Sentimental Value’s Renate Reinsve on Parenting While Acting and Her Friendship With Elle Fanning

Summary

Podcast Summary: The Run-Through with Vogue

Episode: Sentimental Value’s Renate Reinsve on Parenting While Acting and Her Friendship With Elle Fanning
Date: November 11, 2025
Hosts: Chloe Malle (Vogue U.S.) & Marjon Carlos
Guest: Renate Reinsve
Main Theme: Exploring the interwoven themes of art, family, and motherhood through Renate Reinsve’s experience starring in Sentimental Value, her creative collaborations, and her approach to acting and fashion.

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Episode Overview

This episode centers on a lively and eloquent conversation with Norwegian actress Renate Reinsve, star of the film Sentimental Value. Vogue editors Chloe Malle and Marjon Carlos dive into topics spanning the film’s focus on complicated family dynamics, Reinsve’s unique journey balancing motherhood with acting, her creative process with director Joachim Trier, and her notable evolution as a fashion risk-taker. The discussion also highlights her collaboration with Elle Fanning and reflects on how personal history, vulnerability, and laughter inform both her life and her work.

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Key Discussion Points & Insights

1. Sentimental Value: Plot & Themes

• The film is a “story of two sisters” — Nora (played by Reinsve), an actress, and Agnes, a researcher, reunited with their estranged film director father in Oslo ([01:17]).
• Explores questions of “family and home and art and how you can kind of heal family wounds—or not—through art” (Marjon Carlos, [00:53]).
• “Life imitating art and art imitating life… A film about film. A lot of meta narratives going on." ([01:05]).

2. Renate’s Relationship With Director Joachim Trier

• Sentimental Value marks her third collaboration with Trier; she credits him with writing roles specifically for her, deepening with each film ([19:23], [19:53]).
• Their process: Trier and co-writer Eskil Vogt develop scripts tailored to Reinsve’s range and personality, then adapt them further during rehearsals to capture authenticity:

  “When we got to rehearsals, he will adapt the script and the scenes to what comes out of that dynamic between the actors… On set, it’s also very flexible, very open.” (Renate, [20:46])

3. Motherhood & Acting: Navigating Work-Life Balance

• Reinsve coparents her six-year-old son, adjusting her filming schedule so her child can visit or she can return home regularly ([07:29], [09:41]).
• On the unique challenges facing children of performers, referencing her son’s experience of seeing her on posters everywhere and managing his anxiety:

  “I took him to the Norwegian premiere and I didn’t talk to anyone else but him so he would know he was the most important… he kind of actually stopped being anxious.” ([11:14])

4. The Oslo Effect: Setting & On-Screen Atmosphere

• The city’s unique light and energy inspire both the film and real life:

  “In the summer, you don’t get a sunset… and when the sun comes back, it’s like a festival. Everything just happens in the streets…” ([14:17])

5. Discussion of Key Movie Moments

• House as a character: The “gingerbread Victorian house” at the film’s nucleus is based on a real home Trier discovered, and the filmmakers honored its lineage ([16:08], [17:54]).
• Layered meta-reality: Scenes were shot in both the real house and its studio replica, adding emotional meaning, especially for the homeowners ([18:47]).
• A centerpiece sister scene:

  “When Inga had this impulse to get up on bed and hug my character… and then she had the bravery to add a line saying 'I love you’… but Joachim and Eskil talked about they could never write that line. It’s too pompous.” ([24:12])

• On improvisation and authenticity in performance:

  “…To be able to get to that point where everything is open. It’s how you work and kind of conditions everyone, cast and crew.” ([22:25])

6. On-Screen Fashion & Red Carpet Evolution

• Reinsve is known for bold red carpet looks, styled by Carla Welch and often featuring Louis Vuitton and Schiaparelli ([01:55], [03:09], [04:10]).
• She describes how wearing designer clothes shifted her self-perception:

  “I never wore anything that was a brand before I was 30… But after I won the Best Actress award at Cannes, I got to borrow a dress from Dior… I realized how emotional it is, how you can alter how you feel about yourself through how you express yourself.” ([36:31], [37:32])

• Collaborative, narrative fashion choices — looks are chosen to reflect her sense of self and support the story of her films across festival appearances ([39:09]).

7. Friendship and Collaboration With Elle Fanning

• While only sharing “one big scene” in the movie, Reinsve speaks warmly about their off-screen chemistry:

  “We just had that one rehearsal, but we were so giggly. Like, we just brought something out in each other…” ([29:16])

• Praises Fanning’s nuanced performance and humanity brought to her character ([29:58]).

8. Other Creative Pursuits & Humorous Anecdotes

• Reinsve attempted woodworking (“carpentry”) and built a porch, but humorously admits,

  “I tried to build this veranda… it’s very crooked. But I had, like, parties on it. It was working. No one fell through!” ([33:49], [34:22])

• Shares about being “really bad” at everything but acting, which is the one thing she’s never been dismissed from ([34:21]).

9. Favorites, Influences & Current Viewing

• Recent film/TV: Tried to watch more on Criterion (despite geo-restrictions in Norway); recently introduced to Grey Gardens — “Real American education right there.” ([45:48]–[46:21])
• Discusses meeting acting icon Isabelle Huppert and marveling at her talent and presence ([34:43]–[36:16]).

