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Get ready for more JLaw on the big screen! The Oscar winner is taking on the role of Marita Lorenz, a former lover of Fidel Castro, in an all-new movie. Here’s 5 things you need to know about Marita!
Could another Oscar be in Jennifer Lawrence’s future? The 25-year-old is set to star in the new biopic about Marita Lorenz. So, who is Marita? We’ve rounded up 5 key things you need to know about JLaw’s new role.

1. She was once Fidel Castro’s lover and was involved in a crazy CIA plot.

She had an affair with Fidel in 1959 at the age of 19, according to our sister site Variety. Marita later fled Cuba and joined a group of anti-communists. Marita was approached by the CIA and asked to help carry out an assassination plot against Fidel.

2. She got pregnant with Fidel Castro’s baby.

Marita became pregnant with Fidel’s child during their affair. The pregnancy was later terminated, according to Refinery 29.

3. She claims she was involved in the assassination of President John F. Kennedy.

Now this is crazy. Marita claims that she witnessed a conspiracy between the CIA, Cuban operatives and Lee Harvey Oswald to murder President John F. Kennedy. She later testified before Congress in the JFK investigations.

4. She was incarcerated in the Bergen-Belsen concentration camp.

Marita was born in Germany in 1939. She was incarcerated at the Bergen-Belsen concentration camp during World War II.

5. She worked for the FBI after leaving Cuba.

Marita continued working for the U.S. government after her whirlwind time in Cuba. She spied on diplomats living in New York in the 1970s. What a life!


At just 25, Jennifer Lawrence is already an Oscar winner and Hollywood’s most bankable actress. Since 2010’s gritty breakthrough Oscar nominated role in Winter’s Bone, she’s led the box-office-busting franchise The Hunger Games and worked blue for her role as Mystique in the X-Men series.
“It’s crazy,” Lawrence tells EW. “I signed on to these projects when I was 20 years old. I remember being like, ‘Oh my God, I’m going to be 25 when I’m finished. It seemed so far away.” As for saying goodbye to Katniss Everdeen, Lawrence says she now feels the finality of Mockingjay – Part 2 arriving in theaters. “It does feel over. It didn’t for a while and I didn’t think it would ever sink in, but it has now. It feels over. And that’s okay. It’s okay to move on.”
This Christmas, she and director David O. Russell – who previously did 2012’s Silver Linings Playbook (for which she took home the Best Actress Oscar) and 2013’s American Hustle (which garnered her a third nomination) – have teamed up again for Joy, in which Lawrence takes center stage as the film unfolds over four decades to show how one bright, determined woman rises to become the matriarch of her family.

“David and I will never, ever, ever, ever not do movies together,” she says. “I love him so much that sometimes I can’t talk about him without tearing up. Look! I’m tearing up. I understand every look, every eyeball move, every word he says or doesn’t say. We were made for each other.”

Russell feels the same way. “Jen’s the same person, this girl from Kentucky who is becoming a woman,” he says. “I’ve gotten the privilege of watching that. That’s also the story of this movie. It’s a lot for a 25-year-old. But it’s happening. Jennifer is really finding her own voice.”

To continue reading more on EW’s Entertainers of the Year, pick up the new issue of Entertainment Weekly, on newsstands Tuesday, or buy it here. Watch our interview with Lawrence below.

Photos: Inicio > Photoshoots > Entertainment Weekly

The Golden Globe winner is set to play Marita Lorenz in ‘Marita,’ a pitch by ‘American Hustle’ scribe Eric Warren Singer.

After starring in a film inspired by the life of Miracle Mop creator Joy Mangano, Jennifer Lawrence is ready to tackle another real-life woman.

The actress, who received her fourth Oscar nomination last week, is attached to portray Marita Lorenz in Marita, a hot pitch from Eric Warren Singer, co-writer of American Hustle.

Sony Pictures, moving aggressively, picked up the project from the Oscar-nominated scribe in a competitive situation. Matt Tolmach will produce the romantic spy drama with Lawrence and Scott Mednick. Andre Rouleau is also producing.

Marita centers on Lorenz and how she met and began an affair with Cuban leader Fidel Castro in 1959 when she was 19 years old. After becoming pregnant and having an abortion, Lorenz left Cuba and joined anti-communists in the U.S., where she was recruited by the CIA for an assassination mission. In 1960, she returned to Cuba to carry out the mission but, according to lore, yielded to love.

(Lorenz had quite the life, by the way. She also had an affair with a Venezuelan dictator, claimed to have been involved in the assassination of John F. Kennedy and spied on diplomats for the FBI in the 1970s. She wrote two autobiographies and lives in Maryland.)

Singer spent months developing the project, working with Mednick and Rouleau, before bringing it to Lawrence, with whom he worked on Hustle, and taking it out to the town.

Sources say the true-life spy story attracted plenty of interest and bidding from other studios such as Fox 2000, Warner Bros., Paramount and Annapurna.

Exec Ange Giannetti will oversee for the studio.
Lawrence,won a Golden Globe for her role as the housewife-turned-inventor in David O. Russell’s Joy, along with receiving an Oscar nomination. The Hunger Games actress, who will next be seen in X-Men: Apocalypse, is attached to a slew of other projects. Lawrence is set to star in Darren Aronofsky’s untitled project for Paramount with Javier Bardem; she is planning to write and star in a project with her new BFF Amy Schumer; and she is attached to Steven Spielberg’s film It’s What I Do, the story of a female war photographer.

