#lucy materialists icons

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Lucy materialists icons

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[dakotajchnson]

* . ⊹ ━━ ⟢ 𝙈𝘼𝙏𝙀𝙍𝙄𝘼𝙇𝙄𝙎𝙏𝙎 𝙋𝘼𝙉𝙀𝙇 〉DAKOTA JOHNSON

@hollywoodfamerp @hollywoodfamerps

What first attracted you to the script for Materialists, and what made this project stand out to you?

Celine Song. That’s the answer. She’s such a brilliant playwright, writer, and director, her brain works in this incredibly poetic, grounded way that just floors you. When she approached me about Materialists, I genuinely couldn’t believe it. I think her movie Past Lives is one of the most stunning, emotionally intelligent films of our time. She created something so delicate and honest with that movie, and I was completely in awe of her after watching it. So when she came to me with this new story, I didn’t even need to read the script. I would’ve said yes to anything she asked.

The film explores themes like love, wealth, and identity. How did those ideas influence the way you approached your character? I think the movie holds up a mirror to the way we navigate love in a world that’s kind of obsessed with appearances, whether that’s wealth, status, or the perfect Instagram relationship. My character is a matchmaker, so ironically, she’s surrounded by love but doesn’t fully know how to access it for herself. For me, it was about playing someone who’s deeply human. She makes choices from a place of fear, insecurity, and sometimes even performance, which I think a lot of people can relate to. I think our movie ultimately asks, what do you really value?

Did you have anyone special who helped you get in the mindset of the romantic charming scenes?

Not exactly, mostly because Lucy has a completely different mindset. She isn’t actually all that romantic and is more cynical. She thinks she’s a bad person, and because she doesn’t value herself, she can’t really value anyone else. So while she spends her days selling this idea of love to clients, it’s all kind of hollow to her. She’s good at her job because the hollow things she says are technically true, like, they sound right. For example, her early scenes with a certain character weren’t about tapping into romance. Both characters were seeing it as transactions, not connections. And I think that’s what makes her arc so interesting, because when she does allow herself to feel something, it throws her off completely. The romance doesn’t come naturally to her, so when it does arrive, it feels awkward and vulnerable. And that’s where the tension lives.

Was there a particular scene that was especially fun, emotional, or challenging to shoot? There were definitely some emotional scenes with both Pedro and Chris that I absolutely loved doing, those moments felt so charged and honest, and both of them are such present, generous scene partners. But one of the most challenging scenes for me was actually with Zoe Winters, who plays Sophie. Without giving too much away, there’s a moment between our characters where the tone of the movie shifts, it taps into something darker. And it really forced me to strip everything back emotionally. Zoe is such a powerhouse, and that scene required a level of rawness that was honestly kind of terrifying but in the best way.

How did the dynamic between the cast shape your experience on set?

I love Pedro and Chris with a burning passion, so there was never a dull moment on set. I think Celine probably suffered a little because between takes she could not get us to shut up. Pedro and I have been friends for years, so getting to work together felt long overdue. And Chris, I had only met him a couple of months before we started filming, but we just clicked instantly. He’s hilarious, he’s thoughtful, and now I’ve got another friend for life. That relationship with them and genuine affection was honestly one of my favorite things about doing this film. / @evansrchris @ppscal

This is set to be a rom com from the ages, which iconic rom com would you love to go back and be in and who would you like to be in it with you?

Okay, hear me out, Casablanca. I know it’s not technically a romcom, but I just want an excuse to do another love triangle with my boys.

What do you hope audiences take away from Materialists once the credits roll?

I hope people walk away realizing that love isn’t supposed to be neat or perfect or something you can strategize like a five year plan. The film really explores how easy it is to fall into this idea that love is a checklist, status, looks, money, timing, and forget that at the end of the day, we’re all just trying to be seen and chosen for who we are, not what we offer on paper. So if anything, I just hope people leave a little more willing to be vulnerable. To ask themselves what they really want, not what looks good on instagram, not what sounds impressive, but what actually makes them feel safe and full and known.