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Notable Quotes & Memorable Moments

• “This whole experience is so meta. It feels like we’re still in the movie. And also, like, the sister dynamic. Me and Inga could never really get out of it.” — Renate ([06:10])
• “I think it’s a good sign if you have, like, a little rascal. He’s going to be, like, a territorial provocateur.” — Marjon, about Renate’s son ([07:56])
• On the realness of shooting in Norway:

  “It wasn’t as beautiful as it looks because it was really freezing and so much wind and everything was blowing away.” — Renate ([08:47])

• About fashion’s personal resonance:

  “I’ve gotten to build something that also looks like what I feel like on the inside… there’s something so structural and architectural about how Nicolas Ghesquière builds his looks.” ([37:32])

• Her red Schiaparelli dress:

  “It was very, very tight. It’s a corset. And it was also… scratching the legs a little… But worth it.” ([40:42])

• “Sometimes I’ll get out of bed, and I’ll just change, like, put something over what I wore in bed, and then wear, like, night to day… with a very cool jacket.” ([41:30])

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Timestamps for Key Segments

• Film Synopsis/Setup: [01:17]
• Renate’s red carpet style: [01:55], [03:09], [40:06]
• Balancing parenthood and press tour: [07:29], [09:41]
• Rehearsal process with Trier: [19:53], [22:25]
• Sister relationship & pivotal scene: [22:25], [24:12]
• Shooting in Oslo & the symbolism of light: [14:17]
• On woodworking/carpentry: [32:46], [33:49]
• Meeting Isabelle Huppert: [34:43], [35:03]
• Improvisation & authenticity in acting: [24:12], [25:31]
• Relationship with Elle Fanning: [29:16]

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Tone & Style

The episode fosters a warm, open, and often humorous atmosphere. Renate Reinsve is candid, self-deprecating, and reflective, joking about her offstage carpentry mishaps, sharing vulnerable insights about motherhood, and reveling in the creative energy of long-term collaborations. Hosts Chloe and Marjon provide encouragement, relate via their own personal anecdotes, and infuse the discussion with Vogue’s signature blend of wit and sophistication.

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Perfect For Listeners Who Want…

• Intimate, behind-the-scenes insights into a buzzy arthouse film
• Honest conversation about balancing creative work and family
• Candid reflections on fashion, fame, and self-perception from a breakout international star
• A taste of the camaraderie and curiosity that animate the world of Vogue

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Episode highlights how, at the intersection of art, life, and style, Renate Reinsve brings levity, depth, and humanity—whether on screen, the red carpet, or making crooked porches.

Transcript

[A]

This episode of the Run through is brought to you by ebay. I'm Arden Fanning Andrews, Vogue's beauty editor at large. Gifting is my love language. I'm scrolling ebay all year long and building up a watch list. This year I'm looking at a lot of vintage belts and designer scarves. And now, rather than just putting things on the watch list, it's my time to actually check out. It's about just like making my holiday gift shopping a little bit easier. It's always an ebay holiday.

[B]

This is the Run Through. I'm Chloe Mel and I am in the studio with Marlee Marius herself.

[C]

Hi.

[B]

We had the fantastic opportunity to speak with Renata Rheinzva for her new film Sentimental Value that came out last Friday, November 7th, and I have to say I really loved this movie.

[C]

It's an amazing sort of exploration of family and home and art and how you can kind of heal family wounds or not through art.

[B]

Life imitating art and art imitating life.

[C]

So true. A film about film. A lot of meta narratives going on.

[B]

We love that.

[C]

We loved that.

[B]

Marlee.

[C]

What?

[B]

Can you give us a quick synopsis of the movie?

[C]

Yes. So it's basically the story of two sisters. One's named Nora, that's played by Renate Reinzva. The other is Agnes, played by Inga Ipsatililos. Nora is an actress. Agnes is a researcher. She has a young son. They are kind of reunited with their estranged father, who's a film director, and he's back in town in Oslo because he wants to make a new film and he wants Nora to star in it. She doesn't want to. Drama ensues. Elle Fanning's invol.

[B]

Yeah, and there we go.

[C]

And there we go.

[B]

What's not to love? We really loved having Renata on because I have to say there's sort of a staff fan group around Renata, the worst person in the world, which was also Joachim Trier. This is her third film with Joachim Trier and she's really made her mark as an actress to watch. She's also such a fashion risk taker on the red carpet, which we love. She wears a lot of Louis Vuitton and Schiaparelli and clearly enjoys it and has a good time working with her stylist, Carla Welch on it. So it's fun to watch Renate's rise.

[C]

And she was wearing an amazing Louis Vuitton look when we spoke to her, which she talks about a bit at the top of the episode.

[B]

She was very endearing. At the beginning of our interview, she told us a bit about English words that she's been learning on her various US press tours, including Discombobulated, which is a feeling she shares a lot of the time. So we both had some time practicing Norwegian names as she was practicing Discombobulated. But without further ado, here is Renata Rheinzva. Before we even start, I need to hear about this.

[C]

Yeah, we need a credit.

[B]

Well, I'm guessing the credit.

[D]

I actually, I just opened the box where it was and I found myself wanting marshmallows immediately. Yes, it's a marshmallow. It's Louis Vuitton, potentially.

[B]

Looks not comfortable.

[D]

Well, it is, actually. Oh, okay.

[B]

Yeah, it's a collar of sorts with two Vuitton sort of damier printed bobbles on the end. How would you describe that?

[C]

Yeah, they're also like cubist.

[D]

Yeah.

[C]

How did you put that on?

[D]

Actually, it's just like that around here. Yeah, it's like you would wear air.

[C]

Totally. Like, headphones.

[D]

Headphones. And then put them down for sure. But they're very fabulous.

[B]

Yeah, those are like the chicest headphones.

[C]

They're the chicest, like dj.

[B]

For our listeners who are not watching, I want to describe that Renata's outfit. Is it leather?

[D]

Oh, wow.

[B]

It's like suede.

[A]

Yeah.

[D]

Is it? Yeah, yeah, suede.

[B]

A suede top with sort of princess sleeves and a leather skirt that is like almost a bell shirt. A bell shape.

[D]

Yeah.

[B]

Yeah.

[D]

I feel like if.

[B]

And this is the utmost compliment, if Glinda, like, was a high powered executive.

[D]

This could be what she wears.

[C]

Oh, so true. This would be great for the Alphas.

[D]

It's a nice description. Great description. Yeah.

[B]

Thank you so much for coming in. It is Friday afternoon at Vogue and Marlee and I are in our Friday afternoon sweaters and sneakers, and we are not stepping up to Glinda in her corner office.

[D]

You look fabulous.

[B]

What else are you doing today that you like? What's on? Sort of the weekend press tour.

[D]

So today I actually have a little break after this, and that's not often these days.

[C]

Okay, good.

