GOLF issue
aRUDE comment
ONLINE content
ARBITERS
Got Game Marisa Baena interview by Iké Udé
Large Arc Robert Baker interview by Iké Udé
MirrorMask Neil Gaiman interview by Brandon Judell
Cineman Chief at MOMA Jytte Jensen interview by Brandon Judell
Scents and Sensibility Chandler Burr interview by Lacy Crawford
The Supreme Tiger Tiger Woods profile by John Huggan
Building Bridges Bob Rubin interview by Nicholas Callaway
BEAUTY
Beauty Illustrated photography by Jamie Nelson
A Girl's Best Friend photography by Kimio Takeyama
BON APPETIT
Questions for Chanterelle's David Waltuck
Questions for Gualtiero Marchesi
Casati in Chocolate by Scot D. Ryersson & Michael Orlando Yaccarino
FASHION
Self Portrait Diane von Furstenberg Essay & interview by Iké Udé
Costume Change Harold Koda interview by Ralph Rucci
Hannah And Her Syster photography by Nicholas Callaway
KULTURE & ART CINEMA
The Boy From Oz Michel Wright interview by Brandon Judell
Eternal Tees Maggie Gyllenhall interview by Brandon Judell
Smart and Smarter Jeff Daniels interview by Brandon Judell
Happy Endings Lisa Kudrow interview by Brandon Judell
The Toronto Kid Norman Jewison interview by Brandon Judell
Family Values Natasha Richarson interview by Brandon Judell
LEGEND
Immortal Bobby Bobby Jones interview by Robert Green
The Quixotic Limelight Payne Stewart interview by Robert Green
Master and Peacock Walter Hagen interview by Robert Green
Eternal Optimist Gary Player interview by Cyril le Tonqueze
OFF THE WALL GREEN IS OUR COLOR
Pier Guerci
Robert F. Smith
REVIEW
aRUDE Comment by Iké Udé
Telescope A close-up of the stars, notables, scenesters and picturesque dilettantes
ARCHITECTURE & DESIGN
The Impresario's New Act Ian Schrager interview by Alex Ulam
Golf Landscapes
STYLE
Pardon Our Apparance Kangaroo, Lake karrinyup...
Element of Style aRUDE's template for style
Style File Robert Rufino
15 Minutes Plus Ragin Success Idris Mignott interview by Lola Ogunnaike
Fantasy & Simulacrum Giraffe, The Leopard Creek...
Le Girl
aRUDE comment
golf_issue_mgyllenhaal.php
ONLINE content
ARBITERS
Got Game Marisa Baena interview by Iké Udé
Large Arc Robert Baker interview by Iké Udé
MirrorMask Neil Gaiman interview by Brandon Judell
Cineman Chief at MOMA Jytte Jensen interview by Brandon Judell
Scents and Sensibility Chandler Burr interview by Lacy Crawford
The Supreme Tiger Tiger Woods profile by John Huggan
Building Bridges Bob Rubin interview by Nicholas Callaway
BEAUTY
Beauty Illustrated photography by Jamie Nelson
A Girl's Best Friend photography by Kimio Takeyama
BON APPETIT
Questions for Chanterelle's David Waltuck
Questions for Gualtiero Marchesi
Casati in Chocolate by Scot D. Ryersson & Michael Orlando Yaccarino
FASHION
Self Portrait Diane von Furstenberg Essay & interview by Iké Udé
Costume Change Harold Koda interview by Ralph Rucci
Hannah And Her Syster photography by Nicholas Callaway
KULTURE & ART CINEMA
The Boy From Oz Michel Wright interview by Brandon Judell
Eternal Tees Maggie Gyllenhall interview by Brandon Judell
Smart and Smarter Jeff Daniels interview by Brandon Judell
Happy Endings Lisa Kudrow interview by Brandon Judell
The Toronto Kid Norman Jewison interview by Brandon Judell
Family Values Natasha Richarson interview by Brandon Judell
LEGEND
Immortal Bobby Bobby Jones interview by Robert Green
The Quixotic Limelight Payne Stewart interview by Robert Green
Master and Peacock Walter Hagen interview by Robert Green
Eternal Optimist Gary Player interview by Cyril le Tonqueze
OFF THE WALL GREEN IS OUR COLOR
Pier Guerci
Robert F. Smith
REVIEW
aRUDE Comment by Iké Udé
Telescope A close-up of the stars, notables, scenesters and picturesque dilettantes
ARCHITECTURE & DESIGN
The Impresario's New Act Ian Schrager interview by Alex Ulam
Golf Landscapes
STYLE
Pardon Our Apparance Kangaroo, Lake karrinyup...