[cleverhottubmiracle]

Spoilers for Materialists ahead. Toward the end of Materialists, Celine Song’s exploration of the contradictions of dating and modern love, pragmatic professional matchmaker Lucy (Dakota Johnson) reaches an epiphany.    “When you love someone, it’ll be easy,” she says. “There’s no math.” Until then, Lucy relied on a quantitative approach in determining matches for her clients — and herself. Her data-driven methodology also comes through in her professional aesthetic, full of straight lines and formulas of solid neutrals, as crafted by costume designer Katina Danabassis. But, as Lucy allows love into the equation, her wardrobe begins to bloom, sometimes literally with florals. Lucy’s chic, straightforward lineup of suit separates and classic, fine-knit cardigans is partially informed by Song’s own experience working as a matchmaker in New York City — a fun fact that adds depth to the character’s style. “It was important to convey that [Lucy] wasn’t stealing anyone’s shine when it came to her clients. It has to be professional, and appeal to a high-end clientele,” Danabassis, who led costume design for Song’s last (and very different) love-triangle film, Past Lives. “When you’re millionaire matchmaking, you have to look the part. But also not come across as someone who’s necessarily available.”  Lucy eventually allows herself to be available when confronted with two options: the seemingly-perfect financier Harry (Pedro Pascal) and her ex-boyfriend John (Chris Evans), a struggling actor who still lives with roommates. Ahead, Danabassis takes us through how Lucy’s love story unfolds through her wardrobe. Lucy’s Power Suit Always focused, Lucy targets new clients as she commutes to work — and her outfits support the pitch. In the opening scenes, she confidently strides in a strong-shouldered Aritzia blazer and knee-high Paris Texas boots, nearly causing finance bro Robert (Eddie Cahill) to have whiplash as he walks in the opposite direction. “I was really interested in the idea of putting her in a power suit,” says Danabassis. “Not only because it’s a little bit fresh, but also it seems to be something of a bygone era.”  Reflecting a NYC, always-on-the-move sense of dressing, the costume designer teamed the navy pinstripe blazer with a black, wide-striped mini skirt from a Versace suit and a white satin Banana Republic blouse. ”It just felt very New York; timeless, but powerful, modern, but throwback — and iconic,” says Danabassis, referencing a standout memory of a woman in a skirt suit and Dries van Noten-esque thigh-high boots strutting across Bowery Street in Manhattan.  Danabassis also dropped in an Easter egg.“It’s also a nod to Working Girl,” she says, referring to the 1988 classic starring Johnson’s mom, Melanie Griffith, whose character famously wore sneakers with skirt suits to the office. Lucy’s Blue Gown Lucy’s a top performer at work — with nine marriages to her credit. She’s even invited to the latest nuptials of two high-net-worth (and high-maintenance) individuals. Lucy opts for a strapless, draped Proenza Schouler dress in a striking peacock blue that attracts the eye of the viewer and Harry, the rich, swoon-worthy brother of the groom. “We need something that pops. But simultaneously, it shouldn’t be something that’s going to steal any shine from the bride,” says Danabassis of her thinking, which led to the pairing of the “origami-style dress” with silver Bottega Veneta heels. “Also, the dress is not too fussy. In reality, yes, it was a fussy dress. We had to make sure that it was tied perfectly [at the back]. But it was really simple. Like, you can function in it.” Lucy multitasks like a pro: crisis managing the bride’s cold feet, charming potential new clients, and slipping out of the opulent ballroom to reconnect with John, a cater-waiter at the reception. She also agrees to a steamy dance with Harry, in exchange for him agreeing to call her agency. “It’s a work function, basically. She’s there to support, but not be a wallflower entirely,” says Danabassis. “Because she’s still a woman in New York and doing her thing.” Lucy’s Date-Night Looks She ultimately agrees to consider Harry — “a unicorn, an impossible fantasy,” as Lucy describes him — as a prospect for herself, and not her loyal clients. Over a series of dinner dates (where they strategically assess each other through their methodical view of relationships), Lucy wears refined, uncomplicated pieces, like a dark St. John blazer over a Leset tank and a strappy black halter dress from Laundry by Shelly Segal. “She’s appealing to his sensibilities, which is just classic, chic, upscale, and a little bit minimal,” says Danabassis.  