Val Kilmer: 80% sweat, 20% inspiration.

C: In the early home movies shot by your late brother, Wesley, you clearly show a prodigious talent as a child actor. Can you describe how you refined this at Juilliard as its youngest-ever drama student?

VK: To apply to Juilliard you had to do an audition. I lied to my parents and told them I could only do the audition in New York City, even though I could’ve done it on the West Coast. Like that, I got a free trip out of it to the Big Apple. I was 16 when I was accepted and turned 17 by the time school started. At Juilliard, I learned how to learn.

C: In the film you talk about a need to chase

Words by ANDREW BARKER 74

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STILL: PORTRAIT: JEROME DE PERLINGHI/CORBIS/GETTY IMAGES.

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the roles that could transform you. Where did this come from?

VK: I looked for challenges anywhere I could find them. When the role was harder, I knew I had to work harder, and that was very satisfying.

C: How did losing your brother so early and so tragically change how you wanted to live your life and forge your own career?

VK: Spirituality was always No. 1, so when he passed, I had to decide how to live. Up or down. I chose up.

C: In advance of Oliver Stone’s The Doors, you immersed yourself in the music and legend of Jim Morrison. Do you identify as a method actor? If not, how would you describe your approach?

VK: Endless repetition and hard work, and yes, I’d say method, as far as it goes.

C: Oprah called you “intense” and a “perfectionist,” and the short-film audition tapes you sent Scorsese and Kubrick for Goodfellas and Full Metal Jacket attest to that. But how do you see yourself?

VK: I see myself as a sensitive, intelligent human being, but with the soul of a clown, that always forces me to blow it at the most crucial moment.

C: Why did you walk away from a second Batman film?

VK: I wanted and was obligated to do a second Batman, but they moved up shooting a year in advance, and I had signed on to do The Saint already.

C: You describe Heat as having the feel of an indie film when you were on set. How so? Why did that experience gratify you so much more than playing a titular superhero?

VK: It was as if we had no money and had to make every day count. That’s how indies work. There’s never enough time. Michael Mann never stops, he’s absolutely and totally committed. I was asked to work for the same amount that I was paid per diem on Batman. Because it was De Niro, Pacino and

Mann leading the way, of course I said yes.

C: Which of your films are you most proud of?

VK: Tombstone. I was proud of how completely immersed I was in the role. It was a very well-written script.

C: You call Tom Cruise a friend. Which other actors do you consider friends?

VK: I have been an actor for many years and have made so many friends. I cherish each one of those relationships and am proud of the longstanding friendships I have had.

C: Which actor, co-star or otherwise, has most impressed you?

VK: Marlon Brando [with whom Kilmer appeared in The Island of Dr. Moreau] and George C. Scott. They are consummate actors that I looked up to. At Juilliard, I had a master class with a Japanese director who brought a half Chinese, half Japanese actress that was as good as Brando. I wish I remembered her name.

C: As a lifetime diarist and creator, whether it’s

Val Kilmer

through art, video or the written word, you have amassed a huge archive. What would you like to see done with it ultimately?

VK: Burn it! Or … give it away, to a library maybe?

C: You came to your father’s aid when he faced financial ruin. What lessons, good or bad, did you learn from your father which have made you a better father?

VK: Be generous and patient.

C: You close the film stating that you have at times behaved “poorly, bravely and bizarrely.”

Could you expand on that?

VK: Arrogantly, I took big risks where I could fail, but “broke on through to the other side.”

“Eccentric” is a better word than “bizarrely.”

C: What is your biggest regret?

VK: Not playing Hamlet on Broadway. But I still might do it!

C: What makes you smile?

VK: My kids, friends and an inspiring story. X

VAL KILMER photographed

by JEROME DE PERLINGHI. Opposite: A still from one of Kilmer’s myriad home videos, which the actor shares in his new documentary, Val.

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FASHION & FILM EDITION Well Opener Oscar Winner Julianne Moore’s Need for New Challenges Inside the Home of Hollywood’s First Couple, Ted Sarandos and Nicole Avant Andie MacDowell, Édgar Ramírez and Ruth Negga’s Lives on Set

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Julianne Moore talks socially distanced singing, weathering the pandemic and her irrepressible need for new challenges

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ver her 30-plus-year career, Julianne Moore has created so many indelible characters in so many notable films, small and large, that they’re nearly impossible to count, let alone list.

She’s given pathos to period housewives stuck in the rut of stale marriages (Far from Heaven, The Hours). She’s fully grounded a kooky artist whose artistic expression is very much about lady parts (The Big Lebowski) and a porn den mother whose occupation involves her own lady parts (Boogie Nights).

She’s brought the same kind of attention to detail in huge action films and blockbusters (from The Lost World: Jurassic Park to Kingsman: The Golden Circle) that she has to small, personal ones like Still Alice, for which she won the Best Actress Oscar in 2015.

One of the greatest talents of her generation, spoken of in the same breath as Cate Blanchett, Frances McDormand, even Meryl Streep, Moore has such range and talent that she could have won an Oscar for any other number of incredible performances too: as a divorcée trying to reignite her love life in 2018’s Gloria Bell, as a woman allergic to her environment in 1995’s Safe, as one half of a lesbian couple in 2010’s The Kids Are All Right.

There have been remakes and horror films and thrillers and literary adaptations and romantic comedies, too, but it turns out Moore has never sung in a movie. That changes this fall with the release of the bigscreen adaptation of the Broadway musical Dear Evan Hansen, about an anxiety-stricken high schooler (played by Tony winner Ben Platt) whose life begins to unravel after a lie he tells gets out of control. Moore plays Evan’s mom, a loving and devoted single mother who works hard to provide for her son, while he struggles with his mental-health issues.

“It was a very scary undertaking for me.

I was terrified, but I really wanted it,” says Moore in a breezy and warm lilt from her newish home in Montauk, New York. She played Marian the librarian in a high school production of The Music Man, and auditioned for the role later taken by Marion Cotillard in Rob Marshall’s Nine.

But, she explains, “I’m not a singer, so it was a big leap.”

In fact, Moore wanted the role of Evan’s mom so badly that she actually auditioned

for it. “Honestly, it’s been a long time since I auditioned. I really can’t remember the last time I read for [a project], but I was happy to,” she says. “As an experience it was so challenging — so out of the box for me — that it was exciting.”

The funny thing is: Moore initially wasn’t even offered the part. “So basically, I auditioned, and I didn’t get it. [Someone else did], and I had to tell my kids I didn’t get it.” Caleb, 23, a graduate student studying film-score composition, and Liv, 19, now at Northwestern University, had both loved the show when they’d seen it on Broadway several years before. “It so spoke to a teenage experience, and they were right in that age range,” Moore recalls.

“I knew that soundtrack inside out,” she goes on. “My kids always played it in the car.”