[B]

So what are you doing in your break? It's a gorgeous day.

[D]

Yeah, I really wanted to go to see, like, some art, if you have any.

[B]

Oh, have you gone to the New Frick?

[D]

No, I haven't.

[B]

Oh, my God, it's so beautiful.

[D]

Okay, I'll go there.

[C]

70Th and 5th.

[B]

It just reopened a few months ago. Newly designed. It's so beautiful. It's such a jewel block Collection Marley intern there as a youth.

[C]

I spent a lot of time there in high school, so it's a very dear place in my heart. But it's just like, such a special little slice of Manhattan.

[D]

Okay, cool. Yeah, I'll go there.

[C]

Amazing art. Yeah.

[D]

So we made the plan for that part of my day, and then I'm going to have a couple of screenings. Well, I'm not in the screenings, but I'll do the Q and A's after.

[A]

Okay.

[B]

What do you usually do when you have to go to the. Before and after the screening? Like, is there a cast dinner or are you just sort of scrolling on your phone?

[D]

No, it's a dinner. And then we. Maybe we invite some friends or someone we're, like, distributing with, or they're distributing our movie in that country we were in. Or we.

[B]

It's sort of like Rachel Kemp when she invites Bjorn to Dovio.

[D]

This whole experience is so meta. It feels like we're still in the movie. And also, like, the sister dynamic. Me and Inga could never really get out of it.

[C]

You have such good chemistry. It's so sweet.

[B]

Did you meet on this movie?

[D]

We had done, like, a children's play when we were younger. No way. And we were. It was so, like, silly, but really funny. No, it was like, in our early 20s, so we were like. But it feels like we had something from before, something very silly. So it felt like something we would have as children so we could build off of that. That's so dear chemistry.

[B]

Did Wokim know that?

[D]

I don't think he did when he captured her.

[B]

I'm trying really hard, but you can correct me. Is it Woakim.

[C]

Joachim?

[D]

It's good.

[A]

Yeah.

[D]

Joachim.

[B]

Joachim.

[D]

Yeah.

[C]

That'S fine.

[D]

But it's very. It's really hard for any other language to say it, but I say Hwakim Phoenix. That's wrong, too.

[B]

No, that's right.

[C]

Is it?

[D]

Yeah.

[C]

That's why we're confused.

[B]

Yes.

[D]

Yeah. That's why I think I'm saying it wrong, because I think I'm right.

[B]

You just got here from la, right?

[D]

Yeah, it was extremely busy.

[A]

Okay.

[D]

Yeah. We just. Because we all have families outside, so we're trying to make all the stuff we're doing in the shortest amount of time possible so we can go back to our. Like, do you have normal life? Yeah, I have a son.

[B]

Okay.

[D]

How old is he? Six. Oh, yeah.

[B]

My son, too.

[D]

Really?

[B]

Yeah.

[D]

He's extremely cute.

[B]

Naughty. And we.

[D]

So naughty.

[B]

Just telling Marley. I have had a peak parent teacher conference every Week for the last month.

[D]

Really?

[B]

I was like, arthur, do you know why we're meeting with Betty again? He's like, because I don't listen. So at least you're aware, Self aware.

[D]

I think it's a good sign if you have, like, a little rascal. I think it's a good sign.

[C]

He's a disruptor. He's going to be, like, a territory provocateur. How old was the young actor in the movie who plays Agnes son?

[D]

He's eight.

[C]

He was so sweet.

[D]

So sweet. And he was so present. And he was just like, really just landing in the scene and being so. He wasn't aware of the camera at all. He was just there. And then he was also, like, all over when we were not filming. He was like, crazy and like, I'm tired. I want all the chocolate and running around. He was great.

[B]

Just sort of saying what everyone else is thinking.

[C]

Yeah, that's true.

[A]

That's true.

[D]

I want that too.

[B]

Did you film everything in Oslo?

[D]

I did, but I know that they. Stellan and Elle, they went to Deauville. Okay.

[B]

Oh, Deauville. I wonder. It is really beautiful.

[D]

So beautiful. But it wasn't as beautiful as it looks because it was really freezing and so much wind and everything was blowing away.

[B]

And when she's in that strapless gold dress.

[D]

I think they came home. Like, they looked discouraged, but they got back eventually. But they were, like, lagging from that trip. I think it was a part of the movie. And we did some scenes in Sweden, especially with Stellan, when he's in his home and he has this great scene where he calls Nora, his daughter, drunk. He does that.

[B]

So was he actually drunk?

[D]

No. And that's the. That's the amazing thing. Yeah. That you would ask that is a great compliment. Exactly.

[A]

Yeah.

[B]

Does your son visit or how do you sort of organize that life at home when you're shooting?

[D]

Well, that's been like the best thing about this because I've kind of been so lucky that every production I've done, he's been able to come there. And I've. Because I share him with my exo. 50 50. So I. We actually. They come to the city I'm in if I'm shooting somewhere, and we get that same 50 50. And then I try to be, of course, as much home as possible so that he can go to his school and do his thing and y. With his friends. This was supposed to be my year off.

[B]

Oh, wow.

[D]

And then all of this great stuff happened and it's very hard to say no to. Yeah, of course.

[C]

Sure.

[B]

Does he understand your job? Cause it's a hard job for kids. I mean, it's both a hard and the simplest job for kids to understand. Yeah.

[D]

I was gonna like ask you questions because you come from that and like, how are you doing?

[B]

This film was very specific for me.

[D]

Yeah.

[B]

Well, when I was little, I spent a lot of time on the set of Murphy Brown and I just thought that that's sort of what most people did. But in the same way that everyone thinks their childhood is normal. I mean, my mom and my father lived in separate countries but were together. And I just assumed that's what everyone's parents did.

[D]

Right. So you had the expectations kind of together with the experience.

[B]

But it is a very confusing and also relatable thing for a child to see someone whose job is to pretend so much of their world is pretend.

