A (3:43)

Hi.

C (3:44)

How are you doing?

D (3:45)

I'm good. How are you?

C (3:47)

I'm good, I'm good. Um, we've had such an amazing response to your cover. So I just wanted to thank you so, so, so much.

D (3:55)

So much. I'm so honored.

C (3:57)

It was wonderful. The sales of on the Stands were through the roof.

D (4:03)

She still got it. She's still got it.

C (4:06)

She definitely still got it.

D (4:08)

I don't know about that, but. No, thank you. I'm. I was so. I was really so thrilled to have been asked to do it. And it's just. And I thought the pictures were so. And it was such a fun day on set. So thank you.

C (4:23)

I'm so glad. It's one of my favorite covers, recent covers. So thank you. I love that you got into the spirit of it and completely understood what we wanted to do. So it was so great to have you collaborating on that.

D (4:34)

It was awesome. I loved it. It was like postmodern Valley of the Dolls meets Brooklyn fashion. That's cool.

C (4:43)

Perfect. Exactly. I saw. I went to see Marty supreme last week and I think it's one of my favorite films in a long time. It was so much fun. I think I want to go and see it again. I'm like, I'm itching to go and see it with friends and family. It was so, so, so much fun. I mean, it was very cool for this to be your first major return to the big screen. Cause it's such a fab movie and you said in interviews that you decided to return since your kids are now out of the house. You mentioned that you felt a little bit rusty. But what was particularly challenging for you? Cause you didn' rusty at all, I must say.

D (5:22)

Thank you so much. You know, I think it's like anything when you do it, when you do something a lot and, and with great frequency, you know, you just. It almost becomes like a second skin. Like you just, you know, it's sort of that 10,000 hour Malcolm Gladwell thing. And when you have a big break from something that you did with great frequency, it's like, wait a minute, you know, do I know how to do this? I was really stuck. I was really nervous. I was. I had fear around the idea that I would, you know, not be able to sort of, I don't know, like, I was like, is there's dumb things, like, do I remember how to learn lines? And like, how did I use to get into deep emotion? And like, is all that stuff still going to be there? And I remember the first day, it was, it was great because the first day was that scene that were rehearsing a play. And I started in the theater, so I felt like, oh my God, thank God, you know, I'm up here kind of on the boards working something out. And it was, you know, we were working out the scene. So I was like, this is such a perfect blessing. Like the way back into this is us trying to work through, you know, a scene on the. On stage. And then it started to come back, you know, but. And then I was like, oh, okay, I remember how to do this, but I was nervous.

C (6:50)

Well, you were fabulous. I want to ask what your first reaction was to the script because who did you channel to play the role of K? And what did you think when you read the script?

D (7:00)

When I read the script, I was like, wow, this is so original. And like, how is this gonna work? It was so ambitious on the page. You know, all of the breathless kind of scenes in the cab and in the car and, you know, trying to get the dog. And I was, you know, then juxtaposed with this very, like these very human moments. And I just thought, this is really ambitious, you know, I. How is this director going to pull this off? But I trusted that he absolutely would. I was kind of, you know, I. I thought a lot about Grace Kelly, like sort of a darker, more fucked up version of Grace Kelly, you know, who had been this big movie star and then stopped to get married and, you know, seemed a bit broken after that. In a certain way, and very parallel with Kay, you know, she had this big film career, and then she gets married and she stops and she's incredibly broken because, you know, she's given up her dream for some sense of security. And then her son was killed in the war, and she's, you know, she has this deep, deep sadness, which I thought was so intriguing, like, and also this kind of hardness that comes with being, you know, disappointed by life and disappointed by turn of one turn of events after another. But then she still had this vulnerability there, so I just thought she was so interesting to play. Yeah.

C (8:39)

I mean, I love the moment when she was like, you can have my necklace. And I was like, oh, my God. Like, I just wasn't. Oh, I'm sorry. For any spoilers, guys, you'll have to interpret everything later. But there's this wonderful. I think Kay continues to surprise us with her complexities. And I really. I thought you really brought those to life. In 2020, when you decided to step away from acting, you said that a lot of the shine of acting had wore off and that, in fact, you realized that you didn't love acting. But I didn't get that feeling. When you were on the screen, did you feel like that sentiment has changed since having a break?