With the Marita pickup, Sony is back in business with Lawrence, who recently completed the studio’s sci-fi love drama Passengers.
The Hollywood Reporter

Four years ago, Glamour’s cover featured an up-and-coming Kentucky-born actress named Jennifer Lawrence, “on the cusp,” we wrote, “of being mega-famous.” Well, “mega-famous” doesn’t even begin to describe it: Since then, Lawrence has starred in blockbusters, won an Oscar, and launched a thousand GIFs with her self-deprecating pizza gags and red-carpet pratfalls. She’s also pulled off a hugely difficult Hollywood feat: being both immensely likeable and seriously ballsy, taking stands on issues like fair pay for women. When the Sony hack spilled correspondence that revealed she’d been paid substantially less than her male costars on American Hustle, she jabbed back with an essay in Lena Dunham’s newsletter Lenny, taking aim at the double standards that sometimes pressure women to act nicer, and negotiate less, than their male peers. “I want to fly under the radar,” she says, but “my mouth has just made it impossible.” Well, good!

In this interview with Glamour editor-in-chief Cindi Leive in the February issue of Glamour (see the full story on newsstands today, or download the digital edition here), she weighs in on everything from her style (“slutty power lesbian”) to her outrage at the recent assaults on Planned Parenthood (“it’s an attack on women”). Oh—and Amy Schumer, Adele, and Larry David make appearances. Listen in.