Element of Style aRUDE's template for style
Style File Robert Rufino
15 Minutes Plus Ragin Success Idris Mignott interview by Lola Ogunnaike
Fantasy & Simulacrum Giraffe, The Leopard Creek...
Le Girl
MAGGIE GYLLENHAAL eternal tees
interview Brandon Judell
Maggie Gyllenhaal photography Eric Lee click image to enlarge Brandon Judell: When you were a teenager, Debra Winger came to your house for lunch, dressed in the same clothes as the character she was playing in a film at the time.
Maggie Gyllenhaal: How do you know that? Oh, I must have told this story sometime. (Laughs)
BJ: You've claimed that moment had a great influence on you. When you play a sexy character, for example, you've said that unconsciously you start dressing sexier off the set. In this year's Happy Endings you played Jude, a self-centered seductress of both a gay teen virgin and his wealthy widowed dad—how did that part affect you?
MG: It's mistier than that; it's not like I'm playing a murderer and all of a sudden I feel like killing people. It's subtler. Sometimes when you're working on something for a long time—I made a movie after Happy Endings, Some Kind of Heaven, where I played this girl who had just gotten out of prison—we shot it very, very quickly, but very, very intensely, and that took me a long time to get over. But this one… I don't know. We shot [Happy Endings] in, like, two weeks. Jude… It's complicated because I think Jude is really pained, but very, very deep inside. And broken. But really deep inside, all of my effort was toward making her survive, and making her believe in what she did, and making her beautiful, and making her sexy, and awake. The pain in it and the way she spoke—I didn't have to focus [on] very much; I was totally focused on the things that were healthy. So actually, I felt pretty good when I was making this movie.
BJ: Has the success of Secretary affected the type of scripts sent to you? Are they often brimming with erotica?
MG: Well, I think most people in the world are interested in seeing 27-year-old women in movies somehow connected to sex. I think sex is interesting to everyone. It's how come we're here. And so, I think sex is in a lot of movies, especially little movies that are having trouble getting made. There's always sex in them. I'm interested, both in my life and in my work, in how sex is a way of communicating; I'm not really that interested in a sort of fantasy version of a scene where it looks like a soft-core porn movie and everyone looks perfect. I'm interested in,
BJ: Why communicate this thing through sex? and is there no other way to communicate this idea except to have these two people making love to each other?
MG: That's what interests me —that it's another way of talking. Like for some people, math is the way that they communicate.
BJ: And what about when you tear the pages off a dozen more calendars?
MG: Let's say when you're 40. People are interested in sex from people of other ages too. But I think with any particularly young actress, that's always sort of an active part of every script I read. I don't think it's just because of me and Secretary. I think Secretary is funny. That movie does have a lot of sex in it; I mean it's about sex. But I think sex is the gateway to talking about a lot of other complicated things. You know, I just worked with Julianne Moore, who I think includes her sexuality in everything she does and is naked a lot, and she's in her forties. Or Diane Lane. They're both older actresses, older than me. They're both super-sexy, and sex is part of the work they do. I don't know; I guess I just think sex is interesting to people, and it's part of all of our narratives, and so if we're going to tell a story, then it's included.
MG: I just made a movie called Stranger than Fiction with Will Ferrell and Dustin Hoffman and Queen Latifah and Emma Thompson, that Marc Foster directed. That was much bigger. And I'm going to do a bigger one too, after this one. I'm 27 years old. When I first started and I was 22, 23, I kind of thought, I don't care if anyone sees my movies; it's not for you. I had a different point of view about it; now I do care if people see my movies. I make them because I believe in what they're saying. I want to have some effect on the way the world works, whatever way I can, and I also want to have the power to help get the movies I think are important made. At the same time, acting is something that's really important to me so I think it would be really hard for me to be in something I didn't believe in. It's a fine balance.
BJ: Leaving sex for tees, have you ever done anything with a putter? Or would you rather read Robert Coover than play golf?
