OLIVER BY KARL SIMONE
Shirt by Givenchy
Shirt by Givenchy
Jewelry by Eli Halili
Interview by Matthew Rettenmund
Jonathan Tucker is one of the best parts of all your favorite shows. The actor, who is currently playing devil to the women of Charlie’s Angels as the new film’s villain, is killer-with-a-conscience Frankie on the Matt Damon/Ben Affleck-produced Boston crime drama City on a Hill; was mercurial Low Key on American Gods; and was a highlight of Season 2 of Westworld as intense, self-unaware host Major Craddock, to name a few.
Perhaps most memorably, and in a role that will leave a mark, the Boston native trained like a fiend to play MMA fighter Jay Kulina on Kingdom opposite Nick Jonas — and still has the abs to prove it.
In an exclusive interview with Iris Cover Book, the 37-year-old actor talked about his myriad roles on TV and in film, what he’s carried with him from his youthful pursuit of ballet (#JayKulinaDancesToo) and how he hopes to be remembered.
I’ve seen you in so many things over the last few years, but only recently connected that you were the teenager in The Deep End (2001), the dark, gay-themed story with Tilda Swinton.
That movie changed my whole life! I turned 18 the day I shot the sex scene with Josh Lucas.
It’s interesting how choices can lead us in totally different directions. I wondered how you decided early on in favor of acting over ballet, which you’d studied?
My second-grade teacher had seen an advertisement for a national call for a  movie called Lorenzo’s Oil. I’d really fallen in love with ballet, particularly with being onstage, so I took him up on this offer and I went to the audition. I didn’t end up getting the movie, but I ended up getting on the radar of the local casting director’s office, and they’d call me back for national commercials they were shooting in Boston, and I ended up getting one for Fruit Roll-Ups. The moment I was there on set with the camera and the crew and understanding the process, I was like, ‘This is what I wanna do.”
I remember coming back with my parents saying, “We need to get an agent — do you guys know what an agent is? I found a woman who I think is very reputable, I think we should have a meeting with her,’ so I certainly steered that ship early on, and I was very lucky to have supportive parents that helped make it happen for me. I was 10 years old.
Though you changed courses, have you retained anything from your ballet training?
I think self-discipline, the ability to listen and take direction, punctuality. As much as one can work on the interior of a character — we’re all spiritual vessels — physicality is a really important part of being a human being. That’s a critical component to the process of creating a character. Being in your body is something ballet dancers understand.
Being committed physically is something you did for Kingdom. You can be committed to playing a doctor but you won’t be ready to go into surgery, yet on Kingdom, your training had you ready to walk into the ring and be an MMA fighter.
I was living that life. Actors are always toggling between “truth” and “truthful.” Everybody wants truth in their lives, but sometimes we have to settle for truthful, as an actor. Certain roles afford you the ability to get closer to truth, but it’s an actor’s responsibility to be the voice for at least truthful, as the bare minimum. No one’s gonna buy you as a fighter, if you don’t look like a fighter.
That must’ve been a tremendous commitment.
I like tremendous commitments and setting goals and achieving them, and discipline. I think my wife had a significantly more challenging time with what was required to keep and maintain Jake than I did; your mood is profoundly affected. When you hear about people who are imprisoned, they get out and the first thing they wanna do, they don’t care about revenge, they want to eat. That was very understandable for me at that point.
You’d been acting since you were so young, did you have a special bond with Nick Jonas when you were shooting Kingdom?
He’s a very important friend to me for a lot of reasons. I would say when you have been through the crucible of this profession and the craft, you then realize you’re always in it. It provides a great deal of wisdom that you can’t buy. People who have stood with you, people you thought would who don’t, people you didn’t think would support you when things were tough but who end up being the most supportive, making money, losing money, fame, no fame, successful movies, bomb TV shows — it’s a business that provides these artificial highs and lows until after a certain point in time, you start to realize what’s really important. Those people who have that understanding can spot each other from across a crowded room. I feel that way about Nick, and he’s had even more complicated experiences than I have. Growing up in the business and getting to see it for as many years as we both have is certainly a connection that we both share — and we value.
Were there any older actors you’ve worked with who served as role models?
You learn early on there are many classrooms providing an education, not all of them academic, and the teachers are not always society’s notable ones. It’s not just the famous people, it’s the dolly grip sharing how they made a lot of money when they were young, but now their back and knees are gone but they can’t do anything else because they didn’t take a larger perspective on their life.