When a previously skeptical Lucy agrees to go all-in with Harry, she elevates her signature black monochrome with a sheer Simkhai top, layered over an Only Hearts bra, and a vintage double-breasted blazer. Her knee-length Another Tomorrow skirt, with dynamic tasseled fringe (a more fun take on the business-like skirt she wears earlier in the film), takes on a life of its own as she and Harry do a dance of sorts through the hallways of his sprawling $12 million Tribeca penthouse. “We theorized that it should [evolve from] her not trying too, too hard to ramping up to, ‘Okay, I’m gonna do a little bit more here.’ But keep it very New York, chic, [and] clean,” says Danabassis. “That black outfit popped against the warmth of his apartment, and the Gucci shoes were amazing because of the shine and the metallic chain at the back.” Lucy’s Flashback Florals NEW YORK, NEW YORK – JUNE 04: Dakota Johnson is seen on location for ‘Materialists’ on June 04, 2024 in New York City. (Photo by Gotham/GC Images) A flashback reveals Lucy and John’s emotional breakup, occurring when they were both cash-strapped actors but chasing divergent goals and lifestyles. Lucy’s delicately ruffled floral Dôen top, Nili Lotan straight-leg jeans, and Loeffler Randall mules feel sentimental and hopeful. “It’s that cute look that you put together for going out for your anniversary,” says Danabassis. “That’s not trying too hard or trying to match the same level as the guy. It’s really just her.” Lucy also wears a sweet, thrift-store-bought heart necklace that reflects a differing mindset from her present-day sleek Spinelli Kilcollin rolo chain that telegraphs geometry.  “When she’s dating Harry, she’s in this city mode,” says Danabassis. “When it’s John, it’s more naturalistic, grounded, floral, and ethereal.” Lucy’s “Reveal” Outfit John finally lands a role in an off-off-Broadway play and invites Lucy, who brings her now-boyfriend Harry. Her outfit — a long ‘90s-style black leather jacket by Coach, white MNG cami, and Zara high-waisted, wide-leg jeans — fits the venue and post-show dive bar drinks.  “She knows what world she’s entering into, like a dingy Brooklyn playhouse thing. But Harry doesn’t know where he’s going. So he wears his ‘Oh, this is my country blazer,’” says Danabassis, about Harry’s ‘fit: a tweedy Ralph Lauren jacket, caramel-brown Zegna button-down, Hermès dark jeans, and Bottega Veneta oxfords. But the casual-cool ensemble also feels like a slight reveal of her long-suppressed feelings for John — and harbinger of an impending divide with Harry. Lucy’s Wedding-Crasher Dress A traumatic event pushes Lucy to accept and follow her feelings, instead of crunching the numbers. She shows up on John’s doorstep with luggage packed for a now-canceled Iceland jaunt with Harry. Lucy and John then take a spontaneous drive upstate to crash a rustic wedding. Luckily, John keeps a cater-waiter suit in the trunk of his beat-up car. Lucy presumably plucks a floaty, buttercream yellow Dôen dress out of her suitcase and doesn’t change out of her black Nike sneakers. Although the dress — with a curved empire waistline, watercolor florals, fluttery ruffles, and floral appliqués — evokes country wedding more than the luxury vacation she was on her way to take.  “I mean, sure, she could have packed that for Iceland. Like, [Lucy and Harry] were going on a date somewhere, and she’s trying to do her special thing and get more in tune with herself. That’s the idea there,” explains Danabassis. “Really, it’s just a romantic dress that hits the hidden theme of flowers as a symbol of love that was carried throughout the movie.” Kind of like completing a complex math calculation by maintaining all the variables along the way. Like what you see? How about some more R29 goodness, right here? Source link

