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    1. He's become a father in the last year, she has a love story of her own, but there’s a connection between them. The actor made his directorial debut while the singer changed her hair color and became a movie actress. And together they gave music life (again) in A Star is Born. Lady Gaga has a theory. She says that when someone thinks for too long how to express themselves through another platform than the one they usually use, then that person becomes a "Petri dish". A Petri dish is a container used in biology to make things grow: Lady Gaga explained this to me, because I had never heard of it before. Anyway. Gaga says that talent lives on the dish like a seed, it grows more and more until it becomes a vortex and explodes in all its strength. This metaphor can be applied to Bradley Cooper but even to herself. Because in this movie, A Star is Born, Gaga acts like she has done it for ages. Lady Gaga as an actress was waiting on the Petri dish, just like there was Bradley Copper as a singer and director on it. Together they revitalised a script that is as classic as a jazz song and has made it to Hollywood three times already. A Star Is Born is the story about a girl becoming famous in the industry while a man goes through a downfall between alcohol and the end of his career, it’s the perfect metaphor of Hollywood and the absence of Fame as a disease and the presence of it as something that won’t last. This version of the movie, which clearly recalls the one with Kris Kristofferson and Barbara Streisand (even with some identical lines), debuted at the Mostra of Cinema di Venezia, and it will come out on October 11 (in Italy) and will probably dominate the topics, box offices and the main awards of the next months. Gaga and Bradley are here in front of me like 'modest' personified, even if she’s wearing jewellery like a Queen. He has a shirt and blue jeans, she has a black dress, high chignon and they both look like they are waiting, waiting for everything to be fine. The alchemy between these two sparkles on the screen just like on this interview. They listen to each others answers, like a rhythm, just like when they sing in the movie. I make a joke, quoting Lady Gaga’s song The Edge of Glory, and she challenges him "did you get it?", he replies quickly saying that he got it, and that he knows all her songs. "He’s so good, isn’t he?" She says, and they both laugh. Almost like two kids. She describes him "as focused as a laser". Bradley replies "She’s the most talented, respected by all kind of artists that I know, from the country singers to the heavy metal guitarists". If this friendship sounds fake, then they both deserve two Oscars each, not one. Because beyond the promotional aspect, these two aren’t here without a reason. Both of them, fought their demons (Bradley's alcoholism and Gaga's mental and physical issues), and thanks to discipline and talent, they are both here, winning in everything. The last two versions of "A Star is Born", the one with Judy Garland in 1954 and the one with Barbara Streisand in 1976 were both made to re launch the career of the main actresses. Barbra Streisand for example, who was selling millions of records and already had an Oscar back then, was looking for something to expand her career to the young public. The idea of A Star is Born moving to the world of pop/rock (made possible by the writers Joan Didion and John Greogry Dune) sounded perfect. And it was. Despite negative reviews from critics, the previous remake of the movie earned a lot of success and 'Evergreen' won an Oscar. This 2018 version of A Star is Born, isn’t a comeback move. Lady Gaga is at the top of the her career as a singer. Ten years ago her first single Just Dance came out. Today she is 32 years old and she can do whatever she likes, even nothing. But instead, she agreed on Cooper’s offer, while he agreed to direct the movie on his own, which was originally planned for Clint Eastwood and Beyoncé. Bradley and Gaga met for the first time backstage of Saturday Night Live. "She had to sing, and I had a little sketch, we talked for few seconds". Says Cooper. "I recently saw a picture of that day. I wouldn’t believe that such a special bond between us could be born". They aren't a couple in real life of course: Cooper lives with the super model Irina Shayk, who last year gave birth to their daughter Lea, and Gaga is engaged to Christian Carino. "Our is a story of admiration and friendship" explains Bradley. "Everything was born during a charity night at Sean Parkers’s house (Facebook co-founder). Gaga sang La Vie en Rose on the piano leaving me breathless." In the movie, you can actually experience this scene. The two main characters meet when Jack (Cooper's character) goes to a drag bar and starts watching Ally (Gaga's character), a waitress by day and singer at night, singing La Vie En Rose. In A Star is Born, Lady Gaga isn’t blonde, she doesn’t wear make up, and she isn’t wearing strange outfits. "It was a real challenge for me to go like this", she says. "I felt vulnerable without my looks, but I jumped in, just like a dive in cold water. There is so much about me in this story that Bradley wanted to show. Just like Ally says in the movie, I was used to going in a room full of men that kept saying they love my voice, and how I wrote my songs, but they would give them to other singers because they were prettier than me". So, when did she notice that a star was born in her career? "I was touring in America doing small shows in clubs, even three shows every day. And then, near the end of the tour in Canada, the speaker began playing Just Dance, and I started crying", Gaga said. "Wow" adds Bradley. Which tells us about his "A Star is Born" moment. "I Was in Miami, and they hired me for a tv ad for Wendy’s which never aired, and I was staying in hotel that looked very luxurious (but it wasn’t really), and I called my dad just to tell him that I was on a room with a balcony." Three Oscar nominations later, he became a director, just like many other actors, from Redford to Warren Betty to Clint Eastwood who choose to take another path for their career. In 2019 he will play in another very anticipated movie: they biopic on the Orchestral director Leonard Bernstein, produced by Steven Spielberg and Martin Scorsese. "I always wanted to direct. This was my ultimate dream." He explains. "I became an actor first just because I was afraid of something so hard". Now he found the courage. He learned to play and sing and he even wrote some songs for the movie. "That’s all thanks to Gaga. She trusted me, she believed in me". He watches her in the eyes with gratitude. They tell me about when Barbra Streisand came on set one day. Like a blessing. And how some scenes were recorded during a Kris Kristofferson show. Their dream has become reality. Before leaving, I ask both of them if they are afraid of performing in front of the public. "Just if I’m not prepared", replies Bradley. And Gaga: "Me, even if I’m always ready, I’m always nervous. Tony Bennett once told me that it’s ok to feel like this: if you are afraid it means that you care. Sometimes I shake backstage. Then I walk up the stairs, they the spotlights turn on, and everything goes away". Gaga starts clicking her fingers, because she feels like she wants to dance, right here, right now. Translation by Lady Gaga Now.