[D]

Right. Yeah. We do it since we're kids in that, like the acting. I just never stop doing it because you kind of do that. You try to understand the situation or like a social structure you're in through, like playing it out. And that's also how I got into it, like when I was nine, like really enjoying that. And that was kind of my force in. And it still is. But my son has been like, I think discovering that this is a bit unusual. And it's been so many, like posters. Oslo is really small. So you really see the posters everywhere. They were having screenings of this movie. Sentimental value and worst person to have like the both of them to. So you can see both. And that was weird. And he was starting to get a bit anxious. I don't know if it was a good idea, but I took him to the Norwegian premiere and I didn't talk to anyone else than him so he would know that he was the most important. And then he kind of actually stopped being anxious. So maybe. Maybe I fucked him up even more. Or maybe it was okay. It's hard to know what to do. Yeah, yeah, yeah.

[C]

Because you're probably like, why is mom everywhere? And all this attention on mom? What does this mean? What does it mean for me?

[B]

Because my mom never took me to anything, like, event wise. But it made me feel excluded.

[D]

Right, right.

[B]

Which in retrospect I think that was. I understand why she did that and that was fine. She just didn't want there to be photos of me or whatever. But at the time it was like, oh, but everyone's talking about this thing, then I'm not a part of it.

[A]

Right?

[D]

Yeah. And like Everyone comes up on the street being like, congratulations. When we just got an entry to go into, like, from Norway, like the Oscar entry from Norway. And then everyone would come up because it's. Yeah, it's Norway is really. Yeah, yeah, yeah, sure. And so that he would just like, scream when like one more person and one more person and one more person. And of course, it's nice for me to hear, but also, like, finding the balance between, like, giving them attention and not being rude and saying, I'm. Yeah, I'm with this little boy. Thank you so much. Yeah. So it's something to always be aware of and try to protect him in all of this. Because it's like.

[C]

It's a lot.

[D]

Yeah.

[C]

I was going to ask about the experience of shooting in Oslo because, I mean, Joachim has made what's now known as the Oslo trilogy. It's reprise also August 31st and worst person in the World. And this is also said, for the most part, in Oslo. What's it like shooting there? I find that he captures it in such a beautiful and evocative way. I've never been, but I would love to go just kind of based on the way that he sort of photographs what's good.

[B]

Like Scandinavia.

[C]

I agree with you. I have been to Stockholm. It was in winter. I was like, maybe this was like, not the greatest time to be there. It was like the sun was setting at 4pm but anyway, it's not a good time. It was not a great time.

[A]

Don't go.

[C]

I'm curious about, like. Yeah, the experience of shooting there. What do you think makes the city, like, come alive on screen?

[D]

I think it's the light. It's a lot about the light. It's very special. And you. In. In the summer, you don't get a sunset or the sun is just up all the time. And you have all these special times where the lighting is really beautiful. And I think because the winter is so long and it's dark, like eight months of the year when the sun comes back, it's like a festival. It's gorgeous.

[B]

Yeah. Yeah.

[D]

It's amazing for, like, everything just happens in the streets and you can go out not knowing what to do, and you'll meet someone and then you'll just end up partying the whole night.

[C]

Totally.

[D]

Yeah.

[C]

That's kind of the vibe at the beginning with Worst Person in the World, I guess. Kind of like that all night, kind of like just going from place to place. Just like an endless sort of like.

[D]

That's very. It feels very accurate for What a summer is like in Oslo. Yeah.

[B]

The rental will be back in a moment.

[A]

It's my favorite time of the year because I love gifting, but I also love getting gifts. And I mean, who doesn't at this point? Everyone knows that I actually do want something found on ebay and my husband really cracked that code last year. He did a scavenger hunt around our house. And at the end of each hint was an ebay gift card. And I'm still using them. I got some vintage Guess jeans, I got a white Margiela jumpsuit, a YSL blazer, this really cool Vogue magazine Paris tee with shoulder pads, and then some Mew Meo crystal jeweled heels. I really needed those. So, Treasure Hunt Part 2, 2025. My eBay watch list at the ready and it's time to check out.

[B]

I also loved the sort of gingerbread Victorian house that is so the nucleus of the film.

[C]

Those amazing windows, beautiful windows.

[B]

And I wonder, I mean, it's a multi generational family home and there's obviously, as people will see the film, a lot of plot points that took place in the house. Do you have a house that felt like that for you growing up? Like a family home, your grandparents or something or someplace? Now that was more than a house. It really sort of housed history of a family.

[D]

Well, my family moved around a lot and it would always change up because my mom and dad split up and then they would have new relationships and they would split up. So it was always a lot of people moving around. But I did have. I didn't like go to like you say preschool, right? Or like kindergarten. Yeah. So I didn't go to that. But there was this woman taking care of a few kids and she kind of always stayed the same, the same base and the same kids were there. And I had like my best friend there and he was my best friend until I was like in my mid-20s. And we still keep in contact, but we like have such different lives now. But that was my base and that's where I actually have like the most memories from that house. I was there throughout all of primary school. Actually after. After class I went there and she was like my. She was very important to me.

[C]

Wow.

[D]

She was called Dalda. Shout out to Dalda.

[A]

Yeah.

[B]

The house that you filmed was actually in Joaquim's neighborhood that he just discovered on a walk.

[D]

Yeah.

[B]

Did someone actually live there? Were you there for a long time in this person's home?

[D]

We did. It was a family home and we were shown pictures from all times. So we kind of had that feeling of what this had meant and how much time had passed in that house and how much, I guess, drama in the little things that had happened just by time passing in all the big events and small events that had, like, made lives through generations in that house. And yeah, the family was very generous to give us the house for a few months. And Joachim has said also he invited them because they built a studio version also to do some of the scenes that when they couldn't make it back and forth, 60s to the 2000s, really quickly, so they had to have a studio. And they took the family to see how the house looked exactly the same as it was in the 60s. And that was very emotional for that family.

[B]

That's interesting.

[D]

It's a lot of meta. It's like. So it was so integrated in our lives, both, like, what happened there and what had happened in our lives. And it's a very personal movie for all of us involved in the movie.

[C]

Toward the end of the movie, like the final scene, where, let's say, something is being filmed, was that the real soundstage? Do you know what I'm talking about? Like, was that the real soundstage of the house?