I wanna have people say, when I die, that I was able to honor different kinds of people and reflect honestly a variety of worlds, or a host of experiences. So, if I could bring that authentic light and shine it in those places or on those people, it’s exciting to me. I don’t see the world in blacks and whites. The more educated I am on certain topics, the less clear they become. What ends up becoming immutable are certain themes in terms of how I want to live my life, rather than unequivocal truths about kinds of people or certain political topics or certain systems. What I’m looking for is truth, and I find that characters that interest me are significantly more complicated than people think they are — sometimes more than even the writer thinks they are — and I’m interested in that sort of dynamic.
You’ve been in the industry long enough to see the push for diversity. Would you agree that Westworld is an example of a show that is diverse, and organically so?
Westworld was diverse before this was a national conversation, or at least a business conversation, and I think it’s a really important point to share because diversity, just throwing around “diversity” as a cultural token does a disservice, rather than trying to address in a meaningful way a system that hasn’t been able to offer the same sort of opportunities to groups of people that it should.
It also comes from the system that [Westworld creators] Lisa Joy and Jonathan Nolan have created and cultivated, which is, “How do we mentor different and unique voices and support and guide them?” versus trying to plug holes for the sake of optics. The business has a lot to offer every culture, every faith, every skin color, every economic background, we’re all storytellers.
Being on Westworld thrust you into the realm of a series where storylines are top-secret. Are you good at keeping secrets?
I like secrets. As an actor, you never want to tell anyone anything about your work. Your experiences are bifurcated between work and employment — you’re oftentimes working more than you’re employed. People say, “What’s going on?” What, are you gonna tell them about all the auditions you went on that you probably won’t get? About the movie that’s coming together that probably won’t come together? So, I’m pretty good about being tight-lipped. I might not even talk about it when it comes out — I’ll let you see it. I’ve sat next to people that have been cut out of movies and they had a great role and we’re at the premiere. [Laughs] It’s like — just keep your mouth shut.
Can you keep your mouth open about Charlie’s Angels?
There’s something great about making a movie that’s simply a lot of fun, about three very talented young actresses kicking ass. It doesn’t need to say anything more than that. A great movie stands on its own, so if it happens to be about three young women doing things that we typically expect only three young males to do, I think that sends a greater message than having to explain to everybody what the message is.
Your character in that seems thrillingly without merit as a human being.
I would say certainly without merit, but not without a clear intention. [Laughs] I think I was cast as the manifestation of violence against women.
How was director Elizabeth Banks, who also acts in the film, to work with?
She’s pretty, pretty outstanding. I’ve known her for quite a few years, so when this opportunity came we jumped on the phone and I said, “I’m gonna send you a text of what I think this character looks like, aesthetically speaking,” and she said, “You’ve gotta be kidding, check your texts,” and she had sent me the same model — different picture, but the same very distinctive model, so we were on the same page from the jump.
You’ve been in so many things, I don’t think there is a type that screams “Jonathan Tucker character.” Is there a role you’ve played to which you most relate, that’s closest to you?
I don’t think anyone’s ever asked me that. It’s kind of like: you’re a pitcher, you have a certain kind of pitch you know you’re really good at, and you have a strike box you know you’re guaranteed to get an umpire to call a strike in, and you’re trying to work the corners a whole bunch. You’re always you, but if it’s not a strike, then at least you attempted it.
Being scared to throw in the corners, being scared of being unsuccessful with the choices you’re making as an actor is the death of a good actor. You have to be willing to throw a few balls or have that errant pitch.
Are you an actor who enjoys photo shoots, like the one you did for Iris Covet Book?
You gotta commit to those things. You’re relying on the team so you can walk in there and just jump. You wanna commit to things in your life. If you’re not willing to do that, don’t show up.
Dress by Aida Kaas
Photographer: Rodrigo Cid @rodrigocidstudio
Photo Assistant: JP Herrera @_jp.herrera
Stylist: Tiffani Williams @tiffanistyles
1st Fashion Assistant: Marcus Elliott @marcusjameselliott
2nd Fashion Assistant: Celest Khosravanlou
Hair: Niko Weddle using Amika Haircare @nikoweddle
Makeup: Kim Webber using Surratt @kwmakeup
Model: Simona Godalova @ The Identity Models @simonagodal
Top by Cheng Chai Chuang, Shorts- model’s own
Dress by Kalmanovich, Coat by Greta Constatine
Top by Alexa Chapman
Photographer: Kimber Capriotti @kimbercapriotti
Model: Leah Svoboda @leahsvoboda, @anthmmgmt
Stylist: Molly Haring @mollyruthharing_styling
Hair and Make-Up: Lydia Brock @lydiabrock
Style Assistant: Shane Mastel @mastonianwarlord
Photographer/ Videographer: Yuti Chang @yutiphotography
Fashion Stylist: Avivi Wang @aviviwang
Make-up Artist: Jonathan Wu @jonathanbyjwmakeup
Hair Stylist: David Z.