But COVID-19 reared its head, and by happenstance, the actor who was cast dropped out due to a conflict with another job. Not long afterward, last fall, Moore left for Atlanta to shoot the film. “I told the kids, and they were both very, very excited,” she says. “My movies are usually not terribly interesting for kids to see.”

Liv and Caleb have yet to see their mother in Dear Evan Hansen. “I’m waiting for a time we can all see it together,” Moore says. “I don’t want to see it alone.”

Normally, because of her family life in New York, Moore would fly back and forth to set for a project. But because of the pandemic, she had to spend two months in Atlanta, basically alone.

“We were all given houses with backyards, and we couldn’t go anywhere. We were tested every day,” she recalls. There were no dinners out, no food shopping. “Either you went to set and you worked, or you came home and sat around. As soon as Ben and I would finish a take, we had to go to sit in separate chairs wearing masks and face shields. He’s so quick, and our connection was good, but we didn’t have a lot of time to build it.”

Still, she says, “I was so grateful working on something that I cared about.”

Moore filled her days with singing, practicing her character’s song “So Big/So Small” “over and over and over,” she says.

“And vocal exercises. I sang a lot. I was so terrified of singing, I spent all of my spare time doing it.” Did it make her want to do a live Broadway musical? “It did not, but I love

“I’m not a singer. … I was so terrified of singing, -I spent Feature Moore all of my spare time doing it” JULIANNE MOORE

GIVENCHY suit, price upon request. CARTIER Clash de Cartier necklace, $18,100, and ring, $2,120. TIFFANY & CO. Elsa Peretti Cabochon ring, $3,800. GIUSEPPE ZANOTTI shoes, $845.

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SALVATORE FERRAGAMO dress, $4,300. VHERNIER earrings, $9,400. Opposite: GIVENCHY dress, $2,865. NATASHA MORGAN visor.

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HERMÈS dress, $3,625, belt, $2,700, and boots, $1,975. CARTIER Tank Must Green watch, $2,730, and Clash de Cartier earrings, $2,640 each. POMELLATO cuff, from $6,675. TIFFANY & CO. Elsa Peretti Cabochon ring, $3,800.

Opposite: FENDI dress, $2,290, and shoes, $1,390. TIFFANY & CO. Elsa Peretti Mesh earrings, $4,300. POMELLATO bracelet, from $24,700. CARTIER Clash de Cartier ring, $2,120.

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CHANEL jacket, $9,500, and pants, $3,300. CARTIER Clash de Cartier earrings, $2,640 each, and ring, $2,120. TIFFANY & CO. Elsa Peretti Cabochon ring, $3,800.

Opposite: SAINT LAURENT top, $1,090. LOEWE pants, $2,900. CARTIER Clash de Cartier earrings, $2,640 each, and ring, $3,050. TIFFANY & CO. Elsa Peretti Cabochon ring, $3,800. BULGARI B.zero1 necklace, $3,850.

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to go see them,” she deadpans. “I might do a play again.”

Otherwise, she watched Call My Agent! on Netflix and What We Do in the Shadows on FX. “I’d love to go on that show,” she says of the latter. A pitch for a character she could play: “I could be the energy vampire’s sister, but this one has so much energy and whirls and whirls around that her energy just zaps yours.” She took long walks around Atlanta.

“I walked by Whole Foods, thinking, ‘I wish I could go inside.’” (A production assistant was responsible for delivering groceries to the cast.)

And there were lots of online yoga classes with The Shala back in New York.

“God bless Zoom. It gives you a community. And the yoga really steadied me,” says Moore, who has been going to the same studio in New York for 20 years. Besides walking and hiking, it’s her main source of exercise. “I always say I’m steadfastly an intermediate beginner,” she says. “There are things I can do now that I couldn’t do at the beginning, but I don’t notice any massive improvement. I have to work hard at it. I’m not naturally bendy.”

Besides filming a few last scenes of her limited series on Apple TV+ — Stephen King’s Lisey’s Story — and making When You Finish Saving the World, a small, comedic movie based on Jesse Eisenberg’s audiobook, Moore (who turned 60 in December) spent most of the pandemic in Montauk with her husband, filmmaker Bart Freundlich, and their kids. “I felt lucky that I could spend so much time with my family,” she says. One of the perks of that time together was getting to watch shows like The Bachelorette and Love Island with Liv. “It’s actually shocking that people do this stuff on television. We’d be sitting and Liv would say, ‘You can watch with me, but you cannot talk.’”

Typically, when it comes to reality television, Moore prefers HGTV. “I love a real estate show,” she says. In July she sold her Manhattan West Village townhouse, which was featured in Architectural Digest, for $15 million. (She purchased it for $3.5 million in 2003.)

Otherwise, pandemic downtime meant working on the new Montauk house, getting a puppy, a lot of cooking and a little bit of baking, “a lot of puzzles” and a newfound interest in audiobooks. Her current recommendations: The Nickel Boys by Colson Whitehead and The Dutch House by Ann

Patchett, narrated by Tom Hanks. Now that more big stars are narrating audiobooks for audiences, does it make her want to pop into the studio for that too? Not really, Moore says. She’s done it before, for a title by L.A. novelist Bruce Wagner: “It’s a lot of work.”

Not that Moore has any allergies to work.

This is someone who has appeared in five movies in a single calendar year. “In an ideal world, you’d probably do one smaller project and one bigger project every year,” she says.

“The one downside of [a career in Hollywood] is not being able to schedule anything.”

How does she find projects? “You kind of keep your eyes open,” she says. “You look for those really original voices. I think there are creative people telling stories they want to tell, and I hope maybe there will be some room for me. Things kind of come your way.”

In September, she plans to shoot a film called Sharper in New York City. “It’ll be fun to be there,” she says. “I guess it’s a thriller, but I don’t want to tell you too much.”

Moore was born Julie Anne Smith in Fort Bragg, North Carolina, the daughter of a military judge in the Army and a Scottish psychologist and social worker. The eldest of three, she moved around a lot as a kid, even to Germany, and studied theater at Boston University. She worked in soaps and theater before landing tiny breakout roles in 1992’s The Hand That Rocks the Cradle and 1993’s The Fugitive. But it was her work with a handful of auteurs that really brought Moore to the attention of audiences and critics, including in 1993’s Short Cuts (directed by Robert Altman), 1995’s Safe (with Todd Haynes, who has cast her in nearly everything he’s made) and Boogie Nights (1997) and Magnolia (1999; both with Paul Thomas Anderson), which showcased her to great effect.

Now that she’s tackled singing on-screen — and one should note that she acquits herself in Dear Evan Hansen quite impressively, in a beautiful, understated way — are there any heights even left to scale?

“I’d like to shoot a movie in a foreign language,” she says. Any particular language?

No. “I don’t speak anything really well. To act in another language, it’d be exciting, because you’d be learning it the same time you’re speaking it.”

Whatever does come her way, she explains, “I want challenges. I want to find things that engage me. I love my job. I didn’t expect to love it, but I find behavior endlessly fascinating. I don’t want to do anything else.” X

“God bless Zoom.