[D]

Yeah, that was the studio. Yeah. Okay, that's cool. Yeah, very cool.

[B]

Layers upon layers, peeling the onion.

[C]

We love that. We love it.

[B]

But like in the film where Stellan Skarsward's character, who is a. A great director who hasn't made a film in two decades, he writes a film with his daughter Nora, who you play in mind, and she does not want to play that role. Joachim, he wrote this role as well as the worst person in the world with you in mind. Does that. Are you part of that idea generation? Do you give input into any of the lines?

[D]

Do you.

[B]

Ad lib any of it?

[D]

I think because Joachim and Eskild, they go into the writing room and that's kind of their little room where no one else is let in, although we would love to. And they watch movies and they talk about all these themes and it kind of slowly, it builds in there. But because they write for someone, they, I think you are. Did that on a different kind of base, on worst person in the world. He had seen me in some things and we knew each other a little bit, and I've had this one line. But he knew that I had kind of some levity that he was looking for for a character and also had seen me do a lot of heavy dramatic things on stage. So he wanted that combination in a character. And Then he wrote it picturing me. So that will inform that character. And then when we got to rehearsals, he will adapt the script and the scenes to what comes out of that dynamic between the actors in the rehearsal and the person portraying that character. And in this sentimental value, he did that, but it was even deeper because now we kind of know each other so well. We know that we can express something through each other. He knows where I can go and want to go with a character. So he wanted to write a more mature role with a more emotional depth and weight. We knew where we were going with it. And then also we get to rehearsal, and then he adapts the scripts from those rehearsals. And then on set, it's also very flexible, very open. We know the ideal version of a scene and we go in with that, but it's very open so that whatever comes out that's authentic will stay in the movie.

[C]

I mean, I did want to ask about one scene that I found so moving as an older sister. The scene between Nora and Agnes where they're kind of, like, recontextualizing their relationship. Nora kind of has, it seems like one idea of what Agnes sort of relationship to, I guess, their father has been. I think she does ask, and this is in the trailer, like, how are you not, like, messed up by our childhood? And Agnes is kind of ultimately, I think, communicates that she has damage to that. Maybe it's not as sort of obvious as Nora. Were you surprised by any of the emotions that kind of came out during that scene in particular?

[D]

I was, but we've been kind of conditioned to let anything happen. And he will never, like he writes his character, he doesn't judge anyone. Like, all the chaos within a person is written with so much compassion and care and the same, like, the way we show up in a scene, it's more raw and more kind of. You get something that is authentic. You might not get exactly what you want, but then you get an actual moment. He calls them events, like, he's chasing events. So we kind of, at that point during that scene, we've been doing a lot of scenes and. And it's kind of that structure where you get into a place where you know where the ideal version of the scene is. But you are totally open. If that don't happen, it's still good because you stayed true to your character. And now it sounds like it's completely open, but it's still, like, craft. It's a lot of craft behind that moment. But to be able to get to that point where everything is open. It's how you work in kind of conditions. Everyone, cast and crew. So when Inga had this impulse to get up on bed and hug my character, when they both realize that they've been there for each other, and Nora realizes that she's actually been able to take care of someone, even though she doesn't see her own ability. Yeah, That's a huge realization. And then the actor, Inga, wanted to get up in bed, but she was a little scared to ruin the scene. So. And Joachim, he's right next to the camera, and he is so tuned in. He knows exactly what's going on inside of us. It's like. It's fantastic.

[C]

He's very emotionally intelligent.

[D]

He is so emotionally intelligent. And it's such. You never feel you're alone because the whole crew, everyone is so emotionally leaned in because he encourages it. So he whispered, do it. Climb up on bed. And then she. And then she had the bravery to add a line saying I love you because she felt it. But Joachim and Eskev talked about they could never write that line. It's too pompous.

[C]

Yeah.

[B]

It's too much.

[C]

Yeah.

[D]

And then the dp, Casper Tuxin, he jumps up on bed and he gets that shot. But he wouldn't have if he wasn't in the same space. And he was telling his very personal story, too, in the movie. Like, doesn't matter what that is. But he was very. The movie was also personal to him. So he just loved those sisters and really wanted that story for. Yeah. He's just an amazing dp.

[B]

Oh, my God.

[D]

Yeah. And then I was in character trying to say back to. Or Nora was trying to say back to her sister that she loves her, but she struggles to say it. So it was just all. It just all came together as an improvisation, but not only between Meninga, but the whole room.

[C]

Yeah. Wow. That's so cool.

[D]

It's very cool.

[B]

I was very. I thought that the opening of the film in backstage of the theater had such exciting dynamism to it. And you sort of see Nora's character going behind the rafters, and she starts to have a panic attack in this sort of corseted period costume. Have you. You've obviously done quite a bit of stage work. Have you ever had a similar moment backstage where you've been like, oh, my.

[D]

God, I haven't actually. I feel I can, like, facilitate my fear.

[B]

Okay.

[D]

In a good way.

[C]

Like, channel it into, like.

[D]

Yeah, but I've seen that exact thing happening that happened. So I was. And I Of course it's horrible to see. And I'm smiling because it is some fun in people panicking because it's so true. And I can recognize panic, even though I kind of not. I don't act out of it. In some situations, I probably do, but not on stage. But what I really loved about that scene is that you can see how much she's carrying inside. And to get up on stage and do a good performance, you have to access all of that. And she just, like, she doesn't know, but she flips out going into that and physically runs away and rips off her dress. It was fantastic.

[C]

Back together.

[D]

So funny. And then you see that. That force of what she's carrying that she's not able to process or communicate is what also gives her all her talent.

[C]

Totally. Yeah. You get the sense, like, she has to be that kind of, like, wired and kind of wild to be as powerful a performer as she is.

[D]

And I really like that launch of a character in the beginning of a movie. You kind of see all of what she's struggling with.

[C]

What?

[B]

Well, I. Like, there's a moment between you and your lover, the character and her lover, where Amos.

[C]

We love Amber's.

[D]

Yeah. She's so great.

[C]

ADL.