Model: Mengwei Luo with Longteng Model Management
Photography Assistant: Jianjun
Styling Assistant: Danney Li
Entire Outfit is Stylist’s Own
Entire Outfit is Stylist’s Own
The line between IRL and online has quickly become indecipherable through our interaction with social media platforms. In our desperation for clout to garner an audience, clicks, likes, or hits as well as the all-too-real insecurity of fomo, we’ve become quick to expose ourselves (or a version of ourselves) online. Corporations, government agencies, and hackers all know us better than we know ourselves. Yet this disconcerting fact seems to render us unphased. We leave ourselves vulnerable and unarmed online.
In the real life scenario of this, many are only comfortable exposing themselves if they work in a profession that requires publicity. Scopophilia in real life isn’t readily welcomed, especially when we aren’t aware of being watched. Private Place approaches this through the idea of fantasy, using the metaphor of exhibitionism and voyeurism as an illustrative contrast to this vulnerability. The exhibitionist’s strength is that they control just how much they choose to expose themselves to the voyeur, but their power is only as strong as the audience they are able to attract. Here the subject invites an audience to become her voyeur for the emotional release of strength, vulnerability, fear, and power. The idea of privacy invasion becomes inverted and something longed for, much like our attitude has become with online followers.
Photography: Dustin Mansyur @dmansyur | Model: Liz Harlan @f3mm3n1stn1ghtm4r3_ | Styling: Ella Cepeda @ella_cepeda | Beauty and Hair: Agata Helena @agatahelena | Set Design: Dustin Mansyur | Poem and Excerpt Summary: Dustin Mansyur | Digital Tech: Johnny Vicari @johnnyvicari | Video Editor: Ricardo Martinez Roa @ricardomartinezroa
All Beauty looks created using Mac Cosmetics
Director: Alexandra Elizabeth (@alexelizabethljadov) | Director of Photography: Samuel Levine (@sammy.august) | VHS: Silver (@silvernyc) | Producer: Julia Banas (@banasjulia) | Art Direction: Julia Banas & Alexandra Elizabeth | Editor: Alexandra Elizabeth & Andy Lincoln (@andyestonia) | Music: Majorlilkween (@majorlilkween) ft. Hadar Adora | Stylist: Liz Rundbaken (@iseelizrund) | Stylist Assistant: Drew Harris (@kingdrewharris) | Make Up: Ayaka Nihei using MAC Cosmetics, @ayaka_nihei | Hair: Takuya Yamaguchi (@tak8133)
Photographer: Enmi Yang (@__enmi) | Stylist: Liz Rundbaken (@iseelizrund) | Stylist Assistant: Drew Harris (@kingdrewharris) | Make Up: Ayaka Nihei using MAC Cosmetics, @ayaka_nihei | Hair: Takuya Yamaguchi (@tak8133)
Full Look by Z Zegna
With a Golden Globe nomination for Homecoming under his belt and rounds of praise for his work in If Beale Street Could Talk, actor Stephan James is a storytelling force to be reckoned with.
Photographer: Karl Simone | Fashion Editor & Stylist: Marc Sifuentes | Interviewer: Stacy-Ann Ellis | Creative Director: Louis Liu | Groomer: Tara Lauren for Epiphany Artist Group using Kiehl’s | Features Editor & Producer: Ben Price | Photo Assistant: Ned Witrogen
Full Look by Z Zegna
Stephan James is well aware of the power of his eyes. For the better part of If Beale Street Could Talk’s two-hour run time, his gaze as Alfonso “Fonny” Hunt from James Baldwin’s 1974 novel of the same name, is plastered across the full length of the cinema screen. As his deep, pleading eyes focus maddeningly on his fiancée, Tish Rivers (played by KiKi Layne), or well up from behind prison walls, they wring out raw emotions from the audience scene by scene.
We’ve seen these penetrating eyes before in films like Selma and Race, and in the FOX TV series, Shots Fired. “Some actors, they use their eyes to carry a lot of emotion, I think that’s part of what I do,” James says over an early morning phone call, humbly attributing his affecting stare to the skills he’s honed as an actor. “It’s the subtleties sometimes.”
James’ grasp on director Barry Jenkins’ vision and intention for the Baldwin adaptation is clear, as is the importance of his role in delivering it. The first time the Toronto, Canada native read the novel, or any Baldwin literature for that matter, was after he’d read and fallen in love with Jenkins’ screenplay. However, the gravity of Baldwin’s words (and the necessity to be a proper vessel for them) were not lost on him.