D (9:15)

It's a very good question, and it's something that I have been thinking about. And I think I took my first break after my daughter was born, and I think I was so burnt out from doing. Doing it in my 20s in a way that I was really, like, chasing something. And I thought, oh, my God, I better do this role and this role and this role, because what if I never get asked to do anything again? I have to do everything. And I, you know, was kind of trying to prove something to myself. And I. One. One year I did five movies, you know, and I just was so exhausted. And I thought, you know, there was an aspect of. Of it, you know, that was. Felt a bit fruitless, and I had come up against some kind of nasty people, and I was just like, I need to stop. I just need to stop. And. And then when I went back, you know, here and there, slowly over the course of the next however many years, I thought, oh, you know, I do have love for this. But then I, you know, it was just. It was complicated. And I think this time, you know, I think it's really wonderful when an artist can take a break if they're feeling like they're not generating something out of. From the right place, I should say. And it's Interesting. You know, when. When you make a living at art, sometimes, of course, you're. You're doing something that, you know, we all need a paycheck. So it's like sometimes you're doing something that isn't totally aligned with your artistic expression or your, you know, your true self in that way. And I. I just. And that's okay, too, right there. It's okay to. And it's a blessing, obviously, to be able to make a living if you're doing something artistic. But I. I think I needed the break in order to really start to germinate this excitement about doing it again and this kind of freedom that comes with standing in a room and playing someone completely different to yourself with a different value set and, you know, and getting all that excitement back. And like. Like, I was so excited to do my costume fittings, and, you know, the clothes in this movie were so phenomenal, and I found myself excited in the hair and makeup chair, you know, trying all these looks. And I hadn't felt that way in a really long time. So I felt like. I felt so grateful to be so full of life again about it. And it was like that burnout feeling was just nowhere in sight.

C (11:58)

What were some of. I loved the costumes, too, and I thought that the look in the park is kind of incredible. That, like, scarlet red look that you wear in the park. Are there any favorites that you have?

D (12:08)

Oh, my gosh. So funny. Because the costume director and I really wanted a different dress for the park scene, but Josh was like. The director was like, no, it has to be that. It has to be red. I loved my costumes. I think one of my favorite ones. You can't. You couldn't. You never really saw the full look, unfortunately, because I was. It's when I was in the restaurant smoking. But there's this beautiful yellow, like, organza or chiffon, beautiful thing that Nyako, the costume designer, built. And I just thought, oh, my God, this is just heaven on earth. It's. You know, and she's so brilliant because she's so cool. Like, she's such a New York cool girl, and she's so stylish, and she's, like, so on the cusp of everything. And then she was making these 50s outfits that were, like, so cool and so beautiful and so period, but also so modern. I was obsessed with her and the clothes.

C (13:12)

Oh, I'm totally obsessed with Miyako. Everybody should absolutely. If you haven't heard of Miyako, Billy Z should absolutely go and Google her now. She Is one of the coolest girls in New York. She has incredible styles.

D (13:23)

She's the coolant.

C (13:24)

Yeah, she's the best. I'm so happy to hear that. Cause I think she's sort of quietly under the radar. I think she did an amazing job in Uncut Gems too. But this took it to. You just saw more of her range there. And you're the perfect. Obviously, you've collaborated with many amazing people for costumes, and we'll get to that a bit later. But before we move on, I wanted to ask you, do you plan on acting more? I mean, you have so many pots on the fire. I was just impressed that you could. Because you launched a fashion line and you obviously have this incredible wellness empire. And is film now, I think, obviously, is something that you can. Isn't. Is something that you have to be completely drawn to, spellbound by, to probably participate in. And I imagine that's the criteria moving forward, right? I mean, what would tempt you to do another film?