CINDI LEIVE: You were on the cover of Glamour four years ago. The first Hunger Games was just coming out. And you said—
JENNIFER LAWRENCE: Oh God. This is my least favorite part. As soon as somebody’s like, “And you said,” I’m like, “Oh God. Oh no.”
CL: [Laughs.] You said, “I feel like I got a ticket to another planet and I’m moving there, and there’s no turning back. And I don’t know if I’m gonna like that other planet or have friends there.” So… how’s life on that other planet?
JL: It’s really lovely. Very nice. … It took a few years to adjust. I didn’t really realize how angry and distorted I felt. For, like, probably a solid three years. It had nothing to do with Hunger Games…. It had to do with the thing that came with Hunger Games. I still felt entitled to a certain life that I just wasn’t allowed to have [anymore]. I felt like I had the right to say, “I don’t want to be photographed right now, I don’t want people outside my house right now, I don’t want my nephews in People.” I felt so much anger of “Why can’t I just do my job?” And then you just get used to it—and it just is.
CL: It makes me a bit sad if you don’t feel you’re entitled to that now.
JL: I don’t, but that helps. [Laughs.] I do have an idea. I think that we should be allowed time off. Like—
CL: Off from being famous?
JL: Yes. Three months. “Oh, it’s my three months off. You can’t photograph me.” I would love to be able to control being photographed. Then I wouldn’t have a new headline out today that I wore the same jeans three days in a row. [Laughs.] I was like, “First of all, yes, I did. Second of all, f–k you, yes, I did.” [Laughs.] But I hate the “movie star blues.” We are so lucky, and I love my life. I wouldn’t take any of it back for anything. So I don’t like complaining about it.
CL: When you first got into acting, you said you felt like you weren’t connecting with what was in school; you didn’t feel smart in that situation. Then you read a script, and you were like, “This is where I’m smart.” Do you still feel that connection when you read a script?
JL: Yeah. I’m addicted to work. And acting. I don’t know how to describe it—reading a script is like a map. [But] it’s on set, finding that character, feeling the emotions, getting that adrenaline—it is such a rush. Developing a character is the only thing in the world I feel 100 percent confident in, that I understand. I still have that feeling from being a teenager: “I’m good at this, and I like this.” So I want to keep doing it, because it makes me feel good about myself.
CL: And now you have Joy. I loved her—she was like Gloria Steinem with a mop!
JL: Joy’s lovely. [Laughs.] Both Joys are lovely. My Joy [the character] and [the real] Joy. I have Joy Mangano hangers all over my closet. They’re brilliant. I have her steamer too.
CL: Do you have the mop?
JL: No, I don’t. I’m not gonna bullsh-t; I don’t do my own mopping. [Laughs.]
CL: One of the things that’s fun to watch is how that character realizes her own power over the course of the movie. She goes from “I have an idea” to really being willing to fight for it.
JL: That was what was exciting about the story when David pitched it to me. It’s all four seasons of success—before, when you don’t believe in yourself; when you do believe in yourself, and nobody else does; and then all of the awful things that come afterward. And I liked the beginning, when she wants more than what life has bestowed onto her. She has this frustration that’s not very likable, to lie next to your children and say, “I feel like I’m in a prison.” But it’s true. Everybody has this idea: You have children, and your entire life is complete. That’s how I imagine it. I imagine I’ll have children and then my whole life will just seem complete.
CL: Hate to break it to you. [Laughs.]
JL: But you can have children and love them with all your heart and soul, and love your family, and it’s still OK to have a fire in you. That doesn’t have anything to do with your family. That has to do with you. She has a gift…and she can’t shut it up.
CL: There’s a great moment at the beginning of the film when Joy’s grandmother tells her she can grow up to [achieve] her dreams. I’m curious: Did you have that early family encouragement—people around you who told you, “Yes, this is what we want from you”?
JL: No. It was the opposite. I grew up in Kentucky, so nobody was like, “You’re gonna be a movie star.” [Laughs.] There just wasn’t a possibility. And then, when I told my parents when I was 14 that I wanted to move to New York and become an actress, they were like, “Well, no. Obviously.” And I just wouldn’t shut up about it. I had already saved up babysitting money. So I was like, “I’m going.”
CL: You had saved up enough babysitting money to go to New York?
JL: I’ve always been a real stickler with money. I wouldn’t buy things from the concession stand. I never knew what I was saving for until New York hit my mind. And then I was like, “That’s what I’ve been saving for…. I’m going.” And they were like, “Well, we don’t want her to die.” [So] my brother came with me…. But they were like, “You can try it for the summer, and then you have to come back and finish school.”
CL: Their goal for you was “Don’t die.”
JL: Yeah. My mom always says she…wanted me to fail so that I could come home, because not failing meant me being in New York. She lost a daughter, really, at 14. I mean, she’s very proud of me. She got on board when she saw how happy it made me. Because I knew. Emma Stone and I—we stayed up until, like, six in the morning talking about it the other night. We both were just like, “I just knew.”
CL: You mentioned Kentucky before. Do you feel like there’s a Kentucky part of your personality?
JL: My cousin and I were talking last night about what we wanted to do with our dead bodies. And I’m like, “I want my ashes scattered on Lake Cumberland.” And when I said it out loud, I was like, “Wow. You really are still rooted in your redneck [ways].” [Laughs.] But basically it’s a certain grit. Everything’s very family oriented. Nobody knows or cares about designers. I care! But I didn’t used to.
CL: When did you start caring?
JL: Pretty recently. I think I had to take control.… It was like, if I don’t start getting an opinion, I’m just gonna be like a puppet that’s being dressed by everybody else.
CL: So how would you describe your style now?
JL: “Slutty power lesbian.” That is literally what I say to a stylist. [Laughs.] I don’t know if that’s offensive—
CL: But that puts me in a tuxedo frame of mind, which I don’t feel like I see you in.
JL: Well, first of all, Dior is its own house that’s very feminine and beautiful; this past press tour every dress was just phenomenal. So you don’t see me as a slutty power lesbian on the red carpet a lot, because I’m embodying the Dior woman, which is an honor.… But [also] I’ve got tits and an ass. And there are things that are made for skinny people—like a lot of embroidery, or it covers a lot—and those make me look fat. I have to show the lumps. If you have boobs, you have to show, like, “These are boobs. This isn’t cellulite.” [Laughs.] Not that there’s anything wrong with that.
CL: It was interesting watching Joy on the heels of having read your Lenny essay. Joy does come into a sense of her own power, and it feels like those are muscles you’re flexing in your role in Hollywood right now too—first with Hunger Games, when you shattered the ideas of what a female-driven movie could do at a box office.
JL: Yeah, we broke that record, and I didn’t even realize. As women we don’t know we’re at a deficit because we have vaginas. It wasn’t until they had a headline like, “Even though she’s a woman!” And I was like, “Oh. I didn’t know to be looking out for that.” [Baby voice] “How did this wittle vagina manage that? I carried a whooole movie.” [Laughs.] “How did I do it, getting a period once a month?”
CL: [Laughs.] How did you do it? Give some tips.
JL: We had to take a week off every month.… I had to go to my red tent in the desert and wait it out. [Laughs.]…[But] I think there was this studio mentality for a long time that women and girls can relate to a male hero, but boys and men can’t relate to a female hero. But that’s simply not true. And so we’ve fortunately proved that.
CL: And then how did you decide to take a stand about [fair pay]?
JL: It was so personal that it was scary.… I keep going back and forth on being opinionated. I completely agree when there are actors who say, “Actors should stay out of politics. We’re not politicians.” [And] my business is based on everybody buying tickets and seeing my movie.… It’s not smart, businesswise, to be opinionated. But then what’s the point in having a voice at all if I’m not going to use it for what I truly believe in?
CL: I understand the argument that actors aren’t more entitled than anyone else. But they’re certainly as entitled as anyone else.
JL: Of course. And the women’s pay gap is a real thing that a lot of people don’t know about. It hasn’t been in our consciousness; it wasn’t in mine. I don’t think it was Sony’s fault [that I was paid less than my male costars in American Hustle]. I don’t think it was anybody’s fault. I wanted to open up about how my mentality got in my way.