    2. I Want Your Love cover release

      I Want Your Love cover release
    3. Vogue on newsstands

      Vogue on newsstands
    4. Cheek To Cheek release - anniversary
    5. Lady Gaga guest on The Graham Norton Show London, England
    6. A Star Is Born movie + Soundtrack releases
    7. Lady Gaga guest on Ellen show

      Lady Gaga guest on Ellen show
    8. Lady Gaga at the Tokyo International Film Festival
    9. Lady Gaga’s house in Malibu is on a relatively nondescript road just off the Pacific Coast Highway, situated in what feels (for Malibu) like a normal suburban neighborhood. When the gates to her compound swing open, you head down a long gravel driveway that threads through the multi-acre property, past the fenced-in ring where she rides her horse, Arabella, past the barns and the stables and the giant barking dogs, Grandpa and Ronnie—and pull up to a house made of fieldstone that looks, at first glance, as if it belongs in the South of France. A cheerful young fellow greets you at your car, explains that he is the head of security, and asks you to sign an NDA. There are at least a dozen other cars parked around, most of them belonging to people who are doing some kind of work here—taking care of the property or the lady in residence in one capacity or another. The whole setup is both grand and yet, somehow, unassuming (for a rock star’s house in Malibu). When Gaga comes down the stairs and makes her entrance on this hot, do-nothing August afternoon, she is wearing a diaphanous periwinkle robe with ruffled edges that sweeps the floor, nothing underneath but a matching bra and thong—along with nude kitten heels and Liz Taylor–worthy diamond jewelry. Having just returned yesterday from a long, restful vacation on some remote tropical island with her boyfriend, she is uncharacteristically tan, and as she leads me out through the French doors into the garden, I can see nearly every one of her tattoos—and her shapely behind—through the robe. There are roses trembling in the breeze, and a long, sloping, grassy lawn that leads down to a pool and the Pacific Ocean beyond, flickering in the high afternoon sun. “This is my sanctuary,” she says. “My oasis of peace. I call it my ‘gypsy palace.’ ” She bought this palace about four years ago, when she was going through a rough patch—both physically and mentally—and has been spending more and more time here lately. “I just got rid of my place in New York—it was too hectic every day outside on the street,” she says. As we stand there looking out at the ocean, I ask if she’s happy. “Yes—I’m focusing on the things that I believe in. I’m challenging myself. I’m embarking on new territory—with some nerves and some overjoyment.” (Gaga has a funny habit of making up words that always make perfect sense.) “It’s an interesting time in my life. It’s a transition, for sure. It’s been a decade.” In April, Gaga noted on her Instagram that it was the tenth anniversary of her first single, “Just Dance.” It was the song of the summer of 2008—the final hours of the golden years, just before the economy imploded and the Great Recession took hold—and almost immediately, she became the biggest pop star in the world, haunting our dreams—and nightmares—with monsters, meat dresses, and some of the stickiest melodies ever written (GAAAA-GA OOOH-LA-LA!). When I ask her what has changed for her over these last ten years, Gaga, who’s 32, says, “A galaxy,” and laughs. “There has been a galaxy of change.” She pauses for a moment. “I would just say that it’s been a nonstop whirlwind. And when I am in an imaginative or creative mode, it sort of grabs me like a sleigh with a thousand horses and pulls me away and I just don’t stop working.” Another pause. “You . . . make friends, you lose friends, you build tighter bonds with people you’ve known for your whole life. But there’s a lot of emotional pain, and you can’t really understand what it all means until ten years has gone by.” On October 5, Warner Bros. Pictures will release the fourth iteration of the tragi-musical love story A Star Is Born, starring Bradley Cooper and Lady Gaga. The first version came out in 1937, starring Janet Gaynor and Fredric March, followed by Judy Garland and James Mason in 1954 and Barbra Streisand and Kris Kristofferson in 1976. Gaga thinks of it less as a remake than as a “traveling legacy.” Directed by Cooper, in his debut, the film is remarkably assured, deeply engaging, and works on several levels: as a romance, a drama, a musical, and something else entirely, almost as if you’re watching something live, or documentary footage of a good old-fashioned rock-’n’-roll concert movie. “I wanted to tell a love story,” says Cooper, “and to me there’s no better way than through music. With music, it’s impossible to hide. Every fiber of your body becomes alive when you sing.” As Sean Penn said, after seeing the film more than once, “It’s the best, most important commercial film I’ve seen in so many years,” and he described the stars as “miracles.” Cooper and Gaga, and the film itself, are likely to be nominated for all manner of awards. Cooper is a revelation, having utterly transformed himself into a booze-and-pills-besotted rock star: He learned how to play guitar, worked with a vocal coach and a piano teacher for a year and a half, and wrote three of the songs. “All because of Gaga,” he says. “She really gave me the confidence.” His singing is astonishingly good. Gaga, whose only acting experience is in some of her early videos (Google the long-form versions of “Telephone” and “Marry the Night” if you want to see the early promise), various episodes of American Horror Story, and a couple of cameos in Robert Rodriguez films, not only holds her own with Cooper but somehow manages to make you completely forget that she is Lady Gaga—no small feat. But what really makes this film sing, as it were, is the impeccable chemistry between the two stars, particularly their early scenes of meeting cute and falling in love, which are some of the most touchingly real and tender moments between two actors I’ve ever seen. Gaga and I have moved inside and taken up spots on the boho-chic sofas in the sitting room off her kitchen. She opens a bottle of rosé. There are candles flickering, cut flowers on the table. Gaga first met Cooper at Saturday Night Live about five years ago, but only briefly, and then one day in 2016—having signed on to make A Star Is Born and in the early stages of figuring out who could play Ally to his Jackson Maine—he went to a cancer benefit in Sean Parker’s backyard in L.A. “She had her hair slicked back,” says Cooper, “and she sang ‘La Vie en Rose,’ and I was just . . . levitating. It shot like a diamond through my brain. I loved the way she moved, the sound of her voice.” He called her agent and, the next day, drove to Malibu. “The second that I saw him,” says Gaga, “I was like, Have I known you my whole life? It was an instant connection, instant understanding of one another.” Cooper: “She came down the stairs and we went out to her patio and I saw her eyes, and honestly, it clicked and I went, Wow.” He pretty much offered her the part on the spot. “She said, ‘Are you hungry?’ and I said, ‘I’m starving,’ and we went into her kitchen for spaghetti and meatballs.” Gaga: “Before I knew it, I was making him lunch and we were talking. And then he said, ‘I want to see if we can sing this song together.’” Cooper: “She was kind of laughing at me that I would be suggesting this, but I said, ‘The truth is, it’s only going to work if we can sing together.’ And she said, ‘Well, what song?’ And I said, ‘ “Midnight Special,” ’ this old folk song.” Gaga: “I printed out the sheet music, and he had the lyrics on his phone, and I sat down at the piano and started to play, and then Bradley started to sing and I stopped: ‘Oh, my God, Bradley, you have a tremendous voice.’ ” Cooper: “She said, ‘Has anyone ever heard you sing before?’ and I said no.” Gaga: “He sings from his gut, from the nectar! I knew instantly: This guy could play a rock star. And I don’t think there are a lot of people in Hollywood who can. That was the moment I knew this film could be something truly special.” Cooper: “And she said, ‘We should film this.’ So I turned on my phone and we did the song. It was crazy. It kind of just worked. And that video is one of the things I showed to Warner Bros. to get the movie green-lit.” Weirdly enough, the film was originally to be directed by Clint Eastwood—at one point, starring Beyoncé—and Eastwood offered Cooper the part of Jackson. “I was 38 then, and I just knew I couldn’t do it,” says Cooper, now 43. “But then I did American Sniper with Clint and The Elephant Man for a year on Broadway and I thought, I’m old enough now.” Pop stardom seems to befall mostly the very young these days, but this is a story about grown-ups. “I would often say to Lady Gaga, ‘This is a movie about what would have happened if you didn’t make it until you were 31 instead of 21. We talked a lot about where she started on the Lower East Side, and she told me about this drag bar where she used to hang, and I thought, Oh, this is just ripe for the story.” Indeed, one of the best scenes in the film comes right at the beginning, when Jack, desperate for a drink, stumbles into a gay bar on drag night. Ally is the only woman the queens let perform on their stage, and as she sings “La Vie en Rose,” Jack falls hard. Gaga says that the chemistry between her and Cooper is so good on film because it’s real. But she also thinks that Cooper “nailed” the complicated voodoo that happens when love and fame get intertwined. “They’re both very complex, layered things, with a lot of emotional depth, and he captured that. This is what I think makes the film so successful: that it was so real. And I’ve lived it, so I can testify to that.” (Another thing that gives the film its authenticity: Cooper cast a few drag queens he knew from Philly, as well as Gaga’s actual dancers, choreographer, and hair and makeup artists, who appear in a few scenes.) Last December, I went to Cooper’s house in Los Angeles to watch some early footage, and as we sat in the screening room he built in his garage, surrounded by guitars and an old piano, his editor cued up scenes. What struck me immediately was how intensely visceral the musical sequences are. Cooper explained that at Gaga’s insistence, they were all shot live. “All the music is as real as you can get it,” he said to me that day. They shot some of the concert scenes at the Stagecoach country-music festival in Indio, California, and more at the Glastonbury Festival in England. “At Stagecoach, four minutes before Willie Nelson went on, we hopped onstage,” says Cooper. “That was real. At Glastonbury, I got onstage in front of 80,000 people. It was nuts. But Lady Gaga is so good that if the world I’d created wasn’t authentic, it would stand out in a second. Everything had to be raised to her level.” One bit of history that’s gotten lost in the Gaga saga is that while she started playing piano at four and writing songs by eleven, she wanted to be an actress before she wanted to be a singer. When she was twelve, she began taking Method-acting classes at the Lee Strasberg Theatre & Film Institute and later at NYU’s Tisch School of the Arts. “I loved it so much,” she says, “but I was terrible at auditioning—I would get too nervous and just couldn’t be myself.” So she decided to make a go of it as a musician—and had a record deal within a year. Was she nervous making a movie? “Of course—but I knew I had it in me, in my heart, to give an authentic performance.” The biggest challenge for Lady Gaga was creating a musical character that was not like . . . Lady Gaga. “I wanted the audience to be immersed in something completely different,” she says. “And it’s almost hard to speak about, because I just sort of became Ally.” For as good as the Garland and Streisand versions are, you do sometimes sort of feel like you’re watching movies about . . . Garland and Streisand. That being said, there may be no more perfect person to take up this franchise than Gaga. “It’s so humbling,” she says. “Judy Garland is by far my favorite actress of all time. I used to watch her in A Star Is Born, and it’s devastating. She’s so real, so right there. Her eyes would get glassy, and you could just see the passion and the emotion and hear the grit in her voice.” Streisand came to the set one day. “It was a magical moment. She really made me feel like she passed the torch.” When I mention Streisand’s voice, she says, “The singing is beyond, but what is even more beyond is how involved