“I was really blown away by the language of Baldwin,” he says, even describing his verbiage as Shakespearean. “Just how descriptive and vivid he was, the way he described love, the way he described tragedy in the same breath. The poetry in which he went about doing it. And then again those themes, the fact that this man wrote this book in 1974 and it just felt so relevant.”
Jenkins’ Beale Street follows the newly engaged black Harlem couple as they navigate major life hurdles occurring at the same time. (Shortly after Fonny is falsely ID’d and imprisoned for the rape of a Puerto Rican woman, Tish finds out she is pregnant with his son.) As the story weaves in and out of the befores, durings and afters of Fonny’s grim predicament, Jenkins explores topics such as community, vulnerability, restraint and sacrifice. However, one particular theme is paramount: bonafide black love. “This film is showing what the power of black love is able to help us get through,” he says.
IRIS Covet Book caught up with Stephan James to dig into his future as a leading man, the threads that bind him with his character, Fonny, and the way If Beale Street Could Talk challenged society’s narrow expectations of black men.
Full Look by Z Zegna
Full Look by The Saltings NYC, Shoes by Bally
Once If Beale Street Could Talk wrapped, what was your experience watching the finished film for the first time?
The first thing that struck me about the film was it felt very much like a Barry Jenkins film. It felt like a movie about faces more so than places, and I think that it’s pretty striking when you have these characters talking directly to camera, cutting out the middleman. And Barry Jenkins, by the way, would never tell us when he’s doing those shots. He would never plan them. He would feel it out as a scene was going along and say, “Okay, well now I’m going to put it directly in your face, so let’s go.” It’s a great tool to cut out the space between the audience and the characters and just have a direct line of conversation.
When pursuing the role, what part of yourself did you see in Fonny reading from the page?
First and foremost, Fonny is an artist. He’s an artist much like I’m an artist. Outside of acting I also like to paint, and Fonny is a sculptor. He’s deeply, deeply sentimental and artistic and he loves a lot, so I found some similarities with just his artistry. And then maybe a couple of months before hearing about this film, I had become infatuated with the Kalief Browder story. It was striking because as soon as I read this screenplay, I thought of Kalief immediately. I thought that their stories were so similar, almost unfortunately similar. The fact that Baldwin wrote these words in 1974 and they had so much resonance in 2017 when I was reading this script and when I was reading this novel. It was just something inside of me that told me, wow, Fonny is Kalief’s story. Fonny is an opportunity to give a voice to young men like Kalief and so many other young men across the country who are going through the same sort of ordeal. So I feel like I kind of made the connection really quickly. And ultimately it just felt important. It felt important to embody somebody like Fonny. Although he is a fictional character, and all these characters are fictional characters, they’re representative of very real people.
It was refreshing to see a black man being just an artist—not sketchy, not a hustler—on screen. What does that communicate about the scope of the black man?
This film challenges a lot of ideologies in terms of what it means to be a black man, what black love means and the idea of what black families mean. Seeing Fonny as this deeply sentimental artist—he’s a sculptor, he takes something that is seemingly nothing and it’s a labor of love for him—I think that it’s important for the psyche of black men, young black men, watching this film. Often, especially in state of mind and art in general, I feel like there’s a very limited perspective when it comes to the portrayal of black men and what black masculinity looks like. Especially when it comes to these men who have been criminalized. We never get to see them as artists, sculptors, lovers, fathers, husbands. I think that this film is revolutionary in that way.
You look at some of the scenes—particularly the scene between Daniel and Fonny. To have these two young black men who have been criminalized be able to sit down at the table and open up to one another, be completely vulnerable with each other and share their deepest darkest secrets with each other, their fears, the things that keep them up [at night]. What a special thing that is, just for the psychology of these young men watching this film. The fact that they get to see that we can be like this, we can lean on our brothers like this… If it’s only one person, then we can use our brothers in this way and love in this way. I just think it’s a powerful, powerful message that’s being said.
Did you find yourself at any point angry just thinking about the helplessness conveyed in Fonny’s story?
Yeah… I mean the thing is this. Baldwin says, “to be a black person in America is to be in a constant state of rage,” but on a bigger scale, I think that the biggest theme in this book and in this movie in general is love. And in particular, it’s black love. It’s this idea that for hundreds of years the black community in general has been born into a world where the chips are stacked against them. Where we have an unjust system, a system that’s supposed to be a place to protect us but is seemingly failing to protect a group of people time and time and time again. I think that this film is showing what the power of black love is able to help us get through.