CL: The point of what you could have done differently is a great one, but are you letting Sony off the hook there? Like, why not be a little bit mad at them?
JL: Because Sony’s a business. You’re not gonna give somebody more money if they don’t ask for it. They’ve got to fit a million movie stars into one movie. They’re trying to realistically make this happen. You know, [after the Lenny essay came out] my agent was like, “God, I feel like I look like a terrible agent.” Well, no, because you have to do everything I say. And I said, “Settle.” ’Cause I just wanted to do the movie; it wasn’t about money to me at the time. But all the actors were doing that. None of us were getting our [usual] quotes. But the difference in who was getting a little less, and a lot less, than their quote was very vast. And I wanted to write about how I got in my own way. ’Cause I assume that in negotiating, the men were tough as balls.
CL: Back to speaking up—you had already done that once, when you talked in Vanity Fair about your [stolen] nude photos [which were leaked onto the Internet in 2014]. You made the good point of calling that a sex crime, not a scandal. I had been guilty of saying scandal prior to that, and I corrected myself.
JL: If I was quiet, it would have seemed like I was ashamed. And I wasn’t ashamed; I was enraged. Not once have I felt like I “learned a lesson.” I didn’t do anything wrong!
CL: Who would imply that you should have learned a lesson?
JL: Even I’ve defended myself by saying I was in a relationship with a wonderful man for five years. But even if I wasn’t, even if I [just] went on a date with a guy—it doesn’t matter what the situation is. It’s your body. And you can do whatever you want.
CL: I want to ask about some of the other projects you have coming up. First, the movie you’re writing with Amy Schumer. I really hope it’s gonna be a four-part franchise with an amusement park ride.
JL: We finished our first draft today. We gave birth today!
CL: And quickly. That was a short pregnancy.
JL: Four months. Four months. I saw Trainwreck in July, and I emailed her. I just knew: “This bitch needs to write a movie for me.”
CL: “With” me?
JL: Well, I didn’t know “with” at first. I emailed her and was like, “Write something for us.” I’ve never done anything like that before. The next day she wrote back with a story line, which is unheard of. And now it’s complete, and it’s good! But it’s definitely not a politically correct film. [Laughs.] …Amy’s the most empathetic person I’ve ever met in my life. When she came over this morning, she was crying. She had just…seen the news about the shooting at Planned Parenthood. It’s so awful…. It isn’t an attack on abortions; it’s an attack on women. Because Planned Parenthood is so much more [than abortion]. My mom was really religious with me when I was young. She’s not so much anymore. And I wouldn’t have been able to get birth control if it weren’t for Planned P. I wouldn’t have been able to get condoms and birth control and all these things I needed as a normal teenager who was growing up in a Jesus house.
CL: So did you go to Planned Parenthood for those things?
JL: Yes, I did. And now [gestures widely] I am a successful woman who has not had a pregnancy.
CL: Congratulations.
JL: Thank you. [Laughs.] But seriously. What harm comes from supplying people with birth control, condoms, Pap smears, and cancer screenings?
CL: Agree. Somewhat related, I did read in Vogue that you announced that your hymen was growing back.
JL: It’s back. I’m officially a virgin.
CL: In all seriousness, you were talking about the fact that guys don’t ask you out—
JL: No, it’s that I’m picky. I feel a spark very, very rarely. And it’s really only about spark for me. Not really anything else. You should see some of the people I find attractive. [Laughs.] You’d be shocked.
CL: Give me a random example.
JL: I gave Larry David my number. And he never called. [Laughs.]
CL: He might have been like, “That chick is 40 years younger than me. I’m not calling her.” He has a moral compass.
JL: Which makes him even more attractive. I love that he didn’t call me. It makes him so much hotter.
CL: Have you seen his Bernie Sanders impression [on Saturday Night Live]?
JL: Yes! I masturbated to it. [Laughs.] Joking. Obviously didn’t.
CL: That might be the first time that sentence has ever been uttered.
JL: I’ll love him from afar. [Laughs.] I don’t, like, date a lot. I don’t meet a lot of guys who I want to go on a date with. I’ll find a guy attractive maybe once a year. But I’m not a lonely person. Me not dating someone is not a lack of anything in any way. I feel completely fulfilled. Yes, when I spark with someone, it’s exciting, but I definitely don’t need that.
CL: Well, the Internet was very excited that you were with Adele and Emma for dinner recently.
JL: I love Emma. She cracks me up; she’s so “theater.” She’s so adorable. And Adele and I met, like, a year or so ago. Adele and I are a bit harsher; Emma’s never had a bad thought about anybody in her life. It’s so weird; I don’t like new people. But these two women—and Amy—they’re really lovely. And they’re so normal. I feel like I’m hanging out with my friends—my friends that don’t give a f–k about what I do. Amy and I have a life plan—we were with Diane Sawyer in Martha’s Vineyard for Thanksgiving. Not to brag. Diane politely threw it out, and then we’re sitting at the dinner table with her family, like, “We shouldn’t be here.” Anyway, Amy’s always wanted to live on Martha’s Vineyard, and we saw this house, and we’re like, “This is where we’re gonna Grey Gardens, and we’re gonna grow old and crazy together.” That’s our life plan.
CL: That’s a valid life plan. Speaking of the future, you’ve said that you want to direct, and now you’re going to do it [with Project Delirium, about chemical-warfare experiments in the sixties], right?
JL: I’ve wanted it for a long time. My first director was a female director, at 16, Lori Petty [in The Poker House]. I got bit by the same bug that bit me with acting. I’ve tried to absorb every director I’ve worked with like a sponge. I’ve been making notes for seven years.
CL: And there’s [the science fiction movie] Passengers. People keep describing Chris Pratt as the male Jennifer Lawrence. Do you see that at all?
JL: Yeah. But I’m a little meaner. [Laughs.] Chris Pratt is always in a good mood. We laugh all day…. He’s like a chocolate Santa. He’s just like if a dog came to life and was like, “I’m a great actor with a perfect face.” And he’s got the most lovely family. When I met Anna [Faris, Pratt’s wife], I was like, “Go f–k yourselves.” I mean that in the nicest possible way. They’re like a Nicholas Sparks novel—just like, “Ewww! But I want it!” But he’s also a great actor.
CL: Chocolate Santa has chops?
JL: He’s an amazing actor and is making this movie a lot better.
CL: It’s interesting, your saying you think you’re meaner than him. You never seem mean at all.
JL: I think I think pretty cruelly. [Laughs.] Never act on it.
CL: Well, there are a million GIFs of you that say: “Trips up the stairs, still the most likable person on the planet.” You know that’s your reputation.
JL: I spilled milk this morning. Last night I spilled red wine all over the rug. All I want to be able to do is just walk from one place to another without falling! It’s so annoying, honestly. And now I’ve gone from the charming, like, “Oh my God, whoops, I fell”—now it really pisses me off. ’Cause it’s embarrassing now. So now I fall, and I’m like, “Stop looking at me! Don’t take a picture!”
CL: But what about the conspiracy theory, that it’s all [fake]?
JL: That’s why it’s embarrassing! That’s why I want to be able to stop doing it. When I fell the second year at the Oscars, I was just like, “F–k.” ’Cause I would think the same exact thing. I know it looks like a gag. It’s really, really not.
CL: Do you ever think about doing social media? It would be completely within your control, as opposed to the GIFs and all that.
JL: No, because then that’s more exposure—that’s just more me. I want less me. I want people to have less me.
CL: [Laughs.] I don’t think people want less you.
JL: But they do! They don’t know that they do. But when they get more me, they’ll hate me. If they don’t already.
CL: Do you feel like you’re misunderstood in any way?
JL: I don’t feel like I’m misunderstood. I feel like I’m over-paid-attention-to. I’m not trying to be a GIF. I’m not trying to be a picked-up-on-Twitter quote. All I’m trying to do is act. And I have to promote these movies. And I am, at the end of the day, I guess, a f–king lunatic. So if you record what I’m saying, it’s gonna be goofy. [Laughs and throws arms out.] What do I do? What do I do? I’m just a girl, sitting in front of the world and asking them to forgive her for speaking.
By Glamour January 5, 2016
Gallery Link: Inicio > Photoshoots >Glamour US February