It gives you a community.

Feature Moore And the yoga really steadied me” JULIANNE MOORE

VERSACE top, $7 75, and pants, $2,595. CARTIER Clash de Cartier ring, $2,120. POMELLATO bangles, from $6,675.

TIFFANY & CO. Elsa Peretti Cabochon ring, $3,800. GIUSEPPE ZANOTTI shoes, $845.

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Stylist assistant MELINETTE RODRIGUEZ. Hair by MARCUS FRANCIS at A-Frame Agency using Navy Hair Care. Makeup

by GITA BASS at The Wall Group. Manicure by MO QIN at The Wall Group using Essie.

Feature - Moore “Xxxxx is a dark side to me that is irreverent and weird” JULIANNE MOORE

SALVATORE FERRAGAMO dress, $4,300. VHERNIER earrings, $9,400. Opposite: GIVENCHY dress, $2,865. NATASHA MORGAN visor.

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Balenciaga

Balenciaga

THE ENTERTAINERS The Hancock Park home of Netflix chief

Ted Sarandos and his politicalpowerhouse wife

Nicole Avant has

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seen Hollywood’s finest attend fundraisers and screenings. Film’s first couple invites

C Magazine into their historic mansion

Words by KELSEY McKINNON Photography by MICHAEL CLIFFORD

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A classic colonnade overlooks NICOLE AVANT and TED SARANDOS’ courtyard swimming pool, which is surrounded by potted gardenias and bougainvillea. The iron hanging lantern is original to the house.

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rom his wood-paneled library, Ted Sarandos, co-CEO and chief content officer of Netflix, surveys the parklike lawn that sprawls in front of his historic Hancock Park house, where he and his wife — Nicole Avant, the filmmaker and Former U.S. Ambassador to The Bahamas — host most of their events.

Pre-COVID times, there was a steady stream of high-profile Democratic fundraisers, movie screenings, benefits and birthdays.

There’s Sarandos’ annual star-studded toast for the Emmys and his beloved dinner for Netflix’s nominees for the Grammy Awards for comedy: “Allie Wong calls it the Avengers dinner,” he says, referring to the superhero comics in attendance, and chuckles at the memory of Jamie Foxx doing a drop-dead impression of Dave Chappelle for Dave Chappelle. But one event stands out over the years. In May of 2017, they co-hosted a fundraiser for the Academy Museum of Motion Pictures with Leonardo DiCaprio and Laura Dern. Dorothy Gale’s ruby slippers were on display, as was Cleopatra’s gilded headdress (both on loan from the museum),

and Dern and Bob Iger gave testimonials for Los Angeles’ anticipated new cultural landmark. By the time the night was over, Sarandos had all but convinced billionaire philanthropist Haim Saban to write a $50 million check to the museum, which is set to open its doors this fall.

Entertaining at this level is second nature to Avant. A glimpse into her rarefied upbringing can be seen in Netflix’s The Black Godfather, a critically acclaimed documentary she produced about her father, Clarence Avant, the legendary former chairman of Motown Records. “It’s a very strange and wonderful convergence, that for me with film and television and Nicole with politics and music, basically every cultural touch point comes together,” says Sarandos, who initially met Avant at a fundraiser when she was working as the Southern California Finance Chairwoman of the Obama Campaign. The pair married at the Beverly Hills courthouse in 2009 and together constitute a Hollywood power couple with unprecedented influence. “There will be books written on how individually Ted and Nicole have impacted so many different areas. The idea that these two extraordinary

From top: In the formal living room, two VLADIMIR KAGAN swivel chairs cozy up next to a 1950s PIERRE CHAPO coffee table, all from GALERIE HALF. Manicured English boxwood and white roses line the perimeter of the lawn. Opposite: Sarandos and Avant in the handpainted “Magic Room,” a name the home’s former tenant, actor MELANIE GRIFFITH, bestowed upon the ballroom, which now acts as a salon.

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SALVATORE FERRAGAMO dress, $4,300. VHERNIER earrings, $9,400. Opposite: GIVENCHY dress, $2,865. NATASHA MORGAN visor.

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A passageway to the dining room features the home’s original terra-cotta floors.

SALVATORE FERRAGAMO $4,300.

VHERNIER $9,400.

GIVENCHY dress, $2,865.

MORGAN Opposite: A curved 1960s ILLUM WIKKELSØ sofa, adress, French 18th-century ovalearrings, table and a pair Opposite: of 1950s FEDERICO MUNARI chairs,NATASHA all from Galerie Half,visor. mingle in the wood-paneled library.

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people found each other is quite remarkable,” says Dern, who has also become a close friend of the couple. “I have only ever seen a dynamic like this in the Obamas. These two are always up for debate with each other. They challenge and question each other and are in constant conversation about trying to help the world be a better place.”

The epicenter of their nonstop lives is a stately 15,000-plus-square-foot home with its own Hollywood pedigree.

Designed in 1925 by Gordon Kaufmann (the architect commissioned for Greystone Mansion and the Hoover Dam), the classic Mediterranean Revival-style manse is a veritable fortress on the edge of Hancock Park, with gracious coffered rooms centered around a private courtyard boasting elegant arched colonnades. When they bought the house from Antonio Banderas and Melanie Griffith in 2015, Netflix had just moved its headquarters from Beverly Hills to Hollywood, and Avant and Sarandos both wanted a place where they could entertain on a grander scale.

The house (which is often referred to as the Netflix Embassy) needed upgrading.

“I have only ever seen a dynamic like this in the Obamas” LAURA DERN

They started by carefully overhauling the 1970s A. Quincy Jones kitchen (Sarandos is the chef in the family) and all the bathrooms.

Over the years, Avant worked with a melting pot of top L.A. design talent, including Estee Stanley, whom she has known since she was a teenager, Emily Ward of Pierce and Ward, Brigette Romanek and Brenda Antin.

But during the COVID-induced pause in the social schedule, Avant took stock of the house and decided to start fresh. This time, she turned to Trevor Cheney of Galerie Half to lighten the space, infusing various rooms with rare and important icons of French and Danish midcentury design. A pair of shearling-covered Philip Arctander clam chairs mix with Pierre Jeanneret pieces and Avant’s pearly-white vintage piano in the living room. Across the courtyard in the salon (which Griffith dubbed the “Magic Room” — a name that stuck), a 19th-century curved sofa, Danish shearling chairs from the 1930s and a primitive-oak coffee table provide the perfect balance to the space’s oversize limestone fireplace, handpainted frescoes and a wall of rounded medieval-style leaded windows (none of which, thankfully, had

A work by artist CHAZ GUEST presides over the dining room, which features original handpainted coffered ceilings. The table and chairs were both sourced from LUCCA ANTIQUES. Opposite: Avant relaxes on a 1950s PIERRE JEANNERET sofa from Galerie Half in the living room.