[norajworld]

Spoilers for Materialists ahead. Toward the end of Materialists, Celine Song’s exploration of the contradictions of dating and modern love, pragmatic professional matchmaker Lucy (Dakota Johnson) reaches an epiphany.    “When you love someone, it’ll be easy,” she says. “There’s no math.” Until then, Lucy relied on a quantitative approach in determining matches for her clients — and herself. Her data-driven methodology also comes through in her professional aesthetic, full of straight lines and formulas of solid neutrals, as crafted by costume designer Katina Danabassis. But, as Lucy allows love into the equation, her wardrobe begins to bloom, sometimes literally with florals. Lucy’s chic, straightforward lineup of suit separates and classic, fine-knit cardigans is partially informed by Song’s own experience working as a matchmaker in New York City — a fun fact that adds depth to the character’s style. “It was important to convey that [Lucy] wasn’t stealing anyone’s shine when it came to her clients. It has to be professional, and appeal to a high-end clientele,” Danabassis, who led costume design for Song’s last (and very different) love-triangle film, Past Lives. “When you’re millionaire matchmaking, you have to look the part. But also not come across as someone who’s necessarily available.”  Lucy eventually allows herself to be available when confronted with two options: the seemingly-perfect financier Harry (Pedro Pascal) and her ex-boyfriend John (Chris Evans), a struggling actor who still lives with roommates. Ahead, Danabassis takes us through how Lucy’s love story unfolds through her wardrobe. Lucy’s Power Suit Always focused, Lucy targets new clients as she commutes to work — and her outfits support the pitch. In the opening scenes, she confidently strides in a strong-shouldered Aritzia blazer and knee-high Paris Texas boots, nearly causing finance bro Robert (Eddie Cahill) to have whiplash as he walks in the opposite direction. “I was really interested in the idea of putting her in a power suit,” says Danabassis. “Not only because it’s a little bit fresh, but also it seems to be something of a bygone era.”  Reflecting a NYC, always-on-the-move sense of dressing, the costume designer teamed the navy pinstripe blazer with a black, wide-striped mini skirt from a Versace suit and a white satin Banana Republic blouse. ”It just felt very New York; timeless, but powerful, modern, but throwback — and iconic,” says Danabassis, referencing a standout memory of a woman in a skirt suit and Dries van Noten-esque thigh-high boots strutting across Bowery Street in Manhattan.  Danabassis also dropped in an Easter egg.“It’s also a nod to Working Girl,” she says, referring to the 1988 classic starring Johnson’s mom, Melanie Griffith, whose character famously wore sneakers with skirt suits to the office. Lucy’s Blue Gown Lucy’s a top performer at work — with nine marriages to her credit. She’s even invited to the latest nuptials of two high-net-worth (and high-maintenance) individuals. Lucy opts for a strapless, draped Proenza Schouler dress in a striking peacock blue that attracts the eye of the viewer and Harry, the rich, swoon-worthy brother of the groom. “We need something that pops. But simultaneously, it shouldn’t be something that’s going to steal any shine from the bride,” says Danabassis of her thinking, which led to the pairing of the “origami-style dress” with silver Bottega Veneta heels. “Also, the dress is not too fussy. In reality, yes, it was a fussy dress. We had to make sure that it was tied perfectly [at the back]. But it was really simple. Like, you can function in it.” Lucy multitasks like a pro: crisis managing the bride’s cold feet, charming potential new clients, and slipping out of the opulent ballroom to reconnect with John, a cater-waiter at the reception. She also agrees to a steamy dance with Harry, in exchange for him agreeing to call her agency. “It’s a work function, basically. She’s there to support, but not be a wallflower entirely,” says Danabassis. “Because she’s still a woman in New York and doing her thing.” Lucy’s Date-Night Looks She ultimately agrees to consider Harry — “a unicorn, an impossible fantasy,” as Lucy describes him — as a prospect for herself, and not her loyal clients. Over a series of dinner dates (where they strategically assess each other through their methodical view of relationships), Lucy wears refined, uncomplicated pieces, like a dark St. John blazer over a Leset tank and a strappy black halter dress from Laundry by Shelly Segal. “She’s appealing to his sensibilities, which is just classic, chic, upscale, and a little bit minimal,” says Danabassis.  