Hollywood’s blockbuster blonde comes to town this month with the final Hunger Games and David O. Russell’s Joy. So what’s next for Jennifer Lawrence? Buck the system, set up home, and try to find a date.
It’s sweltering in Los Angeles, the kind of heat that melts the ice cubes in your caramel macchiato faster than you can say Kardashian. I am holed up in my hotel room on Sunset Boulevard watching tennis, drapes drawn against the remorseless sun, when suddenly: Ding! A text. Jennifer Lawrence wants to ditch our plans. Forget meeting at the Italian restaurant on Laurel Canyon; just come to my house now. She sends her driver, Paul, a South African with a mellifluous voice, to pick me up, and before long, we are winding our way up, up into the Hills of Beverly, to the gated community where Lawrence lives in a house she bought last year for about $8 million. As we are waved through by a guard, Paul thoughtfully points out the other houses of note in this wonderland of privacy: There’s Cameron Diaz’s pile, and just over there, Ashton and Mila’s new place.
Watch Jennifer Lawrence nail the awkward interview.

Lawrence’s assistant, Talley, meets me at the front gate and ushers me through the house to the kitchen, where moments later Lawrence appears in a white crop top and faded boyfriend jeans rolled at the ankle. She is barefoot, tan, and very blonde, her hair cut into a short bob. The house—a convincingly faux-Tuscan villa, with five bedrooms, six bathrooms, a gym, a theater, and a hair-and-makeup room (“Thank God for Jessica Simpson,” says Lawrence of the previous owner)—is exactly as old as Lawrence herself. She just turned 25 a few weeks ago, with a party here; her friends persuaded Kris Jenner to come and present Jen with a cake in the shape of a pile of poop that read, Happy birthday, you piece of shit! “My knees buckled,” says Lawrence. “And then I got hammered and talked to her like I think I’m part of the family.”

The house had been renovated just before she bought it, so all Lawrence had to do was fill it with furniture. “I hired these decorators from Louisville, where I grew up,” she says. “There’s this place, Bittners, I would walk by when I was a little girl and go, ‘Ooooooh, one day,’ because it was so . . . fancy.” The result is a kind of luxe-comfy-chic, with some rustic flourishes, like tables made out of old Kentucky-bourbon barrels. “I can’t believe what a difference furniture has made in my overall emotional well-being,” she says.

As she opens a bottle of rosé, her dog, Pippi, comes scampering into the room. Smallish and brown, she is adorably hard to pin down. What kind of dog is that? “Oh, my God, I wish I could ask her.” When did you get her? Here I stumble into a subject that I wouldn’t have dreamed of bringing up so soon: the nude-photo leak. It was exactly a year ago that hackers stole photos from Lawrence’s iCloud account and posted them on the Web, an episode she labeled a “sex crime.” Her mother was visiting with a new puppy when the news broke. “I was outside crying, and Pippi jumped up on my lap and started licking up all my tears, and I couldn’t put her down for hours. And I mean, hours. I was like, ‘Well, obviously, you’re mine.’ ” Looking back, does she have more perspective on the ordeal? “It was all pain and no gain,” she says. “But I don’t dwell on it unless someone brings it up. Have you seen me naked?”
Glasses of wine in hand, we head upstairs, and when we walk into the enormous master suite she makes a sweeping gesture toward the bed and says, “This is where the maaagic haaaappens.” Then she shoots me a get-real look. “Literally zero magic has happened in here.” She holds up her glass in a toast: “Cheers to my hymen growing back!”
Of course she and Amy Schumer have hit it off; they’re both startlingly ribald and whip smart. Sitting next to her laptop is a printout of their screenplay. “We started writing a month ago, and we have 150 pages,” says Lawrence, who has already absorbed some of Schumer’s cadences. “It’s a lot of ballsy and not a lot of thinking twice. One time we laughed so hard our teeth clanked together.”

Forbes magazine recently reported that Lawrence is the highest-paid actress in the world, having made $52 million in the past year, but as giddy as she is about her new furniture, she doesn’t seem entirely comfortable in such grand, grown-up surroundings. Her bedroom is the only room that feels lived in because it’s where she spends much of her time—and where the two of us sit and talk for nearly five hours. “Sorry the wine isn’t cold,” she says. “I always forget you’re supposed to chill rosé—I’m new money.” We step through the French doors onto the balcony that overlooks the backyard. “I go outside in the morning and drink my coffee and try to be proud of myself and be like, ‘Look!’ It feels good not to worry about money, although I never did. Money never really affected my consciousness, if that makes any sense.”

But some old habits die hard. “I’m not cheap, but I don’t want to waste even $5.” Is there anything she indulges in? “Um, private jets? I have such a hard time flying commercial. I always want to—it’s cheaper, it’s easier—but there can be 300 perfectly lovely people at the gate and one crazy person who ruins it for everyone, so flying private is great because I don’t have to worry.” A big fake smile spreads across her face: “Is that relatable enough for you?”

Suddenly, her phone chimes with the gentle sound of a reminder. Lawrence stares at the screen for a split second and then looks at me. “We have to wrap this up because I have an interview with Jonathan Van Meter.” She laughs. “We blew our dinner reservation. Shall we just stay in and order a pizza?” Sure, I say. “Oh, thank God, I can take off my bra,” which she does right in front of me and then tosses it onto her bed. She texts Talley, trying to find the number of the pizza joint she loves. She orders us a large pie, with pepperoni and jalapeño with ranch dressing on the side (not nearly as bad as it sounds).

In a few days, Lawrence will fly to Atlanta, where she will begin working after some well-deserved time off. “Downtime is normally the bane of my existence,” she says. “It makes me depressed, not relaxed. But I was actually enjoying myself this time,” she says. What did you do? I ask. “You’re looking at it. Hang out. Drink wine. I’ve got a bunch of friends who live really close, thank God. And I’ve made friends with Mila and Ashton, two doors down. They’re awesome. I go over there uninvited. They’re probably getting pretty sick of me.”

We head back down to the kitchen. Michael Fassbender recently taught her how to make a dirty martini, which she is eager to try out. She asks me to grab a couple of glasses out of the cabinet, which is not bare, exactly, but close. “I need a whole houseful of stuff,” she says as she swirls vermouth in a glass. “I’m starting from scratch.”