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been touched by any of the home’s seven previous owners).

Among the couple’s vast contemporary art collection (Avant also sits on the board of trustees at LACMA), Avant’s most prized possession is certainly a photograph of Frederick Douglass in the library, beside a handwritten letter he penned in 1877, that was a gift from her parents. Pictures throughout the room testify to their multifaceted lives, including images of Avant’s beloved stepchildren Tony and Sarah (from Sarandos’ first marriage); friends and luminaries including Bill and Hillary Clinton, Oprah, Mohammed Ali, Sidney Poitier, George W. Bush and Barack and Michelle Obama; and Sarandos with some of his superheroes, including Eddie Murphy and Jerry Seinfeld.

In all his homes over the years, Sarandos has ironically never had a screening room until now. Avant gave him free rein to design the space, a privilege which was quickly revoked after she bore witness to the disastrous results. “I joke people always complement me on the decor of the house, but this would likely be beanbags and futons if it was me,” he says. Most nights, Sarandos can be found with their rescue Labradors, watching the big screen from the sectional on the landing above the kitchen. Avant will join when it’s something they both love, most recently High on the Hog: How African American Cuisine Transformed America and this fall’s Hand of God. Avant remembers in the early days of their relationship when Sarandos told her that “streaming” and “binge-watching” were going to big one day. “I thought it was crazy,” she recalls, but still, she continued on p.129

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Clockwise from top left: In the Magic Room, a 19th-century Italian sofa, a Gustavian chaise and a pair of 1930s Danish shearling chairs are arranged around a primitive-oak coffee table (all sourced from Galerie Half). The framed photograph and letter penned by FREDERICK DOUGLASS in the library were a gift from Avant’s parents. Details of the home’s handpainted frescoes and a portrait by artist HARMONIA ROSALES that hangs in the living room.

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PIERRE FREMONT’s The Goddess, which the couple found at TRIGG ISON FINE ART, greets visitors in the central foyer.

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A DAY AT THE MUSEUM The Academy Museum of Motion Pictures opens this

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September with an epic design, riveting programming and a trove of cinematic treasures.

In celebration, we asked three Hollywood stars to give us a tour of their lives on set

Interviews by MARTHA HAYES Photography by KURT ISWARIENKO Fashion Direction by MARYAM MALAKPOUR

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Édgar Ramírez wears DSQUARED2 tuxedo, $2,565.

PRADA shirt, $805. DIOR MEN shoes, $1,050. Andie MacDowell wears PRADA coat, price upon request, turtleneck , $1,150, pants, $1,430, and shoes, price upon request. Ruth Negga wears ETRO dress and belt, $7,520 (sold as set). JIMMY CHOO pumps, $725. GRACE LEE rings, 103 from $2,880.

“l say to younger actors, ‘Isn’t it wonderful? We get paid to play make-believe’” Feature - Academy

ANDIE MacDOWELL

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ex, Lies, and Videotape (1989) changed my life. I struggled between the ages of 23 and 30. I had a hard time and was in a lot of pain trying to transform myself and convince people who I was. I would read for casting directors and they would go, “Oh, wow, I’m surprised,” but then the role would go to someone who already had a career. Sex, Lies, and Videotape was critically well received and made money, so it was everything I needed to prove what I could do.

My first memory of being on a film set is figuring out how to run on camera in Greystoke: The Legend of Tarzan, Lord of the Apes (1984).

There really wasn’t a lot of direction on how to make running look beautiful and feminine! It was a different time back then. Shooting a scene was very precious and nobody interrupted. Now everything has changed. Directors will yell at you in the middle of a scene to give you information.

I’ve had to adjust to that, and let go of that preciousness, because if you don’t adjust, you

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don’t move forward. I feel like I’m still learning lessons constantly.

I remember Sir Ian Holm [my co-star in Greystoke] saying to me, “We’re going to play.” I’ve always kept that idea in my mind, and l say it to younger actors. We’ll be in the middle of a scene together and I’ll say, “Isn’t it wonderful? We get paid to play make-believe.”

I really enjoy improvisation. I worked with Bill Murray [on Groundhog Day in 1993], who is a genius at it. The process of listening and being flexible and not stuck to the words is really important. The great thing about Groundhog Day was knowing that our director, Harold Ramis, had faith in me. He had such a joyful look on his face after every scene. It helps you perform better when you feel like someone believes in you.

Sex, Lies, and Videotape was instrumental in making people want to do independent movies, because it made money. Now it feels like people have lost hope in them, but I haven’t. I’m getting ready to work on an

independent movie, and both of my daughters [Margaret Qualley and Rainey Qualley] are too. They’re really important to the business as pieces of art and for the process of making something that you really believe in.

In future roles, I would like to explore what it means to be a woman of my age in a more interesting way than how people seem to perceive us. Quite often they don’t understand us or how valid our lives still are.

I’m interested in opening that up. I think we get discarded and we’re very misunderstood.

There has been a problem with the lack of support of women for a long time, so I applaud people in this business for stepping up. I remember having conversations with Nora Ephron [on Michael in 1996] about how hard it was for her. In the 1980s, there were no females at the table, and women felt like they had to act like a man in order to make it. There’s a lot more women on set now, which is really important. I always felt uncomfortable looking around and seeing only men.

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VERSACE dress, $2,7 75, and shoes, price upon request. VAN CLEEF & ARPELS Bouton d’Or pendant, $40,600.

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CHANEL trench coat, price upon request, and boots, $2,425.

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BRUNELLO CUCINELLI tuxedo jacket, $3,995, shirt, $995, pants, $1,150, bow tie, $275, and 108pocket square, $145.

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“Robert De Niro is like my godfather for real — but a good Feature - Academy one, not a monster” ÉDGAR RAMÍREZ

I

’d be lying if I said I grew up dreaming of being in the movies, but it did cross my mind when I saw Empire of the Sun (1987) at the cinema when I was 11 years old. Watching Christian Bale as this kid coming back from the war and hugging his mom — the camera pulls in and you can just see the pain and maturity in his eyes. I remember thinking, “Wow, that would be amazing to have gone through that experience.”

I was studying journalism at university [Andrés Bello Catholic University in Caracas, Venezuela] when a friend asked me to be in his short film. It

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SALVATORE FERRAGAMO hoodie, $2,300. Opposite: DIOR MEN trench coat, $3,100, pants, $1,550, and shoes, $1,050.

PRADA shirt, $805.

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was about virtual sex and very weird. It was in the time of The Chemical Brothers and Trainspotting (1996), I have bleached hair and I’m wearing a latex suit. One day that film will bite me in the ass! It won an award at a festival where the screenwriter Guillermo Arriaga was on the jury. He offered me a part in a film and I turned it down. Two years later, that film — Amores Perros (2000) — won a prize at Critics’ Week at Cannes.