I think that despite these tumultuous circumstances thet Tish and Fonny find themselves in, the darkest times, it’s this love. It’s this unbroken, undying love in the face of adversity that has kept them going. That’s the only reason why at the end of the film, despite the circumstances, Fonny is still in prison, but it’s this love that’s helping to raise their child, this five-year-old boy now. That’s the only thing that’s kept them going. That’s the bigger message. So of course you get angry, and it’d be impossible not to get angry. It’s sort of the world that we live in, but I think Baldwin’s making a statement on the power of black love.
Full Look by Roberto Cavalli
Jacket and Shirt by Helmut Lang, Pants by Burberry
The nuance of that love really presents itself at the grocery store. After Fonny defended Tish from a creep in the store, Tish had to protect Fonny from a racist police officer who threatened to arrest him and called him “boy” in the same breath. Tish didn’t think twice when she spoke up to Officer Bell and said, “He is not a boy.” There’s so much energy packed into the scene where Fonny defends Tish, then she turns around and defends his manhood from a racist police officer. There’s tension between you and the officer, the restraint you have to exercise, and Tish’s fearlessness overcoming her physical fear.
I definitely saw that. I saw the restraint that many young men have to learn at a very young age and black men have to learn at a very young age, in terms of how to deal with police. It’s something we’re sort of instructed to [do] as young men. There’s definitely a lot of energy between Tish and Officer Bell, the idea that a black woman can be strong and stand behind her partner in this way. I saw a level of frustration, too, maybe between Tish and Fonny. Almost like, I don’t need you to protect me, and I should be the one protecting you. It’s ironic that I was protecting you and now you have to protect me. It’s interesting how the shift in the scene happens so quickly.
It seems to also speak to the power of the black woman in general. In the film, we see Tish, her mother, Sharon, and her sister, Ernestine—even Fonny’s mother, Mrs. Hunt, has a powerful (albeit negative) presence. Do you feel like there’s something to intentionally be said about women with this film?
In general, our ideologies have been challenged in this film. What it means to be a strong black woman. The fact that it wasn’t Frank who went to Puerto Rico to find Fonny’s accuser, it was Sharon. She hopped up on the plane and she went to find the accuser to see if she could plead for Fonny’s innocence and for his freedom. I think there’s something to be said for the family dynamic and how there’s a balance of power. Especially if you look at Tish’s family, how sometimes it’s Frank that’s out working and trying to make sure that everything’s good before the baby comes out. Sharon’s version of working is, I’m gonna hop on a plane and go to Puerto Rico. It’s just the balance of sharing those duties of the responsibilities. It’s Tish showing the strength of a black woman. She’s working all the way up until the last minute that this baby’s supposed to come into the world. There’s a lot of commentary in terms of what it means to be a strong black woman. This whole novel, this whole story, is told from the perspective of a strong black woman. It’s told from Tish’s eyes, and I think that Tish really grows into herself in this film. You see her grow up pretty quickly and step into that womanly, motherly type of role.
Jacket by Alexander McQueen, Shirt by Roberto Cavalli
Jacket by Alexander McQueen, Shirt by Roberto Cavalli
Jacket by Alexander McQueen, Shirt by Roberto Cavalli
Do you think that you would be able to maintain that sense of togetherness—in terms of love, sanity, optimism—if you were in Fonny’s legal situation? Especially if there was not a guarantee of freedom in sight.
I really couldn’t say, man, I really couldn’t say. I’ve never been to prison. I have no clue what that’s like. Those walls are meant to break people—physically, mentally, spiritually, all the above. So I can’t say. I really, really, can’t say. I’m thankful I’ve seen examples now in cinema of Fonny who was able to sustain himself through all this, but I’ve also seen examples of Kalief Browder who even after two years after his release from prison committed suicide. So there’s no telling what a thing like that puts you through.
That plays out with Fonny and Daniel’s conversation. Fonny tried to console him about his post-prison emotions and his acclimation to the world, and Daniel stressed that he just didn’t understand.
Absolutely, and like I said, these walls are meant to break these men, so after they come out, they’re still dealing with all of this trauma. This PTSD, if you will. So the conversation is not only about why they’re in there—obviously wrongfully, of course—but what to do to them and with them after they come out? How do we treat them? Especially when we know that we’ve wronged them. The system has wronged them. Is there a system in place now to help them get their lives back together and to regain humanity? What do we do with these young men who have been wrongfully imprisoned and are now having to deal with the trauma and the acclimation back into civilian life in general?
After both this performance and your role in Homecoming, the world is paying attention. How does it feel to see that growth and recognition?