MG: (Laughs) I once played golf. It's really interesting. There was this actress who was a friend of a friend—I didn't know her very well, but she was married to this very, very wealthy man—and we went to their house. They had a little place where you could hit balls, but the balls would go into the ocean. And I just thought, but then, I took the club and she talked me through how to hit the ball. It was like, Zen. It's really amazing. The first one I fucked up. The second two I really hit. And it took an incredible amount of focus. It was interesting. But so is reading Robert Coover again.
interview Brandon Judell
Maggie Gyllenhaal photography Eric Lee click image to enlarge Brandon Judell: When you were a teenager, Debra Winger came to your house for lunch, dressed in the same clothes as the character she was playing in a film at the time.
Maggie Gyllenhaal: How do you know that? Oh, I must have told this story sometime. (Laughs)
BJ: You've claimed that moment had a great influence on you. When you play a sexy character, for example, you've said that unconsciously you start dressing sexier off the set. In this year's Happy Endings you played Jude, a self-centered seductress of both a gay teen virgin and his wealthy widowed dad—how did that part affect you?
MG: It's mistier than that; it's not like I'm playing a murderer and all of a sudden I feel like killing people. It's subtler. Sometimes when you're working on something for a long time—I made a movie after Happy Endings, Some Kind of Heaven, where I played this girl who had just gotten out of prison—we shot it very, very quickly, but very, very intensely, and that took me a long time to get over. But this one… I don't know. We shot [Happy Endings] in, like, two weeks. Jude… It's complicated because I think Jude is really pained, but very, very deep inside. And broken. But really deep inside, all of my effort was toward making her survive, and making her believe in what she did, and making her beautiful, and making her sexy, and awake. The pain in it and the way she spoke—I didn't have to focus [on] very much; I was totally focused on the things that were healthy. So actually, I felt pretty good when I was making this movie.
BJ: Has the success of Secretary affected the type of scripts sent to you? Are they often brimming with erotica?
MG: Well, I think most people in the world are interested in seeing 27-year-old women in movies somehow connected to sex. I think sex is interesting to everyone. It's how come we're here. And so, I think sex is in a lot of movies, especially little movies that are having trouble getting made. There's always sex in them. I'm interested, both in my life and in my work, in how sex is a way of communicating; I'm not really that interested in a sort of fantasy version of a scene where it looks like a soft-core porn movie and everyone looks perfect. I'm interested in,
BJ: Why communicate this thing through sex? and is there no other way to communicate this idea except to have these two people making love to each other?
MG: That's what interests me —that it's another way of talking. Like for some people, math is the way that they communicate.
BJ: And what about when you tear the pages off a dozen more calendars?
MG: Let's say when you're 40. People are interested in sex from people of other ages too. But I think with any particularly young actress, that's always sort of an active part of every script I read. I don't think it's just because of me and Secretary. I think Secretary is funny. That movie does have a lot of sex in it; I mean it's about sex. But I think sex is the gateway to talking about a lot of other complicated things. You know, I just worked with Julianne Moore, who I think includes her sexuality in everything she does and is naked a lot, and she's in her forties. Or Diane Lane. They're both older actresses, older than me. They're both super-sexy, and sex is part of the work they do. I don't know; I guess I just think sex is interesting to people, and it's part of all of our narratives, and so if we're going to tell a story, then it's included.
I once played golf…It was like, Zen…The first one I fucked up.
The second two I really hit. And it took an incredible amount
of focus. It was interesting.
BJ: As one of the latest queens
of indies, are you being tempted by bigger budget studio projects?
MG: I just made a movie called Stranger than Fiction with Will Ferrell and Dustin Hoffman and Queen Latifah and Emma Thompson, that Marc Foster directed. That was much bigger. And I'm going to do a bigger one too, after this one. I'm 27 years old. When I first started and I was 22, 23, I kind of thought, I don't care if anyone sees my movies; it's not for you. I had a different point of view about it; now I do care if people see my movies. I make them because I believe in what they're saying. I want to have some effect on the way the world works, whatever way I can, and I also want to have the power to help get the movies I think are important made. At the same time, acting is something that's really important to me so I think it would be really hard for me to be in something I didn't believe in. It's a fine balance.
BJ: Leaving sex for tees, have you ever done anything with a putter? Or would you rather read Robert Coover than play golf?
MG: (Laughs) I once played golf. It's really interesting. There was this actress who was a friend of a friend—I didn't know her very well, but she was married to this very, very wealthy man—and we went to their house. They had a little place where you could hit balls, but the balls would go into the ocean. And I just thought, but then, I took the club and she talked me through how to hit the ball. It was like, Zen. It's really amazing. The first one I fucked up. The second two I really hit. And it took an incredible amount of focus. It was interesting. But so is reading Robert Coover again.