I never went to drama school, so everything I’ve learned has been from the people I’ve worked with, from Nicole Kidman [The Undoing] to Cate Blanchett [Borderlands]. You admire them and then they’re in your life, and that is very special. Penélope Cruz is one of my closest friends. I remember watching her first film, Jamón Jamón (1992), at the beginning of

my career as a journalist, when it never even crossed my mind that I would be an actor.

My co-star on Vantage Point (2008), William Hurt, told me that in order to focus, you need to pull back. You cannot be focused the whole time, because there is nowhere else to focus more. That is a great metaphor for life. We need to learn to give ourselves the space to decompress and to pull back. I think COVID has forced us all to pull back and admire the background that we’re unable to see when so focused on one thing.

My biggest transformation was for Hands of Stone (2016) alongside the wonderful Robert De Niro, who is like my godfather for real — but a good one, not a monster!

I had to transform my body completely to become a boxer and make it look like second

nature in order to replicate [Panamanian professional boxer] Roberto Durán’s style.

In real life, I’m very far from that character.

When you’re playing a role based on a person who exists, it’s not about imitation.

It’s a painting, not a photograph.

There used to be a separation between the world of television and film, but now there is a very healthy relationship. I think it’s more about long form and short form. Both Carlos (2010) and The Undoing (2020) feel like long films cut into pieces rather than TV series.

As a result, there are more opportunities for people — and minorities — on both sides of the camera to shine. There’s still work to be done, but it’s way more inclusive than it was at the beginning of my career, and I really welcome those changes.

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CHANEL jacket, price upon request, top, $3,900, and skirt, $6,650.

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“People are much more aware of the fact that they can speak up now. We’ve got to keep the pressure on” RUTH NEGGA

I

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’ve wanted an Oscar since I was 7. My cousin David (who also trained as an actor) and I were joined at the hip as kids and made a pact that if one of us got to the Oscars, we would take the other one. I still can’t believe I got an Oscar nomination for Loving (2016). As a Black woman, that is very special to me. You just hope you’re not some sort of anachronism. These are the right grooves we need to go in, and we need to keep on that trajectory.

I have the best memories of Loving: filming it, talking about it, working with [director] Jeff Nichols and [co-star] Joel Edgerton. It was a world all of our own that we created. I remember saying to Joel halfway through, “I’m really worried about this being over because I love our little bubble.” That’s the best feeling in any job.

I could be very easily disheartened and think, “Nothing will be like that again,” and

nothing will, but it will be different in its own way. Rebecca Hall’s Passing that I’m in this year has all the markings of a classic, and not just because it’s period and shot in black and white; it’s just beautifully done. Rebecca is an extraordinary filmmaker. She’s extremely wise and intelligent, and when she directs you, you feel she’s completely on your side.

[My motto is:] “Stick to what you want to do and not what you think you should do.”

I don’t feel like I’m a go-getter. I wish I was, but I wouldn’t know where to start. I feel I’m ambitious because I want to work — and do really good work. This industry is all about having access to good material and people to take a chance on you, and I’ve really relied on that kind of luck my whole life.

A lot of women’s experiences [in the Me Too movement] have showed the complacency that we’ve all been complicit in, of going, “Oh no, it’s fine, it’s just this

industry.” Actually, no, we need to have regulation and we need recourse. People are much more aware of the fact that they can speak up now. We’ve got to keep the pressure on, because lives are involved here. And hopefully casual racism or sexism on set is less likely to occur.

I look back at my first film, Breakfast on Pluto (2005) — which starred Irish greats Cillian Murphy, Brendan Gleeson and Liam Neeson — in a halcyon haze. I played an artist, and [writer and director] Neil Jordan let me do my own art, which I’m not sure was a good or bad thing. I don’t even know if my acting was any good because I wasn’t bothered — I was just so happy and having a good time. It was the height of summer down in Kilkenny in Ireland, and it was in the days when on-set catering was extraordinary. There were all kinds of different fish on the barbecue and you’re like, “I can’t wait to begin my movie career, this is amazing!”

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Stylist assistants SARAH NEARIS and ELLIOT SORIANO. Makeup for Ruth Negga by MELANIE INGLESSIS at Forward Artists using Armani Beauty. Hair for Andie MacDowell by JOHN D at Forward Artists using Oribe. Makeup for MacDowell by PATI DUBROFF at Forward Artists. Nails for Negga and MacDowell by MARLA BOLDEN at Opus Beauty using Chanel Le Vernis.

Hair for Édgar Ramírez by SASCHA BREUER at The Wall Group using Wella.

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DIOR dress, price upon request.

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JIMMY CHOO pumps, $1,125.

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How Hollywood Found Its New Home Words by STEPHANIE RAFANELLI

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ollywood was founded by mavericks, visionaries and progressives. And yet, despite a prolific artistic output that has shaped our global psyche for over a century, somehow, at some point, almost 100 years after The Jazz Singer launched the talkies with the words “You ain’t heard nothing yet,” it had seemed that Hollywood had stopped listening. With an Academy Awards tradition that at times felt out of step with our age, it was criticized for being socially well-intentioned but intellectually slight and too white. But 2021 will go down

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in cinematic history as the year Hollywood woke up.

This watershed moment is manifested in a monolithic symbol in bricks and mortar: the new Academy Museum of Motion Pictures along Miracle Mile, near LACMA, reaffirms Hollywood filmmaking as a high art again. After years of delays, AMMP — the largest center in the nation dedicated to the history, science, cultural impact and preservation of filmmaking and the sheer wonder of cinema — is opening in the former May Company building, one of the city’s best examples of Streamline Moderne architecture. The original structure was

designed by Albert C. Martin Sr. (who also did Los Angeles City Hall), but the museum comes with an addition by highbrow, hightech Italian architect Renzo Piano, who is renowned for creating the impression of architectural weightlessness: a 1,000-seat spherical theater with a domed terrace framing views of the Hollywood Hills.

Piano’s 45,000-square-foot glass-andconcrete sphere seems to float next to the historic structure like a vision from Fritz Lang’s Metropolis, a giant architectural eye looking at once to the past and the future.

The original building dates to 1939, which coincidentally is often held to be the greatest year in Hollywood for its prolific 365-film output, including the Technicolor epics The Wizard of Oz and Gone With the Wind.

“There’s a lot of symbolism in the building,” agrees museum director and president Bill Kramer, who came on board in 2012 (the same year as Piano) and began fundraising for the museum after Academy CEO Dawn Hudson put her weight behind the project.

Renovations were meticulously overseen by preservation specialist John Fidler, who

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replaced one third of the 350,000 gold-leaf mosaic tiles — with new ones from the original Venetian manufacturer, Orsoni — on the illuminated cylindrical structure that faces the intersection of Fairfax and Wilshire, like a stack of gilded film canisters. “We want our museum to be the [new] center of Hollywood,” Kramer clearly sets out. “And perhaps bring a little glamour back to the notion of moviemaking again.”