For the last five years—ever since the indie Winter’s Bone put her on the map—nearly every single movie that Jennifer Lawrence has made has been part of the X-Men franchise, or one of the four Hunger Games movies (the final installment, Mockingjay, Part 2, opens on November 20), or a David O. Russell film, including Silver Linings Playbook, American Hustle, and now Joy, which opens on Christmas Day. She has been nominated for three Academy Awards, winning the Oscar for Silver Linings. Her career is unprecedented on every level: the smart choices, the awards, the box-office clout, the near-universal lovability. So it should come as no surprise that Lawrence is a little wary about the future. “It’s scary,” she says, “because it will go away. I will have a flop.” Next up is Passengers, a space movie with Chris Pratt. I ask her to elaborate. “It’s a space movie with Chris Pratt,” she says, then cracks up. It is, indeed, exactly that: a love story set in the very distant future, aboard a ship carrying people over unimaginable millions of miles to other livable planets.

Of course she and Amy Schumer have hit it off; they’re both startlingly ribald and whip smart
“I knew that coming out of Hunger Games it was a bad move to do a big blockbuster,” she says. “I want to get back to my roots, back to indies, where I started. And then I read Passengers, and I loved it. This is my first time saying yes now that I am completely free of franchises. So there’s an elephant on my chest.”

You mean off your chest?

“No, on my chest,” she says. “Now it’s a lot harder. I’ve got to fill up my year with things that are all 100 percent my decisions.” She has already made at least two: She has agreed to star in Steven Spielberg’s next film, based on war photographer Lynsey Addario’s book, It’s What I Do: A Photographer’s Life of Love and War. “It’s so good. Addario is a fucking badass.” And in mid-October, Darren Aronofsky pitched his next project by reading his entire screenplay to Lawrence over a bottle of wine in his apartment in New York and she signed up on the spot, which is what being franchise-free really means for her now: She is in complete control. “It doesn’t feel like I’m being towed behind something anymore,” she says. “It feels like I’m towing it.”

Being David O. Russell’s muse in three films was perhaps the most challenging franchise of all. In keeping with the storied tradition of mentors and protégées, Russell and Lawrence have a complicated relationship, one that, according to Lawrence, is built first on love and second on collaboration. “He has given me a life, creatively, that I would have never known,” she says, “what it feels like to really act, to be scared out of your mind on set and have no idea what’s going on. There are things that I’ve learned about myself that would have taken 20 years that he taught me in five.”

Although Russell is famously intense, Lawrence has not only handled the pressure and chaos but thrived. “Because I’m not so sensitive, we can really talk, like, man-to-man,” she says. “Sometimes he accidentally refers to me as he or him. But he really respects and understands women, and by that I mean he doesn’t treat a woman any differently than he’ll treat a man. He would never tiptoe around a woman.”

When I tell Amy Adams, her costar in American Hustle, what Lawrence said, she laughs. “Well, if you mean he doesn’t treat people like a lady, I can agree with that,” she says. “You have to have a certain kind of personality to be able to understand David’s direction without emotionally attaching yourself to criticism. And she’s able to do that. That’s why she gives such controlled performances in his films, because she’s able to go into the deep and heightened places where he operates from.”

Russell has been dogged by criticism that he has cast Lawrence in roles she is far too young to play. “I am obviously too young for all of David’s characters,” says Lawrence. “But none of that comes from David wanting a young girl in his movies. That’s not even in his atmosphere.” Audiences appear to have no problem accepting Lawrence in those parts. “Everybody already thinks I’m 40,” she jokes. Julianne Moore, who plays the president in Hunger Games, thinks Lawrence transcends her age. “She has found a conduit through which she is able to communicate this very rich inner life,” says Moore. “There are those scenes in Silver Linings Playbook where she kind of pops out and jogs alongside of Bradley and I remember thinking, She’s so incredibly alive and free and funny and accessible, and I bought it. It seems so simple, but it’s not.”

With Joy, in addition to being reunited with her Silver Linings cast mates Bradley Cooper and Robert De Niro, Lawrence is once again tackling a mature role. The film is ostensibly about Joy Mangano, the Long Island housewife who, at 34, invented the Miracle Mop and got rich. “It started out as her true story, and then it went into Davidland,” says Lawrence. “He gets inspired by so many things, so it has to turn into a collage.” Russell acknowledges that like many of his films, Joy is half fiction. “I had to come up with a journey, the lifespan of a woman from ten years old to middle age, that I felt was worthy of Jennifer, so it’s almost a ballad of this woman’s life and her soul.”
The film was shot early this year in Boston, during that city’s record snowfall (110 inches!). “It was so miserable,” says Lawrence. “David and I kept saying, ‘Merry Christmas’ to each other to try to make ourselves feel better, but it didn’t work.” In February, word leaked out that Russell and Lawrence had “a screaming match” on set, and she quickly took to Facebook to quell the gossip. Today Lawrence seems eager to talk about it, mostly to clarify that, yes, they did have an ugly fight, but it was Lawrence, not Russell, who behaved like a monster. She was sick with the flu, throwing up between takes, and at one point exploded at Russell, who said to her, “Genuinely, from the bottom of my heart, I am scared of you.”
“I was fucking mean on set,” says Lawrence. “I wasn’t mean to anybody but David. I would never be mean to somebody who couldn’t be mean back. But when you really love somebody, you fight with them. There have been times where I’ve said, ‘We should go to couples therapy.’ ” (For Russell’s part, he’d like to leave a little mystery “because that’s part of what makes our relationship special. But I will say that we both thrive in that place where the ridiculous meets the very serious.”)