she was in everything she did. She was a part of creating that film. That made me feel good, too, that we approached making this film the right way.” The soundtrack will be released the same day as the movie, and because this is a Lady Gaga production, she has had a big hand in it. There were many writers and producers who worked on different songs, but the brain trust was Gaga and Cooper, working closely with the blues-oriented producer and songwriter Ben Rice and Lukas Nelson, who’s Willie’s son. “She’s a fan of my dad’s, but she’s got a tattoo of David Bowie, and Bowie was my hero as well,” says Nelson. “I tend to gravitate toward rockers who were kind and stood for change and the right to be who you are—to be a freak and be proud of it. And I think a lot of people have turned to Gaga in that realm—as a sort of beacon of hope: I can do whatever I want. She invented herself.” It was Gaga’s idea to thread bits of dialogue throughout the record, and there are a few songs that are not in the movie—“treats,” as she calls them. She asks if I want to hear some music, and we head into a tiny vestibule off the kitchen, a kind of office with a desk, computer, and two very loud speakers. She plugs in her phone and cues up a jaunty, mid-tempo piano banger called “Look What I Found,” and as it begins to play, Gaga dances and sings along, at full volume, about two feet from my face. Suddenly I feel a bit like James Corden in a new segment: Kitchen Karaoke. I cannot resist, and start dancing too. “Our own little discotheque,” says Gaga. She cues up another song—a huge, soaring, sad ballad called “Before I Cry,” with a full orchestra. It is the first song for which Gaga composed the string arrangements—and conducted the orchestra in the studio—and it was inspired by a harrowing scene in the film when Jack has fallen off the wagon and picks a fight with Ally while she’s taking a bath. On the soundtrack, it begins with this bit of dialogue: Ally: “Why don’t you have another drink and we can just get fucking drunk until we just fucking disappear? Hey! Do you got those pills in your pocket?” Jack: “You’re just fuckin’ ugly, that’s all.” Ally: “I’m what?” Jack: “You’re just fuckin’ ugly.” As the song plays, we stand facing each other in the little cubicle, and before it’s halfway through, we both have tears in our eyes. She hugs me and, as we head into the kitchen for more wine, says, almost to herself, “I love that we’re dancing and crying. Like, real Italian style.” That’s my natural state, I say: dancing and crying. “Me, too,” she says. One of the many things about Lady Gaga that go underappreciated is that she doesn’t tell us everything. For example, we know very little about her new boyfriend, Christian Carino—other than that he’s a 48-year-old CAA agent—because she doesn’t talk about him. She doesn’t want to talk at all about the new music she’s working on for a future album, or the scripts that are suddenly rolling in. She understands more than most that a little bit of mystery and magic go a long way in this world of too much. She has sort of inverse boundaries: She won’t tell you, for example, where she just went on vacation, but she’s totally open about having been sexually assaulted when she was a teenager. Her 2015 song “ Til it Happens to You,” which she wrote with Diane Warren for the sexual-assault documentary The Hunting Ground, was nominated for an Academy Award. When she performed it at the Oscars in 2016 on a stage full of 50 other assault victims, it eerily presaged the #MeToo movement that unfolded a year later, much to Gaga’s surprise. “I feel like I’ve been an advocate but also a shocked audience member, watching #MeToo happen,” she says. “I’m still in disbelief. And I’ve never come forward and said who molested me, but I think every person has their own relationship with that kind of trauma.” She was still Stefani Germanotta when she was raped at nineteen by a music producer. She told no one. “It took years,” she says. “No one else knew. It was almost like I tried to erase it from my brain. And when it finally came out, it was like a big, ugly monster. And you have to face the monster to heal.” In late 2016, Gaga revealed in a Today interview that she suffers from PTSD because of the assault. “For me, with my mental-health issues, half of the battle in the beginning was, I felt like I was lying to the world because I was feeling so much pain but nobody knew. So that’s why I came out and said that I have PTSD, because I don’t want to hide—any more than I already have to.” When I ask her to describe how she experiences the symptoms, she says, “I feel stunned. Or stunted. You know that feeling when you’re on a roller coaster and you’re just about to go down the really steep slope? That fear and the drop in your stomach? My diaphragm seizes up. Then I have a hard time breathing, and my whole body goes into a spasm. And I begin to cry. That’s what it feels like for trauma victims every day, and it’s . . . miserable. I always say that trauma has a brain. And it works its way into everything that you do.” In September 2017, Gaga announced on Twitter that she suffers from extreme nerve pain caused by fibromyalgia, a complex and still-misunderstood syndrome she believes was brought on by the sexual assault and that then became worse over time, exacerbated by the rigors of touring and the weight of her fame. (Earlier this year, she had to cut her European tour short by ten shows because of it.) In the Netflix documentary Gaga: Five Foot Two, which aired that same month, Gaga allowed cameras to document her suffering to shed light on the syndrome. “I get so irritated with people who don’t believe fibromyalgia is real. For me, and I think for many others, it’s really a cyclone of anxiety, depression, PTSD, trauma, and panic disorder, all of which sends the nervous system into overdrive, and then you have nerve pain as a result. People need to be more compassionate. Chronic pain is no joke. And it’s every day waking up not knowing how you’re going to feel.” Today, Lady Gaga is the picture of health: bright-eyed, sun-kissed, fit as a fiddle. “It’s getting better every day,” she says, “because now I have fantastic doctors who take care of me and are getting me show-ready.” Speaking of shows, she recently signed a $100 million