Along with a return to rarity and mystique is a hefty dose of gravitas. Our era’s laser focus on the illusory notion of celebrity has been displaced by a levelheaded emphasis on craft through industry key players across 17 branches of the Academy, from writers and editors to producers and costume designers, all of whom have set up task forces to advise on relevant exhibitions, attracting both museum and industry heavyweight scholars alike. Former Walt Disney Company CEO Bob Iger, Tom Hanks and Annette Bening chaired the initial campaign, raising $388 million for the museum from donors including Barbra Streisand and Steven Spielberg (the Spielberg Family Gallery will be showcased in the museum lobby). Laura Dern, Ryan Murphy, Emma Thomas and Eva Longoria all sit on a diverse board of trustees chaired by Netflix co-CEO Ted Sarandos.

“We want our museum to bring a little glamour back to moviemaking again” BILL KRAMER

“All of these people care deeply about the museum,” Kramer stresses. “And having Renzo onboard in the early stages of conceptualizing the project also showed members that we were looking at the history of film with an eye on creating spaces that were as thrilling as sitting in a theater watching a movie.” For this, Kulapat Yantrasast’s wHY architecture, also responsible for the Marciano Art Foundation, was brought on to design immersive and experimental experiences in exhibition spaces.

But by far the most powerful commitment is the new Inclusion Advisory Committee, chaired by producer Effie Brown (Dear White People, Real Women Have Curves) in a public statement of recognition by the Academy.

“The film industry, like many of the systems that have been created over the last few centuries, has been racist, oppressive, sexist and homophobic in moments,” Kramer admits. “We have to face our past head-on.”

Critical to this candid conversation has been the recent appointment of Jacqueline Stewart as chief artistic and programming officer. One of the country’s foremost film scholars and a senior fellow of the National Museum of African American History and Culture, she is also a three-term appointee

Feature - Academy

ACADEMY MUSEUM OF MOTION PICTURES director and president BILL KRAMER stands inside the 288-seat Ted Mann Theater. Opposite, from top: The exterior of the newly constructed Sphere building. The glass-andconcrete dome was designed

by Pritzker Prize-winning architect RENZO PIANO.

Feature - Academy From top: Two glass-and-steel pedestrian bridges — named for BARBRA STREISAND and CASEY WASSERMAN — connect the historic 1939 Saban Building with the grand addition. The sphere, which houses the 1,000-seat David Gefffen Theater, has a terrace with sweeping views of the Hollywood Hills. Opposite: Chief artistic and programming officer JACQUELINE STEWART.

to the National Film Preservation Board, who has led reports on diversity, equity and inclusion for the National Film Registry.

“The Academy has been listening,” she affirms. To prove it, they have even boldly issued a mea culpa. “There’s a welcome text that visitors receive when they arrive, setting out our mission statement: that while we are celebrating the arts and sciences of cinema, we are also fully recognizing the damage that movies have done in terms of supporting social inequities and philosophies of difference,” Stewart says.

The main exhibition strand, “Stories of Cinema,” constitutes an inclusive retelling of international film history through “a multiplicity” of viewpoints, as Kramer puts it.

“The history of cinema traditionally covered filmmakers like Orson Welles,” Stewart continues. “And in our opening of ‘Stories of Cinema,’ Citizen Kane is right there at the front. But alongside it is another vignette on pioneering early African American filmmaker Oscar Micheaux [1884-1951]. The Academy Museum is an institution that now makes it impossible to not acknowledge people who worked in parallel cinema to Hollywood, to whom the doors have been closed all this time.” Indeed, the opening series includes spaces dedicated to and co-curated by Pedro Almodóvar (an auteur of the Movida Madrileña, a hedonistic counterculture that emerged after the death of Spanish dictator Francisco Franco) and Spike Lee. “Here we have an iconoclastic and independent voice, who has had some touch points with the Academy [Lee won an Oscar for BlacKkKlansman in 2018] but whose success has been in no way defined by it,” Stewart says. “In 1990, when Driving Miss Daisy won the Best Picture Academy Award [instead of] Do the Right Thing, Spike Lee launched a pretty extensive campaign against the Oscars: ‘We was robbed’ was the tagline. So it’s extraordinary that he’s collaborated with us.” Here he showcases his collection of movie posters and memorabilia telling the story of his directorial influences, from Jim Jarmusch to Akira Kurosawa. “You get to understand how his Malcolm X is an epic on the scale of Spartacus.” Bruce Lee’s cultural contribution is also reappraised: “Bruce Lee was a philosopher, a choreographer, an auteur…”

Along with a gallery devoted to The Wizard of Oz, the museum opens with the first North American retrospective dedicated to animator

the three-strip Technicolor camera used to film The Wizard of Oz to one of the iPhone 5Ss that Sean Baker used to shoot 2015’s Tangerine, a movie about transgender sex workers. In addition to the Academy’s vast archive of screenplays, films and production art, the museum has acquired more than 8,000 objects, which are on display alongside over 1,000 pieces from the private collections of film icons such as Alfred Hitchcock, Cary Grant and Katharine Hepburn.

The Academy has also tapped its pool of talent to collaborate on limited editions to be sold through the museum, alongside vinyl, books and collectibles: Standouts include Modernica x Studio Ghibli chairs inspired by Miyazaki’s films, and a capsule collection by stylist and costume designer Arianne Phillips. Meanwhile, Fanny’s restaurant, named after vaudeville star Fanny Brice (donor Wendy Stark’s grandmother, who was played by Barbra Streisand in Funny Girl), is being run by Bestia’s Bill Chait and Wolfgang Puck’s catering operation. It’s all a far cry from Planet Hollywood.

But this haute celebration of Hollywood doesn’t preclude a dose of social realism. The Impact Reflection gallery focuses on activism and film through climate change, Black Lives Matter, labor relations and the Me Too movement — “a recognition,” Stewart calls it, “that this is something that the industry has been struggling with addressing.” Will any Weinstein Company films feature in the museum? “I don’t think anyone has been canceled,” she notes. “It’s not about taking things out, but being prepared to have the difficult conversations that are essential for a civil society.”

Next up will be “Regeneration: Black Cinema from 1898 to 1971,” the most comprehensive survey of the field ever mounted, showcasing newly unearthed early Black films. Stewart explains, “It gives the fuller stories of so many Black film artists. We recognize Hattie McDaniel in our Academy Awards History gallery, but in ‘Regeneration’ we get a much deeper sense of her significance in the African American community.” Paying tribute to the forgotten can be moving work.

“Evelyn Preer was a well-known Black stage actress who starred in Oscar Micheaux’s Within Our Gates in 1920.” Stewart’s voice wavers. “Just seeing her on the Academy wall, knowing that millions of people are going to see her face — a kind of recognition that she never could have imagined for herself — I feel especially proud.” X

“I don’t think anyone has been canceled.