The bruising honesty of their relationship—and Lawrence’s desire to be open about it, warts and all—echoes the film in some ways. Amid the comic-tragic family dysfunction, there is a scary ferociousness to Lawrence in Joy that we haven’t seen before. “It’s an honest portrayal of success,” she says, “including the unlikable part. And then the struggles that happen afterward.” It was an inspired bit of casting, especially given where Lawrence is in her life. “She is finding her voice and finding her footing,” says Russell, “very much like the character. I’m watching her take bigger chances. Her motto should be ‘Don’t mistake my sense of alive fun for a lack of seriousness.’ ”

Darren Aronofsky pitched his next project by reading his entire screenplay to her over a bottle of wine and she signed up on the spot
The day I am at Lawrence’s house also happens to be the day after the infamous county clerk Kim Davis gets out of jail, where she had been sent for defying a court order requiring her to issue marriage licenses to same-sex couples. Lawrence brings it up, calling her that “lady who makes me embarrassed to be from Kentucky.” Kim Davis? “Don’t even say her name in this house,” she shoots back, and then goes into a rant about “all those people holding their crucifixes, which may as well be pitchforks, thinking they’re fighting the good fight. I grew up in Kentucky. I know how they are.”

There is a rabble-rousing spirit in Lawrence that gets stirred up when certain subjects are broached. “I was raised a Republican,” she says, “but I just can’t imagine supporting a party that doesn’t support women’s basic rights. It’s 2015 and gay people can get married and we think that we’ve come so far, so, yay! But have we? I don’t want to stay quiet about that stuff.” It is not that big of a stretch to imagine her becoming a modern-day Jane Fonda, whom she deeply admires. When we discuss the presidential race, she says something that she will later repeat to a reporter from Entertainment Weekly. “My view on the election is pretty cut-and-dried: If Donald Trump is president of the United States, it will be the end of the world. And he’s also the best thing to happen to the Democrats ever.”

Nina Jacobson, who produced all four Hunger Games movies, can’t help seeing the connections between Lawrence and Katniss Everdeen, the character that made her so famous. “It’s endlessly meta,” says Jacobson. “This idea of whether I want people to watch and listen or not, they are, so I better have something to say.” It’s rare to hear a box-office heavyweight be so outspoken. “She’s feisty, a real fighter,” says Elizabeth Banks, another Hunger Games costar. “That’s the reason that Katniss really works on her. It’s a little bit of her-against-the-world now, you know? When the world shows up at your doorstep and wants a lot of things from you, you get a little punk-rock.”

More evidence of Lawrence’s newfound voice showed up in mid-October in Lenny, the feminist newsletter from Lena Dunham and her Girls co–show runner, Jenni Konner, in which Lawrence published an essay titled, “Why Do I Make Less than My Male Co-Stars?” It’s staggering to realize that the highest-paid actress in the world gets paid millions less than male stars doing the same work. “When the Sony hack happened,” wrote Lawrence, “and I found out how much less I was being paid than the lucky people with dicks, I didn’t get mad at Sony. I got mad at myself. I failed as a negotiator because I gave up early. . . . I didn’t want to seem ‘difficult’ or ‘spoiled.’ ” The essay touched a nerve; no less than Hillary Clinton tweeted, “Brava.”

But there was a certain amount of backlash, too, which seemed to take Lawrence by surprise. “What I was trying to say is that we’re not victims. I am holding my own self back. The men aren’t to be blamed for asking for more and getting it.” As we’re all discovering, Lawrence is constitutionally unable to not say what she thinks. She herself calls it “a taboo impulsivity: If you shouldn’t say it, it’s all of a sudden coming out of my mouth.”

She’s got a big soul and a big life ahead of her, and she can do really whatever she wants
Two weeks later, I am once again holed up in a hotel room, getting last-minute texts from Lawrence. We are in Atlanta, where she is living in a rented house in Buckhead for the next four months while filming Passengers. Our plan to go to a music festival was nixed by her security guys. It is a Saturday afternoon, and Lawrence is at the dentist getting two veneers replaced. Ding!

Jonathan! it’s Jennifer Shearer Lawrence
shrader* dammit

Is your middle name Shrader?

Hahaha yea . . . if I was gonna make something up I would’ve said “danger” or “night hawk”

I meet her at her house; it’s the same one she rented in 2013 to film the last two Hunger Games. She greets me at the door in tight jeans, a white flowy-gauzy top, and Lanvin wedges. Her hair is even more blonde this time. “Oh, this is movie hair.” Pause. “I guess this is what sluts look like in space.” Half her face is still numb from the Novocain, so we sit in the backyard and wait for it to wear off. “Watch this,” she says, and then tries to smile but can’t, really. “I feel like Brandi from Real Housewives of Beverly Hills. She got work done and was like, I had an allergic reaction to aspirin!” And then: “Did you see that Kim Kardashian got lip injections? She took a selfie and wrote, ‘pregnancy lips!’ Honey, that’s not a thing.”

Talley is visiting her family in Georgia this weekend, so Lawrence is alone in this big old creaky house, which it turns out Jennifer Garner had just vacated. “There’s adorable little baby spoons in the drawer, and I saw a little Cheerio in between my mattress and my box spring. I want to email Jennifer Garner. I just have a couple of questions: Did you ever feel like you were being watched?” She lets out a mordant chuckle. Lawrence thinks a lot about the isolation that comes with being so famous. “I was talking to the dentist about this, actually. Because he was like, ‘I wouldn’t make a good celebrity, because I’m a homebody.’ I was like, ‘No, you would make the perfect celebrity.’ But the feeling does change when there are people outside of your house, waiting, and you’re forced into it.”

She’s been spending a lot of time on her own in the past few months, ever since breaking up with Chris Martin, whom she had been seeing for about a year. Dating is tricky at this point. “No one ever asks me out,” she says. “I am lonely every Saturday night. Guys are so mean to me. I know where it’s coming from, I know they’re trying to establish dominance, but it hurts my feelings. I’m just a girl who wants you to be nice to me. I am straight as an arrow. I feel like I need to meet a guy, with all due respect, who has been living in Baghdad for five years who has no idea who I am.”