[B]

Where you say that Nora says, I'm 80% fucked up, 20% normal. And I like that the film starts really, in the 80%.

[D]

Yeah, yeah, yeah.

[B]

What's the most uncomfortable costume you've ever worn?

[D]

Thinking about. I think it's, like, one of the. One of the worst costumes. And then they had, like. The sound guy had done something without telling me, and because the shoes were so slippery and I was running everywhere. And then I realized, oh, he'd put, like, small, like, the. I don't know, felt under. So, like, it was kind of dangerous.

[C]

Wow. Was that to like, make it then, like, not make it so it's worse?

[A]

Maybe.

[D]

Yeah.

[C]

Okay.

[D]

Yeah, yeah. But he didn't think of, like, all.

[C]

The mobility bar, Like.

[D]

No, I think that is, like, wearing a corset is always. You can't breathe.

[C]

Yeah.

[D]

It's challenging.

[C]

Yeah. The, like, now kind of, like, iconic Joachim Trier summer shirt that Elle Fanning wore at Cannes. Inspired by.

[B]

Really. The Vogue office was very excited about this. Did she make it herself?

[C]

Well, I was gonna ask, like, where'd that shirt come from? Do you have one of those shirts?

[D]

Oh, it's Dylan's T shirts.

[B]

Yes. Now this is all coming back to me.

[D]

It's.

[B]

Some kid made it.

[D]

El stylist's son.

[A]

Oh, my God. And he.

[D]

I think he made very few of them. And he just sent one to me.

[B]

Oh, my God.

[D]

So I have one. But it was.

[B]

So now it has to be Joachim Trier, winter.

[D]

Yeah, I can wear it. I can't wear the summer T shirt in winter. I'll have to wait.

[B]

Well, you'll just have to find a quartet to the trilogy so that.

[C]

There we go. We're just keeping it going.

[B]

How much were you working with Elle on set? Because I feel like the photos I've seen of you guys doing the red carpet together have been so sweet.

[C]

We only have like one big scene together.

[D]

We only had that one scene. And it's. I remember when we met on the rehearsal for that scene, and we just had that one rehearsal, but we were so giggly. Like, we just brought something out in each other that was so giggly. Yeah, it was just our energy together. And then we just had that one scene and she wasn't there for long. She was in between shoots, so I didn't see her that much. And then when we met on the red carpet in Cannes, it was just. It just happened again. And we. It's just. It's just the dynamic. Yeah. I don't. I don't. I can't explain it. She is so sweet.

[C]

She's so good in this.

[D]

Like, she really is so smart with this character because it could really have been like a paper mache American actress coming to Norway very easily, but she's really structured it. So smart, of course, together with Joachim. But you brought so much humanity to that character.

[B]

The run through will be back in a moment.

[A]

A trend that I'm noticing this season, which is also perfect for this weather, is layering. And so you can truly wear five shirts at once if you want. That's fashion. Right now. People are wearing skirts over pants and button downs on top of button downs on top of button downs with a sweater on top of that and a scarf on top of that. And if you know that someone already has a favorite item, then ask yourself, like, do they need it in another collar? At this point? They do. And so just get them two of something that they already like and already wear and go back to that ebay search bar and get as specific as possible. And I know that you'll find it because you can find everything on ebay.

[B]

Where did Joaquin Trier's Summer come from? Was that Charli X. Johnson who said that?

[C]

Yeah, she like. During the Brat tour, she like, had. She was doing that.

[D]

She like saying that because she loves cinema, she loves movies.

[C]

She is such a letterbox girly.

[B]

She is.

[C]

She is amazing.

[D]

I love it. And then she did, like, Joachim Trier and Paul Thomas Anderson Summer. And she did, like, all of these movie makers and other musicians. She was kind of giving away Brad Summer to everyone else. It was very generous.

[C]

Have you met her?

[D]

I was not there. She came to Oslo to do a concert, and then she actually did an intro for movie. And she said so many beautiful things about the movie. Very generous. But I was shooting, so I.

[B]

She said on her letterboxd review, Renata x Stellan equals Lethal Combination.

[D]

Oh, really?

[B]

Which I love.

[C]

Good stuff. She's. She wears the lines.

[A]

She's not.

[B]

Speaking of. You were off filming. You said that this was supposed to be your year off.

[D]

Yeah.

[B]

What were you going to do?

[D]

I was going to, like, walk my son back and forth to school. And I still get to do that. I try to travel when I don't have him, and then he can come here. But it's like. Because it's his first year in school, or you say kindergarten here. It's like the first grade.

[B]

Very first.

[D]

Oh, yeah.

[C]

Yeah.

[D]

Six years old first. It's like a big transition. Yeah. So to, like, give him space to just, like, feel all the weird feelings from starting something.

[C]

Yeah.

[B]

What about carpentry?

[D]

Well, I tried. And I have to disappoint you?

[B]

Oh, no.

[D]

Really bad at it. I have to, like.

[B]

What did you try making? Where did this come from?

[D]

Miranda. Oh, wow.

[C]

Tried making a veranda.

[D]

Yeah. Or is it a porch? Or what is it called?

[B]

No, no, you're right. We're just impressed.

[C]

I thought it was gonna be like a table.

[D]

A chair. No. Cause, like, it's cooler to say. It's cooler to say that you want to do, like, small, cute furniture, but I wanted to do, like, a project. Like a project.

[C]

Yeah.

[B]

Wow.

[D]

So. And actually, my whole family comes from, like, being in the hardware store industry doing, like, woodwork. And I've always really loved wood. And every house that I've lived in has had a lot of wood. And then I had been in the theater for so long, and then I didn't really get the movie parts that I wanted before Joachim called me. So I was gonna try to work with wood. I was gonna really go for it.

[C]

Yeah.

[B]

Like, Harrison Ford, famously a carpenter before.

[C]

He was an actor who were into woodworking.

[D]

I think it's, like, meditative. So I tried to build this veranda, and a friend helped me. And then we put the blade on the wrong way for the saw, and it kind of started, like, coming smoke out, and it's very crooked. But I had, like, parties on it. It was working.