D (14:11)

I mean, you nailed it. It's really like. I think somebody was asking me this the other day, and my. My manager was asking me this the other day, you know, and I said, you know, I think if. If I was gonna entertain doing stuff, I think I would do it differently than I did it when I was 21, you know, and. Of course. But when I was 21, as I said, like, I was just like, okay, okay, like, sure. And I think this time, you know, I do have to balance with my other job, which is incredibly demanding. But I think I would really want to make sure that I was doing something where I felt that I was really growing as an artist and really being challenged and working with incredible people, you know, and just be very judicious about what I was going to do.

C (15:06)

I mean, is there a role that you feel that you haven't had a chance to play? I mean, I don't know if you're interested in doing a horror or something totally off the calf. I feel like you've quite arranged already. But is there anything that you're secretly wishing somebody could write for you?

D (15:19)

I think it would be really interesting to do something around, like, a story of an older woman. Like, I'm really interested in how women age and how they regard themselves as they age. And I don't know. I look forward to playing, like, older parts, for sure. And I've never done. Done anything where I've really transformed, you know, like, in Marty Supreme, Timothy has pockmarks, and they made his eyes beady with contact and glasses I know I couldn't work out.

C (15:52)

Is that real? That's so real. The skin looks so real.

D (15:56)

I know. And it's all makeup. Wow. I know. And he has. In real life, he has beautiful skin. And I thought. I was like. He made a comment and I was like, oh, you know, there are. You can do micro needling for that. And he's like, this is makeup. I was like, oh, I didn't realize the makeup was so good that I thought he had little acne scars anyway, so I think it would be interesting to one day, like, do something like that. Like, I've never done anything like that where I'm really transformed in the face.

C (16:29)

Yeah. I think I honestly had to question whether Timothy. Whether I'd always just overlooked the fact that he had, like, this crazy skin.

D (16:38)

And then I was like, oh, my.

C (16:39)

God, it must be. Makeup is so convincing.

D (16:42)

No, he has. He has beautiful skin. Like, his skin in real life. You're like, oh, my gosh.

C (16:49)

Well, he glows in general, so that doesn't really surprise me. He has quite. He seems to have quite a presence.

D (16:56)

Indeed.

C (16:58)

In fact, on the subject of Timothy, one of the funniest quotes in your British Vogue profile that literally make me laugh out loud when I read it in the first draft was knowing that the story about you discovering that Kylie Jenner is his girlfriend.

D (17:11)

Oh, my God.

C (17:13)

I mean, you have two amazing kids, Apple and Moses, and I think. I imagine they're teaching you a lot about popular culture and you've said that. How did they react to that note in the piece? Did they school you on it afterwards?

D (17:28)

They don't read my articles. Are you kidding? I don't remember how I found out, but they were like, mom, you are so like, are you insane? How can you not know this? But I don't know. I just. I don't read that kind of stuff.

C (17:45)

I love that. You also mentioned that the women in your group chat were applauding the fact.

D (17:50)

I'm so embarrassed when I think of that story. I'm like, oh, my God.

C (17:54)

I found it very funny and very human. So I loved it. I also love the fact that you mentioned in the. That in your group chat that women were applauding those. Those BTS scenes that leaked, which were pretty hot and steamy, which I loved.

D (18:06)

Yeah, all my mom chats were like, everyone was losing it. My English mummy, school chat. My, like, you know, elementary School 1, the high school was very funny.

C (18:19)

I'm curious to know what goes down in the group chat and how it's evolved over the years because obviously you had your English. You've kept your English mommies in the group chat, which is so cool. Is your group chat filled with other people who have children who've just left the house? Like, what are you exchanging wellness secrets? Like, what's going. What's a hot topic in the group chat right now?

D (18:40)

Well, my group chat from today, which is an amazing group of women that I'm really close to in Los Angeles. It's really about hormones and where we're having dinner on Saturday, so not really that exciting. And the big, the big debate is are we having dinner at 6 or 6:30?

C (19:01)

So I love an early dinner.