As we talk about the gamesmanship of love in your 20s, she mentions someone she dated whom she describes as “sexy,” and then says, “but I didn’t like how he made me feel. When someone makes you insecure, it’s strangely exhilarating because you keep trying to fight for that validation.” She pauses for a moment. “It’s what you want to have before you get married, so that you don’t seek it out once you are.” Lawrence’s best friend Justine just got married this fall, and her other best friend, Laura, is getting married next year, so there has been a lot of girly wedding talk in her circle lately. “I can’t wait to be married,” she says. “I feel like if I find that one person who I want to spend the rest of my life with, who I want to be the father of my children, that I would absolutely not fuck it up.” She waits a beat. “But I’m also not banking on that.”

The numbness has worn off, so we head out to dinner at a big, noisy steakhouse. The hostess makes a fuss over a dress Lawrence once wore to the Oscars, which gets us talking about her Dior contract. When I tell her I love that ad campaign, she says, “To paraphrase Candice Bergen in Sex and the City: Dior clothes! Dior makeup! Dior airbrushing! It’s like the prettiest a girl could ever hope to look.” (Later she is shocked to hear the news that Raf Simons is stepping down. “I just want him to be happy . . . but I will miss those clothes. That’s a big job. Maybe he just needs a breather.”)

As we get seated in a dark corner, tucked away from all the commotion, I notice a tattoo on her hand. “It’s just H2O, to remind me to drink more water,” she says. “I’ve never had a symbol or a quote that was so important to me that I wanted it tattooed on me. So I was like, I’m going to need to stay hydrated. Forever. It’s very practical.”

It makes perfect sense. There is something almost elemental about Lawrence. It reminds me of what her good friend Laura Simpson, who met Lawrence when she was seventeen, told me: “What I first noticed is that she was so pure.” But that’s not the same as being naive. As our table is covered with food—baby back ribs, lobster fritters, jalapeño creamed corn—we get to talking Hollywood. For a 25-year-old, she seems surprisingly sanguine about the extraordinary position she finds herself in. “My idea of big-money Hollywood is the symbiotic parasite,” says Lawrence. “You can use me; that’s fine, because I’m using you, too.” This echoes something that Jacobson said: “I don’t think there’s any actor who has more power in terms of box office. I would be hard-pressed to think of anybody who has the freedom of choice that she has. What is great about her success is that her stardom is an incentive for Hollywood to do better—to write those roles so that they can then get Jen Lawrence in their movie. That’s real power.”

Most actresses who become box-office heavyweights end up creating their own production companies to develop material for themselves, like Sandra Bullock, Drew Barrymore, and Reese Witherspoon have. But Lawrence is not so interested in producing. “I want to direct. But I would rather just do it than talk about it.” Jacobson thinks Lawrence will probably direct a movie when she’s still in her 20s, like Jodie Foster. “I think as a woman, she knows: You may need to create the content that is worthy of you. So to give yourself the tool kit is just smart adaptive behavior.” As part of her film schooling, Lawrence has been sitting in on Russell’s editing sessions for Joy. “It’s funny because I’m like, This process is so unique to him. There’s almost nothing I can take away from it. It would be like watching a dolphin and being like, Oh! So that’s how you swim in the ocean!”

When I ask Russell about the idea of Lawrence directing, he starts to laugh. “Well, first of all, I can’t wait to see this creature of now, of pure this-momentness, have to be the one who has to worry about everything. I think it will be a very interesting change for her. But she’s got a big soul and a big life ahead of her, and she can do really whatever she wants.”

Lawrence seems determined to learn as much she can from the legends and lunatics she is often surrounded by. It’s as if she hopes to fill in the gaps in an education that was eclipsed by her own raw talent: “I have a seventh- to halfway through eighth-grade education. But I’m not stupid.” Her Hunger Games nemesis Donald Sutherland recently gave her a big box of classic books. “Anna Karenina, it was just like, putting your socks on and reading, like, a pile of Vogues. East of Eden, I love it so much, but there’s a part of me that thinks it shouldn’t be a movie. The beauty is in the writing.”

Despite her aura of fearlessness, there are some things about which she still feels insecure. Theater, for instance: “It scares me. My fear comes from feeling like theater is vocal and physical, and film is all eyes and subtlety. That I can do.” She pauses for a moment. “Isabella Rossellini”—who plays the girlfriend of her father in Joy—“told me that I would love theater because it’s only acting and none of the bullshit. But if I have to do more than three takes I start to just, like, die. Every time I’ve said that to somebody from theater, though, they always say it’s completely different every single night.” She’s such a live-wire presence in person and on-screen, it’s hard to imagine that wouldn’t translate onstage.
VogueLawrence, who grew up in horse country, fifteen minutes from a farm where she went to ride every day as a kid, managed to scare herself at her Vogue shoot, which took place in the desert outside L.A. “They gave me this amazing horse,” she says, eyes wide at the thought. “Fastest I’ve ever ridden in my life. As soon as we wrapped, I took that horse and galloped him so deep into the desert. That horse has seven speeds. I would give him one more kick and he just kept going faster. And there was this sunset in the desert and these big desert rocks and I just kept going and going and going, and by the time I turned around, I couldn’t see people and I was worried I wouldn’t find my way back. I can’t see anybody! And I gave him one kick, and horses are amazing: He was like, Food! And he galloped all the way home.” She laughs. “Oh, and I was wearing Tom Ford.”
Inicio > Photoshoots > Vogue

Jennifer Lawrence won a Golden Globe Award for Best Actress in Comedy/Musical for her role in Joy. Here is the first look and pictures will come soon…

Paramount Pictures said this morning that Jennifer Lawrence indeed will star in an untitled film directed by Darren Aronofsky. Scott Franklin and Ari Handel of Protozoa will produce the pic, about a couple whose relationship is tested when uninvited guests arrive at their home, disrupting their tranquil existence. The studio is eyeing a 2017 release. Deadline

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