We don’t make art from a place where we want a bunch of awards and stuff like that. I appreciate the recognition, that the people are seeing the work, and ultimately if that sort of recognition means that more people will see the work, you know, because it’s being regarded and respected as such, then that’s what I want. If [Golden Globe] nominations mean more people get to see Beale Street and more people get to see Homecoming, then I’m all for it.
Were there any key professional takeaways from working with Barry Jenkins for Beale Street and Julia Roberts for Homecoming?
There’s just so much. I’m so grateful for Barry Jenkins, who’s probably one of the great humanists that we have in this business. One of the incredible storytellers who’s always pushing the envelope, I believe, in cinema. I’m grateful to be able to tell stories with a man like that. Probably one of the most patient directors I’ve ever worked with who just allows moments to breathe and live. And then Homecoming, obviously I’m in a position where I’m sitting across from one of the biggest actresses in the history of acting. I’m able to pick up gems from her on a daily basis about etiquette, how you go about your work day, and how you do your homework. I wouldn’t say it’s one particular thing, but getting to spend months with these people with my favorite filmmakers and to be able to pick up the nuances in their work, it’s really an invaluable experience, altogether.
You’ve tackled stories of black love, injustice, tragedy, etc. Are there any stories or characters you’d like to explore next?
I don’t know, I wanna be in a comedy. I wanna be James Bond, I wanna do a Mission Impossible. I wanna be Batman. I don’t see any limits in terms of what I wanna do. I just see a whole world of… I mean I really feel like I’m scratching the surface, honestly. I want to do everything.
Jacket and Shirt by Bally
Jacket and Shirt by Bally
Buenos Aires, 1971. Carlitos was a seventeen-year-old with movie star swagger, blond curls and a baby face. Together with his friend Ramon, the two embark on a journey of discovery, love and crime in Director Luis Ortega’s breathtaking film “El Angel,” produced by the legendary Pedro Almodovar, a twisted “coming of age” tale based on the true crimes of the “Baby Faced Monster” Carlos Robledo Puch.
Lorenzo “Toto” Ferro plays the titular character of Carlitos in a very memorable and haunting acting debut. Luis Ortega, Lorenzo Ferro, and the talented cast behind the film take us on a beautiful journey into the half-real half-imagined life of one of Argentina’s most famous killers. We had the chance to speak with the young actor about his newfound fame, growing up around the movie-making business, and his future as an actor/rapper.
Interview by Rene Garza
Transcribed by Daniel Gomez
“El Angel” is your first leading role as an actor, as well as your first feature film, how did you find yourself in an audition for this role and were you surprised when you got it?
My father actually told me about the film. He said they were looking for someone to portray “The Angel,” but I really didn’t know his story or who he was. But I did a lot of research and went to a casting the following week. The week after, I got a call that the director wanted to meet with me. I ended up doing seven call-backs until they said “you’ve got the movie,” and that all took about six months.
Were you surprised when you landed the role? Or having gone through seven castings, did you feel that you were going to get it?
Well, I was going to be very sad if they said no. (laughs) Obviously I was surprised, I had dropped everything to be in the movie, without knowing if it would ever happen. It was blind faith.
Good, you have to give it your all.
Yes, you always have to give it your all.
Did you always want to be an actor? Did you have interest in movies or theater growing up?
Acting interested me because my father is an actor. I remember as a kid I went on to movie sets where he was filming. He always showed me movies or took me to the movies. So unconsciously I started to be interested in that world…and obviously the theater too, but more movies. As a kid I would ask my dad to watch three movies a day. I remember that when I was 6 years old I got to see “Kill Bill”, and we went to the cinema to see it. Later, when all this (El Angel) happened, I thought maybe it’s in my blood or something… or, let’s say, it was ingrained in me.
How did you get into the character of Carlitos? Even though in real life he was a notorious criminal, did you relate with Carlitos on some level?
Well…after the initial six months of casting, I worked for another seven months with the director Luis and an acting coach. The three of us met almost every day to read the script, to dance, to shout, to do everything. Luis would put a camera in front of me and say “go and try to break into this house” and we filmed it, we documented it. Then, little by little, the three of us got into the skin of the characters… He is so simple yet so complex, at least that’s how I see him… And it helped listening to Luis talk all the time, all the information he threw at me, and his thoughts on how he saw the character. What I really had to do to get into the character was to get rid of the pressures I put on myself and laugh my ass off, as if there were no problems in life. I was looking at life through rose-colored glasses, more or less how I think Carlitos is.
Are you personally interested in crime? Did you find the material fascinating?
Yes. I mean, I’m interested, but not so much that I’d be a criminologist. Those stories attract because they happened in real life and could have happened to you. And that really draws you in and gives you goosebumps, and it’s very rich material to make movies with. Crime is much better to do on film; unless you want to go to prison. (laughing)
How was your experience working with director Luis Ortega?