contract with MGM Resorts International to do a Las Vegas residency at a 5,300-seat theater. It will be called Lady Gaga Enigma, and beginning on December 28 she will perform 74 shows spread out over two years—a reasonable pace that will allow her to take better care of herself and make more movies. “I’ve always hated the stigma around Las Vegas—that it’s where you go when you’re on the last leg of your career,” she says. “Being a Las Vegas girl is an absolute dream for me. It’s really what I’ve always wanted to do.” As she sits before me on our respective couches—in her periwinkle chiffon, dripping in diamonds—Gaga and Vegas make perfect sense. She has always been a master at swirling together the nostalgic with the startlingly modern and coming up with something that feels entirely new. Creating the shows for Lady Gaga Enigma, of course, has brought back together the Haus of Gaga—her team of stylists and monster-conjurers, including Nicola Formichetti. “We’re plowing away, making something brand-new, but still with the iconography that we’ve already created—and making sure fans leave with the feeling that they went home for a bit with their community.” Speaking of Gaga iconography! I have somehow failed to notice that for the past couple of hours I’ve been sitting next to a half-mannequin with a heavy metal harness wrapped around it that resembles a sort of human/reptilian rib cage and spinal column. It was made by Shaun Leane, a jewelry designer who worked regularly with Alexander McQueen. Gaga picks up another piece, a kind of metal orbiting fascinator, also designed by Leane, that was part of the “Savage Beauty” exhibition at the Met, and gently sets it on her head. “I bought it at an auction,” she says, batting her eyelashes. And now she wants to show me something else, and goes in search of a key. She finds it in the kitchen, and then along the way to wherever we’re going I get a quick tour. In her ballroom-size living room there is a grand piano and a giant modern pink blob sofa, and an even bigger pink rug. “I like pink,” she says. “It’s a relaxing color.” There’s her Golden Globe (for American Horror Story, in 2016) and a framed photograph of Patti Smith, along with pictures of Elton John and David Furnish’s boys, Zachary and Elijah, Gaga’s godchildren. Resting on the mantel is a framed letter from David Bowie (“Dear Lady, Unfortunately I will not be in NYC for a few months but many thanks for the cake”). On one wall is an enormous George Condo painting of a woman in a ball gown, her face obscured by smears and smudges. “Reminds me of myself,” she says with a wink. “Beautiful but a little bit messy.” Finally we arrive at the locked door. She turns the key and opens it to reveal . . . a room filled with fashion! Two rooms! “This is mostly Saint Laurent from Hedi Slimane’s work there,” she says. “I’m excited to see what he’ll be doing at Céline. Here’s a McQueen cape that was custom-made for me for the ‘Alejandro’ video. And then in here”—we move into yet another chamber, deeper into her fashion closet, racks upon racks of leather and feathers and sequins and a lot of black—“this is all Gianni Versace from the nineties. I wear some of it, but I mostly collect it to keep and preserve to give to a museum one day. Because I just love these designers.” Pause. “There’s my Joanne hat!” That is the pink fedora she wore in nearly every video and every performance from her Joanne album and tour, when she began presenting herself as . . . herself, mostly. When did all of the crazy-brilliant obfuscating costumes fall away? “For me, fashion and art and music have always been a form of armor. I just kept creating more and more fantasies to escape into, new skins to shed. And every time I shed a skin, it was like taking a shower when you’re dirty: getting rid of, washing off, shedding all of the bad, and becoming something new.” I wonder aloud where all that began. “I just remember feeling so irritated at the thought that I had to conform to being ‘normal,’ or less of whatever I was already born as. And so I took such radical enjoyment in expressing who I am in the most grandiose of ways.” She laughs. “It was sort of like a very polite ‘Fuck off.’ It was never about looking perfect—it was always about just being myself. And I think that’s what it’s always been about for my fans, too. It was a form of protection, and a secret—like a wink from afar. I’m a monster, and you’re a monster too.” She locks the door, and as we head back out to the living room to say goodbye, she picks up a glass vase filled with fresh-cut roses from her garden and hands it to me: “Just a little something,” she says. For all of Lady Gaga’s histrionics and grandiosity and obfuscation and mucking around with monsters—and despite the fact that she claims to have “concrete in her veins”—most people seem to get that she’s all heart. “I am not a brand,” she says. “I have my unique existence, just as everyone else does, and at the end of the day, it’s our humanity that connects us—our bodies and our biology. That’s what breeds compassion and empathy, and those are the things that I care the most about. Kindness!” She lets out a mordant chuckle. “It can drive you mad. Someone very important in my life says to me often, ‘You cannot stare at the carnage all day.’ And I think . . . you have to stare at the carnage to an extent because if not, you’re being ignorant and complacent—to not view injustice and want to be a part of advocating for others. But. . . .” She pauses for a long time. “Once we just look each other in the eyes, if we can keep that contact, that contract, I think the world will be a better place.” Suddenly we both notice the sound of music wafting in from somewhere, as if someone opened a little girl’s jewelry box. It’s a Mister Softee truck. “It’s down by the beach,” she says, “but can you believe that? The sound travels all the way up here.” The sound is a little creepy, I say. “Or,” she says, “it just sounds like kids having ice cream at the beach.” We both laugh. It reminds me of something we talked about earlier: that while Gaga’s music is often funny—with a wink or a bit of camp—she herself is a serious person. This has been a very serious conversation, I say. “Yes, it has,” she says. “Isn’t that funny?”. This interview originally appeared here.