D (19:03)

Yeah, it's not that scintillating really, but I don't know, you know, I'm very close with all my women friends and they're how I get through life, you know, And I have a lot of luckily in, in my, like mummy chats or. Sorry, now you're English. I have my mummies and my mommies. But you know, though, that group of women, we, our kids brought us together. So we're going through life and all of its stages at the same time. And it's so fortifying and incredibly enriching to, you know, have like a really wobbly moment where, you know, you're empty nesting or you're, you know, or if a kid, one of the kids on the, on the chat, like, is having an issue. We all just come together, this beautiful cocoon and are there for each other and share insights or doctors or, you know, whatever it is. And it just, I think it makes the whole process of parenting feel like it takes a village and you have a village.

C (20:12)

That's not true. The run through will be back in a moment. Hi, it's Cho Minardi. If you're not on the Vogue app yet, what the hell are you doing? You can follow along with me and other editors as we talk about everything happening in fashion. Think you're already a fashion expert? Well, find out how your Runway IQ stacks up against the Vogue community with an all new Runway genius leaderboard. So download the Vogue app today and you'll never miss a moment. And we're back. I was actually recently listening to a podcast with you and Rick Rubin and I loved it. It was so, so good. And there was a moment that really struck a chord with me when you were talking about your father and your father' and how there was a moment in his cancer treatment where they added sugar to light up the cancer cells. And I think it was a real Light bulb moment for you. And I'm also become obsessed with wellness and a personal health journey and also with an older parent. You understand what those conversations are. And I think it's a real generational divide. And I love how you sort of took control and kind of use that information to sort of ask questions and that your obsession was coming from a real place. I mean, now I think you were so ahead of the curve. I don't think I'd heard of the term wellness back then or. And I know now it's become this such a loaded term. It's shifted over the years. Like, how do you feel about how this term and this idea have shifted and this idea of well being since you first started.

D (22:02)

You're absolutely right that my father's illness kind of kicked off my obsession with to what degree can the body heal itself? It was really radical when I was started to talk about it and obviously people were like, what the are you talking about? And you know, all, you know, there was a lot of criticism around it, which I always found so interesting because, you know, don't get me started, but there are industrial complexes built around us not asking questions like that. So I've always been like, we should be at liberty to ask any questions to our doctors, to our pharmacists, to our naturopaths. Like, we are entitled to have agency and curiosity around our own health. And what's been so interesting in the last 17 years or so since I started Goop and started talking about this stuff, is that the whole world has sort of caught up to this idea that we all should be entitled to ask questions and to push back and to say, like, hey, why is this thing full of substances that are banned in the EU but they're okay for us here? I think it's so great what's happening. And you know, it's also a nice vindication, right?

C (23:27)

It must be, because honestly, it's like, you're right. The world is just catching up. I feel I'm my entire feed is that now, you know, which is the next wellness hack or something, you know, thing that I need to include to my routine.

D (23:41)

Because of course people then capitalize on that and capitalize on. On the fear of, you know, do I need this and that and all these things. And so I always go back to the same thing, which is just trust your instinct about yourself, trust your body. And. And I think it's always important to get, you know, whatever research is available on these new emerging modalities or gadgets or whatever it's important to continue to educate oneself.

C (24:08)

Yeah, I think you're right. I think it's, it's important to be sensible because I think as with anything, there are, there are sort of extremes in every direction without naming any people, but I can think of a one long longevity influencer who, who obviously take things to the ultimate extreme. But I think a sensible approach is the way to go. Are there things that you, that have stuck over the years that you've just thought, you know, I've been doing that. You look back and I started doing this when I was 17 years ago. Things that you put to the wayside. What are some of the simple things that you have stuck to?