[B]

Wow.

[D]

It helped people.

[B]

No one fell through.

[D]

No. No one did. And that's all you can ask for. But I have been, like, asked to leave a lot of jobs in a lot of places, but never acting. Huh. So it's just the only thing I seem to be able to do. I need, like, a long time to learn something.

[C]

Yeah, no, I see that.

[A]

Yeah.

[B]

I love the story about Isabel Huppert seeing you in so iconic Etta and recommending you to Joachim.

[D]

Still my biggest moment.

[B]

Have you connected with her about that? Have you?

[D]

I don't think we talked about that, actually, but I did meet her in one of the Louis Vuitton show, but I was so discombobulated.

[C]

Oh, sure. Oh, sure.

[D]

My only English fancy word.

[C]

Oh, my God. I, like, saw her from a distance at the Met, and she's first of all, this tall. Like, she's so small. I was like, I would, like.

[D]

But she's also so big.

[C]

She towers.

[A]

Yes, she towers.

[C]

Oh, my God.

[D]

She's just. Yeah. But I think we. I tried to, like. I was like, this is maybe the only thing. Only time I'll meet her. I have to put all the questions and everything I wanted.

[B]

What was your question for her?

[D]

I think I just started somewhere. Like, so.

[B]

How.

[D]

What? How do you live? Like, what's up with you? I don't think I've said that, but I wanted to, like, start in the beginning and, like, understand.

[C]

Sure.

[D]

To have, like, that much control and at the same time, be so raw and uncontrollable in the same moment. When she acts, it's just such a mystery to me.

[C]

She's so busy.

[D]

Like, she's the busiest woman who loves working.

[C]

She never works.

[B]

Remember when she did the interview and was like, I just hang out in Bushwick.

[C]

Oh, I triggered her. She was like, oh, I love Brooklyn. This is so crazy.

[B]

She's.

[D]

Oh, what a legend.

[C]

Oh, my God. Too much.

[B]

I want to hear, because I'm sorry to say it is the Vogue podcast. I want to know if you were always a fashion person or if that sort of came to you or became more of an interest when you were doing more red carpets.

[D]

So. Well, I never wore anything that was, like, a brand before I was 30.

[B]

Okay.

[D]

Because I grew up in a place where we didn't really have any resources, so we couldn't afford anything like that. And then I moved, like, gradually to the city, but I got very fast into the theater and theater in Norway, you don't really make any money. So it was just never on my radar to, like, get anything. And then after I won the best actress award in Cannes, or I think, yeah, for the premiere, I got to borrow a dress from Dior, and that was kind of the first moment where I had something that was really, like, well tailored. And I was like, oh. Because I've seen it in pictures, but never, like, touched the fabric and knew what it would make me feel. And then I started collaborating with Louis Vuitton eventually, and I've just learned so much. And what have you learned?

[C]

Yeah.

[D]

How emotional it is, because you really can alter how you feel about yourself through how you can express yourself. So I actually, in some way, I've gotten to build something that also looks like what I feel like on the inside, in a way. And I don't know, it's something so structural and architectural about how Nicolas Garcia builds his looks. So the lines and, like, how inspired he is with art and by art and movies, it just really. They really communicate. So it's been so. I've had, like, an exponential growth in learning about these things.

[C]

Sure.

[D]

Yeah.

[C]

I mean, he does seem like someone who just, like, loves actors. Like, also, he's an amazing relationship because he has amazing relationships with so many, with Emma Stone. And it seems like he walks into something that, like, you really respond to.

[A]

Yeah.

[B]

How have you collaborated with him? Cause you also work with Carla Welch as your stylist. Right. Do you? I know Nicolas particularly does a lot of custom looks for people. Does that start with a sketch? Does it start with a Runway look? How do you guys communicate?

[D]

Yeah, well, it's been a little bit different. They've gotten to know me and then kind of structured the looks around me and what I seem to like and seem to, like, look empowered by wearing. And then now, I think also Carla Welch has, like, a plan for this season, and they're talking a little bit more closely of, like, a way to go through this that would make sense. Like, it's almost like a narrative.

[C]

I was gonna say.

[A]

Yeah.

[C]

Like, you kind of have a plan for this, because you are telling the story kind of of this film of your kind of film over kind of several months. I. During this promotional.

[A]

Yeah.

[D]

And I'm still me, and I still want to feel like me doing this and not, like, kind of going. It's so easy in these kind of situations where you're talking about yourself so much and you're hearing all these narratives about yourself, and you so it's so easy. I think you can thread a little wrong and then lose yourself a little bit, and then just keep, like, getting back to what I feel relaxed in and what I feel good in, and always coming back to that. But maybe sometimes go a little bit off and do something crazy.

[C]

Sure.

[D]

Like this necklace. And then coming back to something that is really down to earth, and then so always, like, landing back, and that kind of becomes a narrative in the looks, like, next to each other, I guess.

[C]

Sure.

[D]

Yeah.

[B]

I love this red Schiaparelli dress that you wore. Oh, my God. To me, it was like the real life emoji of the woman in the red dress, but not moving.

[D]

I loved it.

[B]

How did you.

[D]

So beautiful.

[B]

Is that the kind of thing where Carla will send you five different dresses, pictures from the Runway, and you'll immediately be like, that's what I want for the LA premiere, Or how does that come to be?

[D]

No, that was her suggestion, and it was just one option. It was like, this is. And we all agreed it was amazing.

[C]

It's a killer.

[D]

Yeah, it really is. Oh, you have the picture.

[B]

Was it hard to walk in?

[D]

Yes, it was very, very tight. It's a corset. And it was also, like, scratching the legs a little bit under there.

[B]

But worth it.

[D]

Worth it.

[C]

Look.

[B]

Yeah.

[C]

We suffer for fashion sometimes.

[D]

And then I was also, like, after Joachim spoke in the intro of the movie in front of the audience, I was also gonna say something, but I was so out of breath walking across the street. I said, sounded like a threat. Watch our movie. Tell your friends. Watch the theater.

[C]

Yeah.