It’s about being Feature - Academy prepared to have the difficult conversations” JACQUELINE STEWART

Hayao Miyazaki (Spirited Away, Howl’s Moving Castle), whose strong animated female protagonists are, in some ways, alter egos of Dorothy Gale. Extensive exhibitions are also dedicated to every aspect of filmmaking: Cinematography, for example, ranges from

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BELLA HADID at the 2021 Cannes Film Festival.

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The grand reentrance of awardseason glitz and glamour

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R E P O R T JESSICA CHASTAIN. Opposite, from left: JODIE TURNER-SMITH. TILDA SWINTON.

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n July, the fashion and beauty world held its collective breath as images began emerging from the Cannes Film Festival. At last!

The red carpet is back! Model Bella Hadid opened the festivities.

“Bella, Bella!” dozens of (masked) photographers called out, hoping to get that perfect over-the-shoulder shot of both her sleek, middle-parted twisted bun and her dramatic, contoured makeup. With a nod to the ’90s, Hadid’s thin (yes, they’re back in style) arched brows beautifully framed her warm smoky eyes, while her lips sported a matte nude with a pinky-brown liner.

“The photographers were so excited.

The whole industry felt revived,” says celebrity hairstylist Mark Townsend, whose client roster of red-carpet regulars includes Dakota Johnson, Gal Gadot and Ashley and Mary-Kate Olsen.

“Nothing’s more beautiful than a big smile and an iconic red lip”

Beauty

K I R I N B H AT T Y

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TILDA SWINTON: VITTORIO ZUNINO CELOTTO/GETTY IMAGES. JESSICA CHASTAIN: ANTHONY HARVEY/SHUTTERSTOCK. JODIE TURNER-SMITH: ANDREAS RENTZ/GETTY IMAGES.

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“Cannes sets the tone for awards seasons” MARK TOWNSE N D

At Cannes we saw the return of a bold lip and the emergence of artistic eyeliner in bright colors with gem accents. Classic topknots and chignons were reimagined to fight the oppressive humidity of the South of France. Tilda Swinton got creative with her short, buttery-blonde hair; Jodie Turner-Smith opted for a tawny-brown sheer lip paired with bold eyes; and Jessica Chastain went for a classic look: glowing skin, deep crimson pout and a ponytail with sideswept bangs.

As in-person events are becoming more frequent (albeit with restrictions), premieres, talk shows and openings have stayed virtual or adopted a hybrid approach. “What passed as red-carpet images are mostly images shot in hotel rooms or private homes,” explains

Townsend. Makeup artist Kirin Bhatty, whose celebrity clients include Awkwafina and Kate Mara, says there’s a bright side.

“We’re in a controlled environment. It’s like, ‘Let’s do neon-green eyeliner on you today. Let’s throw some gems on, let’s do a really big wing.’ And if a gem falls off, I can just place it back on, or if the liner is starting to travel, I can touch it up for a perfect shot!” While artists like Townsend and Bhatty don’t mind wearing additional creative hats for hybrid events — like lighting and shooting images that have gone viral on Instagram — they miss the excitement and fanfare of traditional red-carpet happenings and are looking forward to seeing what the Emmys have in store. “People crave glamour,” Townsend shares. “We’re getting glimpses,

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and we’re eating it up.”

Bhatty predicts skin minimalism going forward. “People are investing in their skin and in skincare more than ever,” she notes. She’s a fan of bold color statements, textural elements like gems and glitter, and fashion-forward lashes. “We’re entering an era of ‘more is more.’ Bold eyes and liner is a mask-friendly way to be glamorous on and off the carpet. The minute I hear we can be totally unmasked, I’m pulling out all the lipsticks — I want reds, pinks and oranges. Beautiful, bright, bold lips — I want to see them all over the carpet!”

The good news? The red carpet’s future looks bright. But for now, at least, everything is up in the air. Cannes gave us hope, but as with everything these days, we’ll need to proceed with caution. 2

BEAT THAT Kirin Bhatty’s makeup musts

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High Camp Supply

WILDLY BEAUTIFUL

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The picturesque rolling hills of NAPA VALLEY in the fall.

OPEN SEASON The long-awaited comeback of Napa Valley

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s the Glass Fire ravaged Napa Valley and the surrounding wine country at the end of last year’s would-be harvest, the scene was more harrowing than any in local filmmaker/winemaker Francis Ford Coppola’s Apocalypse Now. A year later, resilient residents have flipped the script, with a comeback story of wineries, hotels and restaurants rising from the ashes.

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YOUNTVILLE

the award-winning boutique hotel North Block (northblockhotel.com) for incoming chef Nick Tamburo, who cut his teeth at New York’s Momofuku empire.

HEALDSBURG Across the canyon, sleepy Healdsburg is getting a jolt. In collaboration with Fulk, Kyle and Katina Connaughton, the culinary power couple behind Michelin threestarred SingleThread, open the doors to the highly anticipated Little Saint (@littlesainthealdsburg), an elevated gathering space with a full-service plant-based restaurant, cafe and wine shop that will also host live music and art exhibits. The holy moniker is a reference to Fulk’s nonprofit Saint Joseph’s Arts Foundation, which curates the venue’s music and arts programming.

“I think we’ve all come to realize the preciousness and

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NORTH BLOCK: MARIANA CALDERON PHOTOGRAPHY. REGIIS OVA: DAVID ESCALANTE. PORTRAIT: JOE WEAVER. PLANT: JOHN TROXELL.

A stone’s throw from the French Laundry, Napa’s famous toque Thomas Keller and partner Shaoching Bishop have opened a Regiis Ova Caviar and Champagne Lounge (regiisova.com) pop-up, designed by Ken Fulk, where visitors can enjoy overflowing quenelles of Royal caviar with rare vintages of Dom Pérignon in a garden setting with live jazz through the fall. Celebrated local designer Erin Martin has also had her way with Richard Reddington’s former Redd Wood space inside

fragility of what we have — and the need to be good stewards to the planet and each other,” says Fulk.

On the outskirts of town, the Montage (montagehotels .com/healdsburg) group has opened its debut Northern California property among oak groves and a 15-acre-plus vineyard. With first-class amenities from a sanctuarylike spa and a zero-edge pool to pickleball courts, an archery range and an apiary, visitors might be hardpressed to venture out — but if and when they do, they might consider Dustin Valette’s recently opened The Matheson (thematheson.com), a three-story restaurant and wine bar in the town square that was built on the same site as his great-grandfather’s 1920s bakery.

NAPA Connecting back to the land is a theme that permeates every inch of the region. The Auberge group’s forthcoming Stanly Ranch (aubergeresorts.com/stanlyranch) will feature 78 freestanding cottages on a more than 700-acre working ranch, which means visitors can get their hands dirty picking ingredients for a meal, caring for animals, blending wine and working with artisans to create objects like dried floral arrangements, wooden cutting boards and ceramics.