    10. Lady Gaga and the cast of 'A Star is Born' were interviewed by Good Morning America at The International Toronto Film Festival yesterday. You can watch the full interview below. After the interview, Lady Gaga revealed her upcoming cover for the October issue of Vogue along with amazing new pictures by Inez & Vinoodh. All pictures are available in Ultra High Quality on gagaimages.co
    11. Sneak Peeks: 'A Star is Born'

      We are less than a month away from the official release of Lady Gaga and Bradley Cooper's upcoming movie 'A Star is Born' (out on Oct. 5) and Warner Bross. has just released 4 new sneak peeks from the movie. Watch them all below!
    12. A Star is Born Premiere in LA

      A Star is Born Premiere in LA
    13. Tornonto International FIlm Festival
    14. Venice, August 2018, 7:15 PM. Lady Gaga enters the Main Hall for the first time to watch her movie at the Film Festival. Since a couple of hours, the critics have been allowed to share their reviews on the morning screening. The world was waiting for the first impressions to come out, alongside with the 76 millions fans who are following the new Hollywood star into this new surprising journey. The reviews are groundbreaking and to some extent some of them are hard to get, knowing the reputation of some journals. This overhype gives us hope. At the end of the movie, the entire room was thinking the same thing: the film is a success! But we were carefully wondering: are the top reviews spoiling the fans’ expectation? Or do we just need to understand their perspective? The movie begins with Bradley and his first song. The room vibrates and becomes instantly excited, a solo rock guitar sound fills the air and immediately everyone understands something they may have underestimated: Bradley’s voice is unbelievably good. Deep, controlled and rock. Lady Gaga has undoubtly one of the most powerful and interesting voice in the modern industry, but Bradley shows unexpected skills which confirm that the main male character of the movie is as solid as his female counterpart. While still watching this incredible first scene, hype and expectations go to their highest, but an unexpected movie direction takes away the fun. Still confused, we see Gaga for the first time, almost immediately put on trial by an important scene. Are we satisfied but her first impression? Of course we are, but maybe we are blinded by our feelings for her. At the moment she is still Gaga in our eyes, the true Ally still has to show herself. And she will come kinda late. During the first half of the movie, Bradley’s directing hands stand out. The fast screenplay and the character’s background are thrown into a cauldron that makes the viewers feel a bit dizzy, and may result confusing. The photography seems accurate, but some scenes are so hard to digest that, before it happens, another one starts. We start to feel that we are far away from the modern style of La La Land; Bradley surprises us with his directing skills, every songs looks like a live tour video, but still he does not convince us entirely even if it is just the first half of the movie. A Star is Born is a raw movie, rock, almost dirty. There’s nothing colourful or fresh in this movie like the recent musicals. This remake feels like something new, a fresh wind that smells like whiskey. A movie like this really stands out against the other. We are very far from the dialog-songs of Les Miserables, and also much farer than the catchy pop songs of The Greatest Showman. The Soundtrack sounds immediately like a Titanic work. The more you go on with the movie, the more you understand that each song is a hit. Not just commercially; if every musical in history has a couple of songs that stand out and represent the movie in the coming years, with A Star Is Born we find a dozen of songs that already sound immortal. Bradley Cooper himself said that he wanted to make this movie after attending a Metallica Concert. That is the main reason why Bradley songs are totally rock, meanwhile Gaga’s ones are lighter, but still immortal. The first half hour of the movie does not let the viewer feel comfortable with the screenplay. Probably that’s because we are more focused on watching Gaga, but some of the first dialogues sound like nothing special. Still, there are some highlights in some of these dead moments of the movie which wake up the entire room. In the first scenes, for example, we find some known faces from Ru Pauls’ Drag Race, who gives the movie that little taste of Gaga. It feels like Gaga dropped some little pieces of her essence in this movie. But the more we keep watching, the more we understand that it’s not just a little piece, it’s the entire movie that smells like Gaga. The entire Ally’s background and story, totally recalls Gaga’s s career since she was Stefani. Some lines sound literally ripped of from a bunch of her famous interview. We think that this choice was made to make Gaga feel closer to her character. But for us Little Monsters, it feels like an never ending way of referencing Gaga’s story. There are even a lot of familiar faces in the movie and there is also an entire dialog (which will probably be remembered forever) about Ally’s nose. Getting closer to end of the movie, when Ally’s story goes a little in the background and the movie switches to Jack’s problems, the viewers finally understand the deep meaning behind. Depression, addiction, fame and family, all these topic are interconnected in a perfect direct and not censored way. Sam Elliot (who plays a very important role) sparks like a gem, thanks to his acting skills, which we think could totally lead him to a nomination for Best Supporting Actor. At the end, the movie seems simple, dark and it makes you feel like to watch it again. The core is undoubtedly the soundtrack. It almost feels like the entire movie was recorded around it. Imagine the underground - rock stile of Born this Way mixed with the eternal old school and simple style of Joanne. BAM! This is what it feels like. The soundtrack is all sung LIVE. This details should not be forgotten, because it really gives the movie a lot of good