The truth is that it was great because of his process. We became friends, we became like brothers, and when we started shooting the film we were like siamese twins. If he was scratching, I was scratching. (laughs) With just a look we already understood what one or the other wanted. Then a bond of friendship formed through the work, it was like getting on a boat in which we only reached land when we wrapped filming, receiving the love from all the people. But the experience was the best, and I think that that is what I take away most of all. Maybe it will never happen again, but for now it’s the only movie I have done, so that’s my idea of what it’s like to make movies.
The main character is a beautiful and famous killer/thief, did the material intimidate you?
Ah no! To tell you the truth, you have to open your wings and let yourself fly like…a proper angel… It did not scare me; it intrigued me more than anything because one tries to understand these kind of people, but one only has assumptions. We will never know how it is, and the good thing is our movie is pure assumption. We did not want to get to the real case; Luis based the story on that picture of Carlitos coming out of the patrol car, the one that looks like a criminal shampoo ad. (laughs) The truth is that it did intrigue, it did not scare me, it made me curious.
Carlitos sees himself as a spy for God, how did you feel about his views of human nature vs Christianity? Did you find it difficult to separate the two?
Yes and no. You see, if you judge the character then things will go wrong. It is better to put on their skin and their shoes, because if there is distance between you and the character then that will be seen in the film. You have to stop judging because otherwise it will be seen in the camera, regardless of whether it is moral or not, you need to understand it. Even though acting is a job, it’s also a game, and if you do not let yourself play…then you have to rethink why you are doing it.
Do you have a role of your dreams?
I’m not sure “of my dreams,” but I would like to do Joker’s childhood for example, eh…and also maybe a gymnastics teacher addicted to heroin.
Do you have a director that you would like to work with?
Here in Argentina, I would like to work with Luis again, maybe with Lucrecia Martel, I’m interested in her films, she has a lot of personality. If we’re speaking in the United States, I do not know; I have a huge list of directors. I saw a new director, who was an actor, called Paul Dano. He made a cool movie called Wildlife, so if I go to the United States I would like to work with Paul Dano.
Many of the actors you worked with in the film are veteran actors. Did some of them take you under their wing and teach you some things? And what was the best advice you received from them?
No, it was not exactly like that, but they gave me all the experience they had through a glance. They did not need to say anything, just watching them I already understood what the situation was like, and at the same time, I helped them too because I had the fresh perspective of a child who had never made movies. It became something reciprocal, we fed off one another, some with the freshness and others with experience.
Did your dad give you advice on acting?
Yes, but not on acting. As every parent gives advice, he did not give me advice on acting or working, but about life. If I try to explain now, it would take three hours or more on the phone.
Pedro Almodovar and his company were the executive producers for “EL ANGEL;” was he on the set?
Not on the set, but he was present in France and in Spain when we screened the film. I had the opportunity to meet him, not in the manner I would have liked, but what little I learned about him is astonishing; you see that magic that he has from afar.
Were you a fan?
Um no, to tell you the truth, no. I don’t know even know if I am now, but I do not have to be a fan of his films. I’m a fan of his career, maybe of his imprint. But I have not seen all of his movies, I saw some, and the ones I saw I like. I would have to see them all to be able to say it, but they have a lot of personality.
In what movies or television programs can we expect to see in the future? Or what upcoming projects can you tell us about?
The truth is that I have enough circling, but I still do not know which ones to say yes. So I better not tell you anything, so I do not lie to you. What I can tell you is that I am currently making rap music with my friends, and between November and December we are going to drop a mixtape. I am the rapper and my friends are producing.
How do you feel about all the attention the movie is getting in Latin America?
It is very difficult, because I became famous over night, and I don’t know if that’s what I want… But hey, it’s also great because people received the movie with a lot of love. On that note I’m very happy, but on the other hand I’m a bit paranoid.
But there have been many actors who also make music, do you think that makes it easier?
I did rap before I made the movie, but after the movie I forgot about it a bit, and once I finished and was able to get the weight of the movie off my shoulders, I started doing music again. I knew I wanted to make music, even before being an actor.
Will you concentrate on one or the other? Or see what comes your way?
I don’t know if something is more important than the other, but the importance that one assigns to something gives it importance. I think both are like therapy.
There’s a phrase in the movie that says “I am a thief by birth” do you think that life is predestined from birth?
Ehh… no. I do not think so…uhh, maybe in my case, yes, but no, no. Like I was saying before, it’s just an assumption, but I don’t think it is destined from birth. I know that everything we do is a gift. There are people who would die to find it and live being a slave of the system.