When a previously skeptical Lucy agrees to go all-in with Harry, she elevates her signature black monochrome with a sheer Simkhai top, layered over an Only Hearts bra, and a vintage double-breasted blazer. Her knee-length Another Tomorrow skirt, with dynamic tasseled fringe (a more fun take on the business-like skirt she wears earlier in the film), takes on a life of its own as she and Harry do a dance of sorts through the hallways of his sprawling $12 million Tribeca penthouse. “We theorized that it should [evolve from] her not trying too, too hard to ramping up to, ‘Okay, I’m gonna do a little bit more here.’ But keep it very New York, chic, [and] clean,” says Danabassis. “That black outfit popped against the warmth of his apartment, and the Gucci shoes were amazing because of the shine and the metallic chain at the back.” Lucy’s Flashback Florals NEW YORK, NEW YORK – JUNE 04: Dakota Johnson is seen on location for ‘Materialists’ on June 04, 2024 in New York City. (Photo by Gotham/GC Images) A flashback reveals Lucy and John’s emotional breakup, occurring when they were both cash-strapped actors but chasing divergent goals and lifestyles. Lucy’s delicately ruffled floral Dôen top, Nili Lotan straight-leg jeans, and Loeffler Randall mules feel sentimental and hopeful. “It’s that cute look that you put together for going out for your anniversary,” says Danabassis. “That’s not trying too hard or trying to match the same level as the guy. It’s really just her.” Lucy also wears a sweet, thrift-store-bought heart necklace that reflects a differing mindset from her present-day sleek Spinelli Kilcollin rolo chain that telegraphs geometry.  “When she’s dating Harry, she’s in this city mode,” says Danabassis. “When it’s John, it’s more naturalistic, grounded, floral, and ethereal.” Lucy’s “Reveal” Outfit John finally lands a role in an off-off-Broadway play and invites Lucy, who brings her now-boyfriend Harry. Her outfit — a long ‘90s-style black leather jacket by Coach, white MNG cami, and Zara high-waisted, wide-leg jeans — fits the venue and post-show dive bar drinks.  “She knows what world she’s entering into, like a dingy Brooklyn playhouse thing. But Harry doesn’t know where he’s going. So he wears his ‘Oh, this is my country blazer,’” says Danabassis, about Harry’s ‘fit: a tweedy Ralph Lauren jacket, caramel-brown Zegna button-down, Hermès dark jeans, and Bottega Veneta oxfords. But the casual-cool ensemble also feels like a slight reveal of her long-suppressed feelings for John — and harbinger of an impending divide with Harry. Lucy’s Wedding-Crasher Dress A traumatic event pushes Lucy to accept and follow her feelings, instead of crunching the numbers. She shows up on John’s doorstep with luggage packed for a now-canceled Iceland jaunt with Harry. Lucy and John then take a spontaneous drive upstate to crash a rustic wedding. Luckily, John keeps a cater-waiter suit in the trunk of his beat-up car. Lucy presumably plucks a floaty, buttercream yellow Dôen dress out of her suitcase and doesn’t change out of her black Nike sneakers. Although the dress — with a curved empire waistline, watercolor florals, fluttery ruffles, and floral appliqués — evokes country wedding more than the luxury vacation she was on her way to take.  “I mean, sure, she could have packed that for Iceland. Like, [Lucy and Harry] were going on a date somewhere, and she’s trying to do her special thing and get more in tune with herself. That’s the idea there,” explains Danabassis. “Really, it’s just a romantic dress that hits the hidden theme of flowers as a symbol of love that was carried throughout the movie.” Kind of like completing a complex math calculation by maintaining all the variables along the way. Like what you see? How about some more R29 goodness, right here? Source link