points in production. We are really sure that every fan will love the movie and will also be surprised by his deep and dark mood. Probably even the general public will. Some people will find it boring and cheap, but it is okay to have different opinion. Personally we loved it very much, Gaga really plays a convincing Ally character most of the time, and Bradley is a PERFECT partner. The screenplay could have been written better, just like the picture, and the directing that makes the viewer feels a little lost sometimes. Each song still brings the public down on earth, and gifts us something that will accompain us in the coming years. Each Gaga song makes you cry (except for the few pop songs that have a particular role in the movie), and this makes you understand the power and beauty of the composition. The true hit in the soundtrack shows up during the first part of the movie, where the characters are introduced. The song gets stuck in the head for the hours and days later. Everything, anyway, becomes tiny if compared to the masterpiece that is the final song. Whitney Houston. A perfect song in the style of The Bodyguard, which Gaga wanted to customise with an amazing falsetto, giving that touch of originality without any fear to dare. From the first 2 seconds of the song you already feel like it will become an immortal song that everyone, even the future generations, will remember. The movie is solid and it certainly has some flaws, but with some other highlights and its soundtrack becomes a very enjoyable movie, in which a lot of people will see themselves. It will mark history for sure, even without all the overhype from the press that usually distorts the expectations and the focus; A Star Is Born doesn’t need any push to get directly nominated for an Oscar. Vote: 9.5/10
    15. She walked downstairs and there he was, staring at her. He stepped toward her, examined her face: concealer, mascara, rouge. “Take it off,” Bradley Cooper told Lady Gaga. She noticed something in his hand. It was a makeup wipe. With it, he erased the colors from her forehead down to her chin. This is the woman Cooper wanted in his film, “A Star Is Born.” Not the pop star masked with face paint and headdresses and hairpieces. Just Stefani Germanotta. “Completely open,” he said. “No artifice.” Until that moment in 2016, during a screen test in her home, Gaga didn’t realize how much she wanted the part — one played by Janet Gaynor, Judy Garland and Barbra Streisand before her. And to get it, she was going to have to “completely let go and trust” Cooper. She couldn’t be that girl from the Lower East Side who spent hours doing her makeup before her gigs. She had to let the camera zoom in on her face wearing chapstick and eight-hour cream and nothing else. “It put me right in the place I needed to be, because when my character talks about how ugly she feels — that was real,” Gaga recalls. “I’m so insecure. I like to preach, but I don’t always practice what I preach.” Just days before flying to Italy for the world premiere of “A Star Is Born” at the Venice Film Festival, Gaga was sitting in the living room of her Malibu home — a $23-million, six-acre estate with a two-lane bowling alley, dressage ring and safe room. The movie, Cooper’s directorial debut, is the fourth version of the story to be made for the big screen. In this latest take, which will be released by Warner Bros. on Oct. 5, Cooper stars as Jackson Maine, a rock ’n’ roll star whose success is at risk as he struggles with drug and alcohol addiction. But his life finds renewed purpose when he meets Ally (Gaga), an aspiring singer who becomes both his creative muse and his girlfriend. Jackson decides to take Ally on tour with him, but as her career takes off, his demons threaten to sabotage their happiness. Although she’d already won a Golden Globe for her performance on “American Horror Story” and performed on some of the world’s biggest stages — including at the Oscars and the Grammys — Warner Bros. still wanted Gaga to audition to play Ally. “That was the studio — that wasn’t Bradley or the producers, but a former executive at Warner Bros. who wasn’t convinced Gaga should get the role,” explains Bill Gerber, one of the film’s producers who has been attached to the project since 2007, when Clint Eastwood was set to direct it. “So we convinced them. Bradley believed in her, and Warner’s was generous enough to budget a proper screen test. It wasn’t unanimous until we did the test, and when they saw it, it took them seconds to say yes.” Gaga says she understood why the studio wanted to test her, noting that some people “don’t really know what I look like.” Anyway, naysayers fuel her: “I’m totally that girl that’s like, ‘Bring it. I’ll show you.’” At 17, after studying at the Lee Strasberg Theatre & Film Institute, Gaga was admitted to New York University’s prestigious Collaborative Arts Project 21, a musical theater conservatory and off-Broadway theater company. But she didn’t thrive there. She wasn’t getting auditions, and the ones she went on went poorly. She was almost cast on a domestic tour of “Rent,” but producers ultimately decided she was too young. So after just a year at NYU, she dropped out. "I was frustrated with the system,” she says, “so I decided to go off on my own and pay my own rent, work three jobs, make my own music, and record in my apartment.” It’s somewhat difficult to envision that version of Gaga as she perches on the edge of her couch, back erect, still wearing the black Alaïa dress and stilettos she put on for a photo shoot earlier that afternoon. The coffee table in front of her is covered with pink crystals and magazines, including one with her on the cover. An assistant walks into the living room to offer bottled water. Also floating around Gaga’s house: her manager Bobby Campbell; a member of her publicity team; and her mother, Cynthia Germanotta, who is visiting from New York. Gaga’s French bulldogs are outside on the patio, which overlooks the Pacific, and whine occasionally at the glass sliding doors. All of this is being watched from afar by cameras over in the barn, which houses both Gaga’s horses