[D]

So I just. I had to, like, go on that. So I said, I know where you live. I'll show up at your door.

[C]

Tell your friends, when you're off duty, what do you wear?

[D]

I wear, like, baggy clothes.

[B]

Okay, you're taking your son to kindergarten. What's the outfit like?

[A]

It's.

[D]

Cause sometimes I'll get out of bed, and I'll just change, like, put something over what I wore in bed, and then wear, like, a night today. Yeah. And then I have so many cool jackets now, so it looks like a really weird combo of pajamas with something on top with a very cool jacket.

[C]

Okay. This is Phantom thready. There is a speci. I'm thinking of a specific scene. Darnell Day Lewis is wearing his PJs. Has, like, a blazer over the PJs.

[B]

You know what I'm talking about?

[A]

Yes.

[D]

It's very like that.

[C]

Yeah, exactly. Cool.

[D]

But we are a few girls or moms. Now in the schoolyard that have, like, found each other. And you kind of have to have 15 minutes always to talk to them. Yeah.

[C]

Oh, that's sweet.

[D]

That's kind of the. And they are. They also love, like, fashion and all, but they have the exact same. They just got out of bed, put something on, and then something on again. So we're like four women in the same outfit.

[C]

How. Oh, my God. Mom Squad. You did a horror movie with a very young director for a 24.

[D]

Oh, yeah, right.

[C]

You turned 20 on set. That's crazy.

[D]

Yeah.

[B]

Oh, my God.

[C]

Isn't that shocking? He's not talking. Sorry, his name? Kane Parsons. The backrooms. This is the film.

[D]

Yeah.

[C]

You gave an interview recently where you talked a bit about how you guys had pretty different frames of reference cinematically. How does that work? When you're on a set, you're working with a director very young. You're kind of coming from different worlds. How do you like?

[D]

Yeah, it was so interesting. Cause we started talking about what movies his script and world reminded me of. I said, oh, it's like something. Blue Velvet. And he was like, I haven't watched that. I was like, oh, really? Have you watched this? This? No. And then he was like, I haven't really watched that many movies. And then I was like, oh, interesting. Cause he's more into documentaries. And he's been in that virtual world, building his world.

[C]

Interesting.

[D]

And he's very into, like, quantum physics. We talked about, like, these liminal spaces and we had some common interests there. So we started talking a lot about that. And I'm very interested in that stuff. But he is on another level. He's very smart. And it was very impressive how clear he was and how in his vision on set. Being that young, I did not have that confidence when I was.

[C]

That's amazing.

[D]

1919.

[C]

But that does seem like. Yeah, an interesting opportunity to, like, learn from each other on set, maybe, and just kind of like expand.

[D]

And it's also like. Then he will also like the ideas. It's a very visual movie. It's a lot of, like, really, really interesting aesthetics that I haven't seen before.

[C]

Huh?

[B]

Yeah.

[D]

And his world that he built, like, in his room, dealing with his stuff that has now been built in real life. And it's so different from anything you've seen. It's more like metaphors and a lot of symbolism and a lot of subconscious that. You reminded me of David Lynch.

[C]

Yeah. And he was like, who is David Lynch? Yeah.

[D]

That's so interesting. And I love that if someone creates something that it comes from somewhere and they dare to be weird because you don't try to adapt to something that is already been made. Sure it's something completely different and then you're open to like whatever people will. How they will receive it. But it was something that felt necessary for you to tell I. I really respect that.

[B]

So do you watch a lot of horror?

[D]

Yeah, I can't.

[B]

Me neither.

[C]

Me neither. Well, then watch.

[D]

Don't watch this movie then. No, but I. I wish you well. Look at the pictures.

[C]

Look at the stills.

[D]

Buy a couple, couple of like cinema tickets and don't go.

[B]

So I'm the box, actually.

[C]

Okay. I'm great at like not showing up to a movie. I'll be like, I love to support the industry. I am sleepy though.

[B]

Charlie loves rain checks.

[C]

I love do bells.

[D]

I respect that.

[B]

Branna, what are you watching and reading right now? Are you watching any TV shows?

[D]

Because Criterion doesn't really work a lot of the times in Norway because you have to be in the US and sometimes I. I'm really bad at computers, but sometimes I can figure out a way to. It looks like I'm in the US but here I'm trying to watch as much as possible.

[B]

What did you watch?

[D]

Well, I actually watched Grey Gardens because, oh my God, I was in the Criterion closet because I was like, what else? What else? And they said, have you watched this?

[C]

You watched it for the first time?

[D]

Yeah, that.

[B]

Real American Education right there.

[C]

That's huge.

[B]

Thank you so much for coming.

[D]

Thank you so much.

[B]

I'm so excited about everyone seeing this movie.

[C]

Oh, my God, it rocks.

[B]

It's been such a treat.

[D]

Yeah. Tickets.

[B]

And actually go. That's it for today's show. We'll be back on Thursday.

[D]

Bye.

[B]

The Run through is produced by Chelsea Daniel, Alex DePalma and Stephanie Cariuki. It's engineered by Pran Bandy and James Yost. It is mixed by Mike Kutschman. Chris Bannon is Conde Nast head of Global Audio.

[A]

I love coming up with personalized gifts for people. And I'm often taking note of what other people are wearing. And I'll keep that in the back of my mind when I'm scrolling on ebay. I'll type in things that make me think of them instead of a secret Santa, like a little secret personal stylist, maybe it's a fabric or a color or a designer and just see what comes up. And that's a good evening for me. I've got some examples for my husband. I typed in wool, cashmere, vintage Italian tuxedo. And the next thing you know, we're off to a holiday party looking like the ambassadors to New York City. It has come in handy so many times, and now I wear it too, and people love it. Another friend who I studied fashion design with, and actually she designed denim for years. Get something really specific and cool, like white wide leg dead stock skater jeans, which was a real hit. There's so many distinctive and, like, really unique options on ebay. These are high quality items that can often be just one of one. I think of it, like finding pieces that'll, like, really stand out in a room, and then you're giving them the people that are really standing out in your life.

[D]

From prx.