was in love, this woman was hurt, this woman was oppressed by a patriarchal Italian system that’s systemic and painful. And we all are so and also all of us, as women, we don’t always commit murder when these things happen - but she did.
She was just hurting essentially? She was deeply hurting and I think she lost her mind. And I think that’s in the film something that I’m interested to see what people think about the whole thing. And also, for what it’s worth, this movie is so fun. The movie is so fun, it’s so funny, it’s a drama but it has a dark comedic aspect, there’s a bit of a satirical quality as well. It’s something that I can’t say enough wonderful things about my director Ridley Scott and Giannina Scott, our producer, as well as this cast. This cast was incredible. I mean if you look at the line up of everybody here, I can tell you that in person working with all of them, nobody was focussed on anything but the work every day that we were there. Everybody is an artist, everybody cares for the craft and that’s what’s most important to me, is what is the artistic quality of the work? And I’m just so proud to be here – and in London!
16
How excited are you to be showing this film in London? I’m so excited for people to see this in theatres. It’s wonderful. And my director Ridley Scott and my cast are here – it’s a joy!
How much did you know about Patrizia before you took this role? Well, you know Patrizia Reggiani/Patrizia Gucci, is somebody that I didn’t know until I read the script. And I really went into a romance with the character as well as the script itself. And the truth is, I admired her strength, I also admired her weaknesses. Playing a murderer is hard because I inherently don’t believe in the evil that she colluded with at the end of her life and also, Maurizio fell in love with her strength and I do believe in this film you watch the story of a woman, a woman unravelling. And it’s a story that only women really can understand, in a way, when it comes to her. But what’s wonderful about ‘House of Gucci’, the film, is that Ridley Scott, the legendary director, he created something that is actually about a family, an Italian family, an Italian family business and what happens when a woman tries to infiltrate this business and the men shut her down.
Tell us how you found the humanity in Patrizia? she’s a misunderstood woman right? Well, you know, I did a lot of research about Patrizia and once I found out that when she got married to Maurizio, he didn’t have the money that everybody thought he did. He was not a part of the Gucci inheritance yet. And then I also found out that after he was murdered, they were divorced. So really this idea that she was a gold digger was a fable. So I started to dig like a journalist, deeper and deeper, like a detective and go inside of like the world of the Guccis, the world of Patrizia. There was not a lot about her before 1995 when he was murdered. Once I dove, I realised this woman
When you first stepped into one of Janity Yates creations how did it feel? You know, actually my relationship with Janty is really deep and emotional. When we were working on building Patrizia, we were talking a lot about the character and not a lot about fashion, meaning that I didn’t want the clothing ever to overpower the character. And also, she was so much of an outsider, so when you see the film you will notice that she is never quite as shiny as the Guccis, she’s never quite as upper class, she never quite gets it. She is always a little bit off, if not embarrassing. There’s something about her that feels uncomfortable, there’s something about her that feels like it’s trying. But I think that this is in a lot of ways not only reality but a comment on society. I believe that privilege is inherently evil and I also believe that when a lot of men are arguing about money and what they are owed, they might have missed the real disaster, which is not that they were losing money but that she was a disaster and someone was about to die.
We’ve heard how much you immerse yourself in your roles, can you talk about the process for this one? I really feel in some ways that my process has been sensationalised into something but I don’t like to lie about my work and my process so what I will say is this – I’m a romantic when it comes to art. I had a romantic relationship with my character Patrizia, I had a romantic relationship with the script and I dove head first into this world. Because she’s nothing like me. An inherently wide-eyed person that is looking to transgress society financially is something that I don’t identify with. So I spent a lot of time living my life looking for where money and value lie. Then there’s the accent, then there’s the ability to talk as myself, meaning as Stefani, with the accent, so that I knew that I could speak from a place that was visceral, that was true. Then there’s the script which you have to analyse until you are, you know, dead behind the eyes. For me, I would stop at nothing to take helm of my character and I have to hand it to the cast. The cast is brilliant. They were amazing to work with. Everybody was professional, everybody was wonderful. And Ridley Scott, my director, he’s absolutely masterful. I can’t say enough about him. He knew exactly how to do everything. He has vision beyond anything you could imagine. I’m just hoping he’ll hire me as his assistant so that I can work with him all the time.
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CE L EBRIT Y INTERVI EW LADY GAGA
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