Up the Napa River, the ever-charming Milliken Creek Inn (millikencreekinn.com) also reveals an extensive update to its 11-room clapboard cottage house. For a wine-fueled picnic on the property’s manicured lawns, pick up a bottle of Tansy rosé (@tansywines), a new collaboration from James Beard Award winner Shelley Lindgren and Kitty Oestlien (formerly of Dropbox and Symantec), and “pretzelized” accoutrements from the anticipated Paulie’s Bagels (pauliesbagels.com) in town.

CALISTOGA Following Calistoga’s tradition of wellness, the retro geothermal spa Dr. Wilkinson’s Backyard Resort and Mineral Springs (drwilkinson.com) has reopened following a complete renovation including the addition of the healthforward restaurant House of Better.

And after opening its doors this past spring, the Erin Martin-designed 85-room Four Seasons Resort and Residences Napa Valley (fourseasons.com/napavalley) marks the valley’s first resort set in a working winery, where guests can learn alongside winemaker Thomas Rivers Brown. Enjoy a bottle at the property’s newly opened fine-dining establishment, Truss Restaurant and Bar. Named after the steel framework on the ceiling above, the lofty pursuit is led by Michelin-starred executive chef Erik Anderson. Martin says this season it’s about “truly celebrating life to the fullest and a positive spirit towards all this village has been given. We owe it everything, it owes us nothing — yet despite the fires the earth is green, and because of the community it’s even more of a family.” 2

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Clockwise from top left: KYLE and KATINA CONNAUGHTON and KEN FULK. The FOUR SEASONS RESORT AND RESIDENCES NAPA VALLEY’s vineyard barn.

TRUSS RESTAURANT AND BAR at the Four Seasons.

Plant-based LITTLE SAINT sources fresh produce from its proprietary farm.

A room at the MONTAGE HEALDSBURG. Opposite, clockwise from top: A mural of larger-than-life storks at NORTH BLOCK. The multipurpose Little Saint building. North Block’s dining room. Malossol caviar at REGIIS OVA CAVIAR AND CHAMPAGNE LOUNGE.

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supported his vision, even giving him her cut-up Blockbuster card as a Valentine’s Day gift one year. Once House of Cards happened, she knew he was right. “He reminded me of my father in that way, where he was going to figure things out and do something great,” she says.

Sarandos grew up lower middle-class in Phoenix, Ariz., the fourth of five children. His dad was an electrician and his mom stayed at home. On scorchinghot days, he would go to the multiplex and sneak between movies for hours, then stay up half the night watching TV (“I never slept a lot,” he says — “even as a kid, maybe 5 hours a night”). “So yeah, my entire career trajectory could be traced back to bad parenting in some form or another,” he jokes. In hindsight, he was laying the groundwork for what was to come. He joined Reed Hastings at Netflix in 1999 after managing a chain of local video stores, and in the years

Runover

symbolically interesting that so much change has happened,” he says. For his part, Sarandos was more than happy to take the lead. “The industry and the city of Los Angeles have been very good to me, and I’m just glad to be able to pay back a little bit and put in some work for it.”

His museum work also dovetails with Avant’s lifelong commitment to service.

Currently, she’s teamed up with the likes of George Clooney, Kerry Washington and Don Cheadle to establish the LA Unified School District’s new magnet project, the Roybal School of Film and Television Production, in addition to developing a new animated series and a documentary based on the book Before the Mayflower — an inspiring account of Black history from before colonial American days to the civilrights movement to the present. “I take the history of America and history in general very seriously,” she says. “And so for me, I’m like, ‘Guys, this freedom is not a joke.’ We are the luckiest generation to come along. We have it good and we need to enjoy it.” X

MICHAEL CLIFFORD

The pool at the Hancock Park home of TED SARANDOS and NICOLE AVANT.

since has been a key figure in disrupting Hollywood’s studio-controlled power structure, changing how content is both produced and distributed. Over the years there have been creative partnerships with titans from Ryan Murphy and Shonda Rhimes to Michelle and Barack Obama and the Duke and Duchess of Cambridge, and hits like The Irishman, Roma, Orange Is the New Black and The Crown. With over 200 million subscribers, this past year Netflix netted a staggering 35 Oscar nominations (more than any other distributor), 42 Golden Globe nominations and 129 Emmy nominations.

After that pivotal Academy Museum fundraiser at the house, the institution’s board of trustees (with such highprofile members as Tom Hanks, Ryan Murphy and Dern) elected Sarandos its chairman last fall, a move that speaks to the industry’s reverence for him and the importance it places on Netflix going forward. “The fact that we’ve only been really doing what we’re doing in the film space for about 5 years — 10 if you include documentaries — it’s

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Favorite gym or class?

I literally go to YouTube and put in “5 minutes standing abs,” “5 minute booty busting,” “booty work,” “5 minute arms” — and that’s all I’ll do, 15 minutes total!

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Favorite spa? Treatment?

I’m not really a big spa person. When I was homeless, I used to always go to Wi Spa. I’ll go there occasionally to sit in those saunas and reminisce.

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Where do you take visiting friends?

I always take my friends to the Slauson swap meet, but they call it the Slauson Super Mall now. I’ve been going my whole life. Things have changed a lot in my community.

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Zen Moment

Comedian, actor and author Tiffany Haddish, 41, can soon be seen in the thriller The Card Counter, co-starring Willem Dafoe Where do you live?

Los Angeles.

Where do you feel most zen?

I feel most zen while having sex.

Favorite hike?

I love Monrovia Falls but there was a fire not too long ago, so it’s been shut down. So I’ve been hiking in Mandeville Canyon. Those are my spiritualjourney days, when I don’t want to go back to the real world.

Favorite beach?

Redondo Beach, but sometimes there is too much traffic to get there! So I get up at 5 in

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the morning and I’ll go for a run there, and then just sit.

Favorite relaxing getaway?

What I like to do is tell everybody I’m going to Palm Springs or Vegas, but then I never actually leave my house.

Favorite health-food fix?

I make ginger-and-turmeric shots every day. I take the raw roots and blend them up with a little bit of coconut milk. It’s pulpy, it burns, it’s pretty disgusting.

Do you follow a diet?

I’ll eat one meal a day between 12 and 2 and it will be all raw foods. Doing this makes you shrink down real quick.

Favorite hotel?

Shutters on the Beach.

What’s in your cosmetics bag?

Right now, I’ve got a ChapStick, a gloss from Dose of Colors with a little shimmer in it, something from CoverGirl, a MAC gloss with a little tint and a KKW Beauty something. They’re in shades of nudes and plum, some with sparkle and shimmer.

Favorite skincare?

I use Tatcha camellia oil to remove my makeup and wash my face. Then I just apply extravirgin coconut oil to my face and body. It’s also the only product that I use on my hair.

Favorite home items?

When I’m home, I like to smoke some weed, watch some TV and go to bed with my weighted blanket.

Favorite flowers?

Gerbera daisies and lilies.

What book are you reading?

PowerNomics by Dr. Claud Anderson. 2

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MATT SAYLES. INTERVIEW BY KELLY ATTERTON.

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