D (24:44)

You know, in my, through my whole journey, there have been times where I've been like incredibly strict with this or that. You know, Ashtanga yoga, six days a week, rain or shine, being macrobiotic, you know, doing. And for me, what I found is that the best wellness things are kind of the most obvious. Right? Like try to sleep well, make sure you're sleeping, make sure you're hydrating. Like, water is fantastic for moving things through the body. Nutritional density and quality of food, movement, exercise, sweating, you know, the, it's pretty, it's nothing really all that revolutionary. I mean, of course, like, things can get more complex and, and we are all sui generis. We are one of one and we all process and metabolize things differently. So it's never going to be a one size fits all wellness program anyway. But meditation, exercise, breathing, sleeping, hydration, good food, that's, that's basically what it comes down to. Agreed.

C (25:49)

And I do, however, have a somewhat unhealthy obsession with my Oura ring. And I think I see you have one. I know you. Are you wearing one right now?

B (25:58)

Yes.

D (26:00)

Oh yeah. I never take it off.

C (26:03)

Me either. Me either.

D (26:04)

And I remember sometimes, even when I do a photo shoot, I'm like, guys, you know, if I take it off and we're doing all right, I'll take it off.

C (26:13)

I know, I, I honestly, I, I just never really take it off. What's your, what's your sleep score?

D (26:19)

Right now my sleep score is so varied. Like if my hormones have wreaked havoc on my sleep score. Like I, I used to get a crown every night and then about a year ago when my hormones really fell off a cliff. Now it's so bizarre. Like, some nights I'll get a 93 and then the next night I'll have like 71. And it'll be like, pay attention, you know, this is you're in trouble kind of a thing. So it's all over the place.

C (26:48)

I don't drink anymore, but when I did, it was like one drink would just send me into a complete. Like my HRV was in the floor. And yeah, it just, it's just never worth it.

D (26:58)

I still love one cocktail a week though. I'm not giving it up.

C (27:02)

I've heard. I love this ritual. I think it's really. I think it's important to have a little bit of pleasure. What is your cocktail of choice?

D (27:10)

So I'm either an old fashioned girl or a vodka martini girl with olives.

C (27:18)

Very chic. I would, I would expect nothing less.

D (27:21)

I think I work at, you know, an advertising agency in, in the 50s in New York. You know, those are my.

C (27:29)

I also love that you talked about having your last cigarette, which you said was seven years ago. So I mean, congratulations. That's a long time ago.

D (27:38)

I miss it.

C (27:40)

And I also think that the news, it made news and I love that this made news that you're back on to sourdough and cheese. Is that your new cigarette?

D (27:49)

You know, I recently, I would say in the last, you know, six months, I, because I was pretty strictly no grains for a while to deal with some inflammation stuff and now I'm back on good sourdough and some grains and, and cheese and I just love it. So much. Love, love, love.

C (28:11)

Yeah, there's really, there's nothing that, that beats cheese and cheese and a good piece of sourdough bread.

D (28:17)

So delicious.

C (28:20)

The run through will be back in.

D (28:35)

Famous Amos. It's a brand synonymous with chocolate chip cookies. It's also the creation of my dad, Wally Amos. When he passed away last year, I set out to understand how he became one of the most famous black men in America and how his life and our family unraveled. From Vanity Fair, this is Tough Cookie the Wally Famous Amos Story, available wherever you get your podcasts.

C (29:04)

I love that you talk about how you talk about aging and that you're against freezing in time and it's so refreshing. I'm curious to know if there are things that you've edited out of your beauty routine over the years that adds to that or.

D (29:20)

I've always been kind of a simple girl around this kind of stuff. Like I never even had a beauty routine until I was in my probably late 30s. I mean, I was just like, you know, soap and water and hot washcloth and moisturizer basically. But then, you know, I did, I did start to really understand that skin care is Incredibly important. And there really are ingredients that make your skin, you know, that where you can, that makes, it makes products really efficacious and which is what we do at Goop, but make them very clean. And so, you know, I have like, I have probably six GOOP products on my counter and depending on the day, you know, I use whichever one I need, but I don't use all of them every day, twice a day. Of course, like, I want to age, but I also would like to look sort of as vibrant as possible while that's happening. But I'm not interested in trying to erase every crow's feet and this and that. It's like, you know, this is the story of my life. You know, it's like the wrinkles around my eyes and my lips and you know, when things start to fall down, it's like not great, it's not ideal. I'm not like super into it. But I also don't want to try to look like I'm 28 years old.