and her security team, which holds cellphones for guests while they are inside the performer’s residence. To play Ally, Gaga tried to distance herself from all this. She remembered the little girl who grew up obsessed with Garland — the one who would watch the Oscars wrapped in a gown made of blankets, accepting a fake Oscar on a crate in front of her television. And she thought a lot about how she came up in the music industry when — just like her character — she was told she had the right sound but not the right look. “I never cried, but I would just hold on to my records for dear life and say, ‘You’ll pry them from my cold, dead fingers,’” Gaga recalls of her early conversations with music executives. “What made things easier for me is that I wrote my music, so I didn’t have to beg for songs or for anyone to help me. I did it myself.” For Ally’s musical performances — some of which were filmed onstage at Coachella the week between Gaga’s two headlining gigs at the 2017 musical festival — she decided to tone things down. She wouldn’t grit her teeth or shout at the audience or throw her hands in the air. And she tried to hone in on the character’s depression, focusing on how close Ally was to giving up her dreams before meeting Jackson. “What’s different from Ally than me is that when I wanted to become a singer, I hit the concrete running,” she says. “I was dragging my piano from dive bar to dive bar to play music. I was calling people, faking being my own manager to get gigs. I really believed in myself that I could do this and that I wasn’t going to stop until I made it. ...The truth is, when we meet Ally, she’s given up on herself. And that’s very different from me. I just wasn’t overwhelmed by the odds. The truth is, if we were not sitting here today and I hadn’t sold as many records as I have, I’d still be in a bar somewhere playing the piano and singing. It’s just who I want to be.” Gaga worked with acting coach Susan Batson, who has trained Nicole Kidman and Juliette Binoche. The teacher said she found the fledgling actress “exceedingly receptive to the work,” describing her as “almost beyond professional.” “It was her first [leading role], but you would have never known it, and I think that has something to do with the fact that she’s done so much performing already,” Batson says. “The Lady Gaga that the public knows? They won’t see her.” Getting comfortable on set, Gaga admits, took some time. After months of preparation, she turned up for the first day of shooting with her lines memorized. Cooper came on set to join her in a scene, but he started off by saying a line that wasn’t in the script. He was trying to get Gaga to loosen up, but she didn’t understand and responded by saying the same line over and over again. “Finally, he said, ‘Are you OK?’ And then I started crying,” she says with a laugh. “Then I got that out of the way and then we did the scene. I had to let go of the words.” The two would go on to form a close bond during production, developing a shorthand while working on set. If Cooper wanted Gaga to evoke a feeling of warmth, he’d whisper “Tony,” knowing that she has a close relationship with singer Tony Bennett and that whenever she thinks of him she gets “a certain feeling of love.” If he needed her to focus, he’d say things like “ninja” or “assassin.” “Her learning curve was insane, just from the first day to the second day,” Cooper remembers. “Everybody already knows that she’s got a God-given talent as a singer, and she was able to utilize that plutonium to act. If this is something she wants to pursue, I will just have been lucky to have been part of her story as an actress.” Gaga also helped inform Cooper’s performance as a musician. She wrote a handful of songs for the movie’s soundtrack and sat with the actor in the studio, answering his questions about the logistics of what goes on backstage during a big concert. She was also candid about her personal experience with drugs, sharing how readily available substances were to her after she became famous. “There was a buffet of options,” Gaga says. “It’s very lonely being a performer. There’s a certain loneliness that I feel, anyway — that I’m the only one that does what I do. So it feels like no one understands. And the urge to use is because you’re searching for a way to quell the pain. When I first started to perform around the country doing nightclubs, there was stuff everywhere, but I had already partied when I was younger so I didn’t dabble. I was able to avoid it because I did it when I was a kid.” As “A Star Is Born” embarks on the fall awards circuit — the film is headed to the Toronto International Film Festival after Venice — Gaga says she’s proud of her performance because she knows she “gave it everything.” After being forced to cancel a slew of concert dates this year due to her fibromyalgia, she’s readying a return to the stage on Dec. 28, when she’ll launch a Las Vegas residency. (She won’t reveal whether songs from “A Star is Born” will make the cut.) She’d like to do more acting, but not just “for the sake of being an actress. I want to tell great stories that pull from real places inside of me, from real pain, from real emotion, from my real life.” Gaga does seem to have a gift for easily accessing her emotions. When the conversation returns to self-confidence — how she began to feel beautiful after that early industry scrutiny over her looks — her eyes fill with tears. “To be honest, I think what makes me feel beautiful is when I see happiness in my fans,” she says, her voice choking a bit. “When I see or hear from them that the music that I’ve made has changed their life in some way, that’s what makes me feel beautiful. Because this is just the outside, you know? And at the end of the day, I could be in a million movies and put out a million songs and everyone could say, ‘She was so beautiful,’ but that’s not really what I want. I want them to say, ‘I saw that movie and I cried my eyes out and I learned something about myself.’” Lady Gaga by Jay L. Clendenin for LA Times. Click on the picture to see the full photoshoot. This article originally appeared here.