Carlitos based his life on destiny, what is Toto’s destiny?
The destiny of Toto is: to continue working, to continue being happy, to get together with his friends, and to make more music.
“El Angel” is released in US theaters November 9.
(New York, October 9, 2018)—The Metropolitan Museum of Art announced today that The Costume Institute’s Spring 2019 exhibition will be Camp: Notes on Fashion, on view from May 9 through September 8, 2019 (preceded on May 6 by The Costume Institute Benefit). Presented in The Met Fifth Avenue’s Iris and B. Gerald Cantor Exhibition Hall, it will explore the origins of the camp aesthetic and how it has evolved from a place of marginality to become an important influence on mainstream culture. Susan Sontag’s 1964 essay Notes on ‘Camp’ provides the framework for the exhibition, which will examine how fashion designers have used their métier as a vehicle to engage with camp in a myriad of compelling, humorous, and sometimes incongruous ways.
“Camp’s disruptive nature and subversion of modern aesthetic values has often been trivialized, but this exhibition will reveal its profound influence on both high art and popular culture,” said Max Hollein, Director of The Met. “By tracing its evolution and highlighting its defining elements, the show will embody the ironic sensibilities of this audacious style, challenge conventional understandings of beauty and taste, and establish the critical role this important genre has played in the history of art and fashion.”
In celebration of the opening, The Costume Institute Benefit, also known as The Met Gala, will take place on Monday, May 6, 2019. The evening’s co-chairs will be Lady Gaga, Alessandro Michele, Harry Styles, Serena Williams, and Anna Wintour. The event is The Costume Institute’s main source of annual funding for exhibitions, publications, acquisitions, and capital improvements.
“Fashion is the most overt and enduring conduit of the camp aesthetic,” said Andrew Bolton, Wendy Yu Curator in Charge of The Costume Institute. “Effectively illustrating Sontag’s Notes on ‘Camp,’ the exhibition will advance creative and critical dialogue about the ongoing and ever-evolving impact of camp on fashion.”
The exhibition will feature approximately 175 objects, including womenswear and menswear, as well as sculptures, paintings, and drawings dating from the 17th century to the present. The show’s opening section will position Versailles as a “camp Eden” and address the concept of se camper—”to posture boldly”—in the royal courts of Louis XIV and Louis XV. It will then focus on the figure of the dandy as a “camp ideal” and trace camp’s origins to the queer subcultures of Europe and America in the late 19th and early 20th centuries. In her essay, Sontag defined camp as an aesthetic and outlined its primary characteristics. The largest section of the exhibition will be devoted to how these elements-which include irony, humor, parody, pastiche, artifice, theatricality, and exaggeration-are expressed in fashion.
Designers whose works will be featured in the exhibition include Gilbert Adrian, Cristóbal Balenciaga, Thom Browne, Jean-Charles de Castelbajac, John Galliano (for Martin Margiela, House of Dior, and his own label), Jean Paul Gaultier, Rudi Gernreich, Guccio Gucci, Demna Gvasalia (for Balenciaga and his own label), Marc Jacobs (for Louis Vuitton and his own label), Charles James, Stephen Jones, Christian Lacroix, Karl Lagerfeld (for House of Chanel, Chloe, and his own label), Herbert and Beth Levine, Alessandro Michele (for Gucci), Franco Moschino, Thierry Mugler, Norman Norell, Marjan Pejoski, Paul Poiret, Miuccia Prada, Richard Quinn, Christian Francis Roth, Yves Saint Laurent, Elsa Schiaparelli, Jeremy Scott (for Moschino and his own label), Viktor Horsting and Rolf Snoeren (for Viktor & Rolf), Anna Sui, Philip Treacy, Walter Van Beirendonck, Donatella Versace (for Versace), Gianni Versace, Vivienne Westwood, and Charles Frederick Worth.
The exhibition is organized by Andrew Bolton, Wendy Yu Curator in Charge of The Costume Institute, with Karen Van Godtsenhoven, Associate Curator. Theater scenographer Jan Versweyveld, whose work includes Lazarus with David Bowie as well as Broadway productions of A View from the Bridge and The Crucible, will create the exhibition design with The Met’s Design Department. Select mannequin headpieces will be created by Shay Ashual. Raul Avila will produce the gala décor, which he has done since 2007.
A publication by Andrew Bolton with Fabio Cleto, Karen van Godtsenhoven, and Amanda Garfinkel will accompany the exhibition and include new photography by Johnny Dufort. It will be published by The Metropolitan Museum of Art and distributed by Yale University Press.
The exhibition is made possible by Gucci.
Additional support is provided by Condé Nast.