C (30:43)

Yeah, no, I think, I mean, I think it's really tough, especially in the world you're in, not to feel the sense of pressure because you're faced with your image all the time. And I think there are all these expectations. And I understand, I understand why a lot of women who are in a world where they have to sort of present and be forward facing, I understand why they do it. Have you ever felt that pressure before? I'm wondering because I just think it seems very intense.

D (31:11)

It seems very intense more than feeling pressure from the outside world. It's like, how does one reconcile with themselves that they're aging, that you're letting go of a certain kind of, you know, quote unquote beauty, that if the world looked at you in a certain fashion, they're not going to look at you that way anymore. And once you're no longer reproductively viable, what does that mean for the way you're regarded out in the world? And then what does that do to your self esteem? How does one let go of that desirability? How does one try to lessen the ego? How does one look at lessening the ego as an incredible opportunity for freedom and for wholeness? And I think we have so many good examples of women in the culture like my idol Kate Winslet, who is just so brilliant and powerful and she's just fully herself and fully self accepting, you know, and I just think, my God, to have that level of self, self acceptance, imagine the freedom, you know, that, that, that would breed so, you know, she's sort of my. I look to her in that regard of, like, how. How to age with so much grace and. And power and really, like, fill in the sides of yourself in that regard, like, to fill yourself up and to. And to use it as an opportunity to love yourself and know who you are. So I'm really fascinated by that and. And also caught in that thing of, like. Yeah. And I. I don't want to look like a grandmother right now either. You know what I mean? So, like, how do you balance that? But I want to be a grandmother, and I want to look like a grandmother as well. But I think it's. There's a tension. Right. It's like you're. You're. There's a tension between full acceptance of. Of aging and also, you know, fighting it. But to what degree? And so I'm. I'm trying to work all that out right now as well.

C (33:15)

Yeah, I think a lot of women can relate to that. It's not an easy line to tread, but I think that would resonate with a lot of women. Your mother is an incredible theater actress, and you cited her numerous times as being the person who inspired you to act. I'm curious to know, what is your favorite performance of hers?

D (33:38)

Oh, my gosh. So she did a production of A Streetcar Named Desire at the Williamstown Theater Festival in the late 80s, I want to say, and she played Blanche, and Sigourney Weaver played Stella, her sister, and Aiden Quinn actually played Stanley. Anyway, it was just breathtaking. And she. I had never been moved by a performance like that in my life. I mean, I must have been 15 or 16, and I saw the play with my dad, and I was immovable. Afterwards. I was weeping at, you know, first of all, the subject matter, but also just how brilliant my mother was. I felt so in awe of her gift and her power, and I couldn't believe it was her, you know, she was so different. And that was. That. That. That still is, I think, the best performance, not. Not that I've ever seen of my mother's, but that I've ever seen in my life.

C (34:40)

Wow. I'm gonna circle back a little bit to fashion and some of the looks that you've worn on screen and some of. I mean, there are so many, I think, about sliding doors and the eyeliner and the bob from Royal Tannenbaums. I mean, the list goes on. I'm wondering what were your favorites? So what characters were so exciting for you to inhabit from the perspective of their style?

D (35:08)

Well, I did a film Called the Perfect Murder, where I played this kind of Upper east side young wife and a woman named Ellen Mirojnik did the costumes. And it was, like, very uptown, beautiful, all cashmeres and suedes and a Kelly bag. So that was really fun. I loved the Royal Tenenbaums. I loved the fur coat and the loafers and the Birkin bag. I mean, it's kind of like the greatest look. I mean, you're giving me Royal Tenenbaums today.

C (35:40)

I will take that as a Tenenbaum.

D (35:41)

I know.

C (35:41)

I really am. Yeah, I always go back to that movie for inspiration. I actually. I have this Miu Miu sherling that I got recently that is just kind of giving raw Tenenbaums.

