Lady Gaga fully immersed herself to play the role of Patrizia Reggiani in House Of Gucci, delving into the character on- and off-screen. The iconic star tells Screen about finding the heart of a killer.
When Lady Gaga started working on Ridley Scott’s House Of Gucci, she wrote herself a letter.
“I’m telling you that I don’t need you right now,” it said. Although, it did assure her, “I’ll be back.” This missive was part of an exercise the multiple-award-winning pop phenomenon turned A-list actress describes as “trauma work, in a way that’s like therapy”. It also reflects how deep was her dive into the role of Patrizia Reggiani, the notorious, ambitious socialite who married fashion industry scion Maurizio Gucci in 1972, and was found guilty of plotting his murder 25 years later.
The resulting performance is full-on Method, building on Gaga’s Oscar-nominated breakthrough in 2018’s A Star Is Born, and has already earned her Bafta, Screen Actors Guild and Golden Globe nominations for best actress. When she speaks to Screen International in late January, Reggiani has long since left the building and Gaga is very much herself once more. But she proves keen to talk — with warmth and honesty — about the responsibility and controversy of playing this difficult character.
Now House Of Gucci is out and people are responding to it, how are you feeling about the whole experience?
It’s a whirlwind, and I learn more about myself every day through the process of watching how people react and enjoy the film. I’ve always liked to work on projects that have heart. You know, what is human? What is real?
Given that’s your objective, what were your first thoughts on playing Patrizia Reggiani when Ridley Scott approached you?
At first, I was very cautious. I thought this could be incredibly stereotypical and paint a picture of women that I don’t agree with. I don’t believe in perpetuating stereotypes about marrying for money and using your body and sex to get what you want. And glorifying a killer in a way that’s not in line with my values. That was not appealing to me.
How did he convince you?
Ridley said to me: “They were really in love, and she really loved Maurizio.” We began a conversation about what it means to not be born a killer, but to become one. And for that to grow out of this primal human behaviour of surviving — life as survival. This was intriguing to me. Because then we’re writing a story about a woman experiencing systemic abuse from her mother, from the men around her, wanting to matter in society, and being up against patriarchy, wealth and privilege and prestige in a way that many women all over the world can relate to.
What was Scott like as a partner in crafting this performance?
He became a great friend of mine. As a collaborator, he’s incredibly empowering. I will never forget the first time he came to talk to me on set. He asked: “So what’s the scene about?” I knew he already had an idea of what the scene was about, because he storyboards everything, but he was curious about how my view as a woman would colour the way we might think about the circumstance of the scene. And he loved being spontaneous. He was open to me doing things in the moment. I think it’s so essential that, no matter how much work you put in — whether it’s a sense-memory technique, or Method, or analysis of the script — you have to throw it out the window so you can be fully present for your director and ‘be’ the character that you’re playing.
Speaking of the Method, it’s been reported that you spent 18 months as Patrizia.
It was nine-and-a-half. I don’t know where it got to 18. I think it got out of hand at some point. [Laughs]
Even so, that’s a long time. That must have been tricky given your other professional commitments.
Well, I did partake in other commitments and stay in character. But I find a real joy in it, and I wanted there to be joy in the performance, even if it was ugly. I mean, I wasn’t afraid to make her ugly, because it became ugly. And when I say being in character, that also means doing a lot of research, which can extend anywhere from me finding psychic advisers to the family and getting them on Zoom calls, or rummaging through as many photographs of her hands as I could find to see what colour nail polishes she wore [laughs]. It’s very important to me that when I’m on screen, people don’t feel like it’s me the whole time. I think that would be very distracting.
Did you take that approach with A Star Is Born?
Yes, I did. I started to dress like Ally. I dyed my hair very quickly. I allowed myself to enter a more natural state. I stopped going out to do things that would expose me to the paparazzi to get used to the psychology of someone who’s not famous. I thought a lot about my time in New York working as a waitress. There was a lot of correlation between Ally and I.
How much correlation was there between you and Patrizia?
We had less in common, but actually we had in some ways lots of things in common in our systemic experience of abuse with men. That’s something I’ve struggled with my whole life, and I’ve always had a real issue with the way I believe women are treated when we’re very young. The way we’re taught that we will matter if a man wants to marry us. That we will matter if we’re beautiful. In that way I had a real compassion for Patrizia. But by the end of playing her, I realised what a monster she had become in her life.
Returning to the response to the film, what are your thoughts about the Gucci family’s negative reaction?
I have seen a few different statements from different members of the family. And what I will say is, I knew it would be a challenge for me to hold and understand that this was gonna be very painful for the family. My heart goes out to them, and I do care for them, whether they’re able to receive that or not. I meant no ill intention and I intended to make a soulful performance.
What’s next for you in terms of film work? Do you have any plans or potential collaborations you crave?
I’m enjoying getting to know directors personally and professionally, and getting to know other actors more and more. I’m becoming increasingly excited about being part of a community that’s embracing me, and I’m excited to just naturally and organically become a part of projects that feel right for all the artists. I have this privilege, which is wonderful. So it’s less about praying you get the job and it’s more about, how can we make something that will make the public smile and be meaningful? So it will be something that I will have put a lot of thought into, and I will put as much time and work and energy and love into it as I did this film.
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