[mrmichaelchadler]

Set It Up

Set in the upper echelons of New York business, but focusing on a couple of overworked, stressed-out assistants, "Set it Up" is a rare romantic comedy that has its own distinctive look, rhythm, and storytelling voice. It builds its sensibility on deep knowledge of the romantic comedy, from "The Apartment" and "It Happened One Night” to "The Parent Trap" and "Cyrano de Bergerac" (mentioned by the two main characters, who trick their bosses into falling in love so they can have a moment's peace). It's satisfying, for the most part—a solid romantic comedy with sharp dialogue, amusing characters, a soundtrack of well-worn feel-good hits, and a few surprises up its sleeve. Its only major flaw is an inability to imagine the bosses as richly as the leads. But we'll get to that. 

Harper (Zoey Deutsch) is an assistant to Kirsten (Lucy Liu), a famous and fearsome ESPN reporter. Harper wants to be a writer but can't muster up the nerve to follow through on her one good idea; on top of that, her days are so long than whenever she does try to write, she's so tired that "everything I write is, like, bad." Charlie (Glen Powell) is an assistant to Steven (Taye Diggs), a Tom Wolfe Master-of-the-Universe type whose job never quite comes into focus but definitely involves huge sums of money.

The bosses' employers are located in the same building, which allows Charlie and Harper to meet cute in the lobby one late night. Harper orders food for her boss without realizing the restaurant is cash-only. Charlie, who just missed the cutoff to order his boss' favorite steak, spots an opportunity to redeem himself, pays for the order, and claims the whole thing; this leads to a charming negotiation that splits up the food, and ultimately to a shared realization that if they can trick their Type A bosses into falling in love, they might get their lives back. "It's hard to bark orders at someone when your tongue is down someone's throat," Harper says. 

Harper just signed up for Tinder and is going out on lots of dates, and Charlie is devoted to a gorgeous but materialistic girlfriend (Joan Smalls) who doesn't appreciate him. But the two spend so much time together plotting their bosses' romance that they become close friends, and there are moments where they click so well that you can sense them laboring to deny the obvious. Director Claire Scanlon and screenwriter Katie Silberman are able to imagine these two as both credible human beings and classic romantic comedy types (Charlie is the a fast-talking, self-effacing young Jack Lemmon, but poured into a tall preppy frame, while Deutsch can remind you of either Ellen Page or Diane Keaton, depending on the scene and how fast she's talking). 

The leads bring such strong comic chops and have such chemistry that there's a chance we might have been smitten by them even if Silberman hadn't provided them with so many wannabe-iconic scenes to play, including one built on the conviction that pizza is the most romantic food. Their shared sense of humor is built on deadpan delivery and insulting remarks that are secret statements of camaraderie. They fall into a mutually satisfying relationship so fast that you start to imagine the old married couple they could become, if only the stars would align. The ensuing plot complications enrich the movie, even as they suggest fresher roads that the film rarely musters the nerve to explore. 

It's a treat to see Liu and Diggs cast in the sorts of abrasive, magnetic parts that have traditionally gone to white character actors (think of Fred MacMurray in "The Apartment" or Meryl Streep in "The Devil Wears Prada"). Both carry themselves with crowd-pleasing swagger. They're aided by Silberman's recurring gags, such as Kirsten barking "Tell me something I don't know!" at her writers, and Steven coveting outward signifiers of wealth (he throws out any liquor that costs less than $200) and making sudden, demanding requests of Charlie. Liu and Diggs look like they're having a blast, and the payoff of Kirsten and Steven's relationship is the most unexpected note in the movie. 

But aside from a scene of Steven reverting to a less polished persona while drunkenly bonding with Charlie, and a humanizing moment where we realize that Kirsten sees potential in Harper, the characters never give the actors as much as the actors give the characters. And we never gain a sense of what it means for these two to be in charge of—and yet isolated within—a predominantly white workplace, armoring themselves with flamboyant aggression, and convincing their employees and themselves that they prefer brooding isolation to human contact. (And let's not get into the alternate universe version of "Set it Up" where Kirsten and Steven are the leads.)

Steven + Kirsten wouldn't feel like such a missed opportunity if "Set it Up" weren't so evidently comfortable writing supporting characters of different races and ethnicities; giving every actor with a speaking role something memorable to say or do, even if they're onscreen for less than a minute; and filling each role with a performer who sticks in your mind. (Meredith Tucker, who has cast many vivid ensembles, does wizardly work here.) You expect "Unbreakable Kimmy Schmidt" costar Titus Burgess to excel playing a creepily over-invested building employee who gets drawn into Charlie and Harper's scheme; but lesser known players register just as strongly, in particular Jeff Hiller as a mistreated waiter, Evan Park as a doorman with a spiritually exhausted glare, and Sonia Denis as a ring salesperson who sees a relationship-changing argument unfold in front of her. 

They all reminded me of one the biggest small parts in any film, Nada Despotovich as the bakery employee in "Moonstruck" who witnesses' Nicolas Cage's meltdown and blurts out, "That is the most tormented man that I have ever known. I'm in love with that man. But he doesn't know that. I never told him, because he can never love anybody since he lost his hand and his girl." 

There's so much life in this movie that I wanted it have even more. But it's still bursting with talent. I expect everyone associated with it to go places.

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