D (35:56)

Yeah, that Royal Tandem Bombs is a very iconic costume film, I think. Like, it's really very iconoclastic and just so original. And, you know, it doesn't surprise me that, you know, to this day it remains, like, on people's Pinterest boards, you know, when they're creating stuff.

C (36:17)

Yeah, I know. I mean, and Sliding Doors, too. And I saw Emma Stone recently. Oh, no, that wasn't Sliding Doors. That was Great Expectations. The green. The green Donna Karen. That was very recent.

D (36:32)

I know. That was so cool. So I actually did two movies where I was completely outfitted by one designer film. One was Sliding Doors, which you mentioned Calvin Klein did the entire thing and right in that 90s minimal Calvin time, which is amazing. And also Great Expectations, where Donna Karon did the entire. So I love doing these, you know, New York designers and really amplifying the work of New York designers as I was a New York girl. And of course, at the time, you're just, like, working with the designer and the costume designer, and you're thinking, oh, this is going to be great for this scene and that scene. And of course, I had no idea that it would turn out to be this sort of definitive 90s, you know, moments in these. In these ways. And it's. It's very funny in a certain sense. You know, it's like you look back on your own life and your contribution to those little fashion moments in time, and you're like, wow, that. That one really stuck around, I guess.

C (37:39)

Yeah. I mean. I mean, and I think about some of the things that you've worn off the carpet at that time, too, that continue to. I mean, we could talk about this all day, and I know we don't have much time. And I want to ask you before we clothes about how you're gonna approach. Cause I think you Always have. You have such a clear sense of personal style. You always seem, I think often I always think about personal style as you see the woman before you see the clothes. And I think that's. You wear the clothes so well. You really, you see you. And I'm so curious to know how you're going to take on the red carpet for Marty supreme because obviously I know you love the costumes and that 50s silhouette. What can we expect? Obviously, I'm sure you don't want to give too much away, but I'm sort of curious to know where your head's at with the red carpet.

D (38:25)

As you might infer. I really love fashion and I've always been a fashion obsessed woman. And so this, this I'm just approaching with, I think a lot of fun. My, I've had the Same stylist for 20 plus years, Elizabeth Saltzman, who lives in London.

C (38:45)

She's a riot. Love her.

D (38:47)

She's a riot.

B (38:48)

All right.

D (38:49)

And she's so tall, talented and so. And she loves to play dress up and stuff. And I haven't done anything like this in a long time. So she is so excited about it. She's more excited than I am. I think we're having a lot of fun doing, you know, doing the fittings and thinking about what we want to wear. And like today I have this new Calvin suit on that's so rad.

C (39:10)

I love it. Oh, guys, it's so good.

D (39:13)

It's so good. And I love that there's a new designer at Calvin and you know, I'm a Calvin girl at the end, have been for years and years. So, so I think, I think we're going for like, I think Elizabeth is kind of aiming for just like a modern, cool thing, you know, I think, you know, I really like to be comfortable and I think we, we kind of start from a place of like, you know, am I going to be comfortable traveling and doing all this stuff in this outfit? So, you know, at my age, I want to be comfortable. I don't want like corsets and I don't know, chain mail and heavy, you know, beads from head to toe. It's like, I think we're, I think she's doing kind of wanting it to just be a little cool.

C (39:55)

I can't wait. And I can't wait for everybody to see this movie. And I'm so, so grateful that you were able to take the time to do this. It's been such a pleasure.

D (40:04)

It's been so great. Thank you so much. Thank you for the thoughtful and great questions. Thank you for putting me on the.

C (40:10)

COVID of British book ever. I'm so. I loved was so much fun.

D (40:15)

I'm really grateful to you. Thank you.

C (40:23)

That's it for the show. See you later.

B (40:31)

The run through is produced by chelsea daniel, alex depalma and stephanie kariuki. It's engineered by pran bandy and james yost. It is made mixed by mike kutchman. Chris bannon is conde nast's head of global audio.

C (40:55)

From prx.