When Pulp Fiction was released 30 years ago, it wasn’t long before the wardrobe worn by Uma Thurman’s gangster wife Mia Wallace influenced a generation of designers: 1995’s catwalks from Miu Miu to Alexander McQueen boasted a multitude of over-sized white shirts fit for a twist-dancing, milkshake-sipping bad girl. The movie even prompted sell-outs of Chanel’s iconic nail colour, Rouge Noir (Vamp in the US). Here, Arianne Phillips sits down with Betsy Heimann to explore the road to creating such an iconic moment on celluloid.

‘On the eve of Pulp Fiction’s 30th anniversary, I had the good fortune to discuss the film’s iconic and culture-shifting costume design with one of our most respected and revered costume designers, Betsy Heimann. Her stellar body of work underscores generational filmmaking at its finest, with her designs featured in Reservoir Dogs, Get Shorty, Jerry Maguire, Almost Famous, Vanilla Sky, Lady in the Water, Green Book and many other memorable films. Betsy’s costume design for Pulp Fiction  remains as relevant today as when the film premiered in 1994.

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Betsy is an artist; a truly remarkable and talented costume designer whose brilliant work with Quentin Tarantino significantly contributed to the enduring success of his first two films. It also benefitted me 26 years later when I was invited to design Quentin’s Once Upon a Time in…Hollywood. I was so excited to speak to Betsy about the early days with Quentin, their process creating the visual language that we have come to know unmistakably as a “Tarantino film”, and designing and imagining the world of Pulp Fiction.’

AP: Watching Pulp Fiction again this week I thought about you so much, and what we have in common. I worked with Quentin on his last film, Once Upon a Time in…Hollywood, and I really have to hand it to you that you really are a part of the visual language that Quentin is so known for – whether it’s the Hawaiian shirt on Tim Roth in Pulp Fiction (a look that re-surfaces on Brad Pitt in Once Upon a Time in…Hollywood) or Quentin’s love of a leather jacket and a T-shirt, or a black-and-white motif… this is the Tarantino language that you both created together. I’m curious to learn from you what your process was like with the young Quentin when you worked together on Reservoir Dogs. How did that happen?

BH: I met [producer] Lawrence Bender at a New Year’s Eve party and we just got chatting and he invited me to a screening of a small indie film that he had worked on, and then it evolved into him sending me scripts and asking what did I think it would cost to do the costumes for them. And I would help out with the budgets. And then, one day, he sent me this script for Reservoir Dogs. It was fascinating. I had a costume career before Reservoir Dogs – I worked my way up from seamstress – but I had never read anything like this. I said to myself, you know, they’re gonna get good actors for this because there are pages of dialogue. So when Lawrence called me up and asked, ‘So what do you think?’ I said, ‘Err, who’s doing the costumes for this movie?’ He said, ‘I don’t know yet.’ And I said, ‘I’ll do it. I wanna do it.’ He told me they didn’t have any money. And I told him I didn’t care. That’s how it happened. 

AP: And what was your impression of Quentin when you first met him?

BH: Oh, his enthusiasm was so contagious. And he was very organised. I remember being very impressed that he was so prepared. He was very grateful. And I just thought, I like this kid and I like being with him, and I love his enthusiasm. And then I went over to his apartment and we started watching movies together. Quentin was always visual. We’d go through the whole script visually. And our language was the language of film. I remember one conversation most vividly about Pulp Fiction. It was about Butch, about Bruce Willis’ costume. I said I think he should wear a leather jacket. He said, yes, I want a leather jacket like Nick Nolte’s in Who’ll Stop the Rain; so I sourced a similar old brown pigskin suede one, put it in the car, and Quentin and I drove out to Malibu where we had a meeting with Bruce. Demi [Moore] was there and Bruce brought all of these 1980s and 1990s leather jackets he liked – he must have had 10, but they were all oversized – and mine looked quite skimpy in comparison. But Quentin liked it, so Bruce tried it on. He put it on and said to me, ‘Well, are you gonna drag it behind a truck?’ And I said, ‘Oh, you mean age it? Yes, and with you in it.’

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AP: I love it. Another of the things that I was really noticing when rewatching it was the day players and all the ancillary characters are wonderful characters whether it’s Christopher Walken, Harvey Keitel, Amanda Plummer, Eric Stoltz or Kathy Griffin. You did such a beautiful job of letting us know who these characters were in such a quick, short time period, the costumes really allowed us to just get there immediately. You infused so much storytelling into your costumes, it’s so impressive. 

BH: Well, thank you very much. Yes, it was a big cast. As with Reservoir Dogs. We had a very big warehouse that we prepped and shot in. When I would get the things together for the fitting, I would call Quentin and he’d come in and he’d peek his head in and he would say ‘great’. But we had discussed it all before. One of the things that he and I did is watch anime cartoons. And one of them was Speed Racer. And I remembered that when we were prepping Pulp Fiction

AP: And you put Eric Stoltz in that T-shirt, right? 

BH: Yes. I said to Quentin, I think Speed Racer is the way to go. For me, I always tell a story about the character to get inspiration. And he said that he had one in his closet and so he went and got the T-shirt. There was a lot of spontaneous back and forth.

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AP: These graphic T-shirts are a part of Quentin’s language. In my experience with him, he had a lot of graphic T-shirt ideas for Once Upon a Time in…Hollywood

BH: He has the same respect for the graphic T-shirt that I do. It’s not just, let’s put this guy in a graphic T-shirt, it has to mean something. It’s the same on all the films I’ve worked on. On Jerry Maguire, for example, when he is writing his mission statement, I figured he went to Notre Dame College. And so I called the Student Union and asked where do you guys all hang out? And I found the Little Bar, and I got hold of a T-shirt from them, and that’s the one Maguire is wearing when he writes his mission statement – his college t-shirt, the one he wore when he was full of ideals and full of how he was going to change the world… So every T-shirt for me has meaning. 

AP: That’s so great because it gives us little Easter eggs of reality. For me, watching Pulp Fiction, and seeing the Santa Cruz Banana Slugs college T-shirt that Vincent [John Travolta] wears was, like, nobody knows about that T-shirt unless they’ve been there. But Quentin wanted to get across that Jimmy had some connection with Santa Cruz. And so you see how costume can give a character an instant backstory – it really adds another layer and a texture. It’s the same with other clues you used in Reservoir Dogs. Tell us how the black suits came about in that film?

BH: Well, for Reservoir Dogs, my budget was $10,000. So I said, ‘Guys, I can give you four suits with this budget for the film. And I need to keep one clean’. 

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AP: Four suits for all? 

BH: Right. But, you know, we were shooting multiple action scenes with them. So the fact of the matter is that only Harvey Keitel and, briefly, Quentin, wore actual suits. We couldn’t afford them. So I found this stash of 10 black Beatle jackets at American Rag – which is now very hip, but it was a thrift store at the time – and I thought these would work on the younger guys, like Tim Roth and Steve Buscemi. They were great jackets. And then I teamed them with Beatle boots and black jeans. And Quentin was, like, ‘What?’ And I said, ‘Trust me, nobody’s gonna know the difference. It’s gonna be fabulous’. 

AP: That was amazing foresight to know that it would work so well on screen and not show. 

BH: Well, that’s what we do. That’s what we know as costume designers. The other thing I will tell you is that not all of the jackets people were wearing were black. Some of them were navy, some of them were dark grey. I spent a little bit of time with our cinematographer, Andrzej Sekula, and I would say, ‘Okay, look at this grey suit jacket and look at this black suit jacket. How are you lighting this picture? Are they gonna photograph the same?’ And he would say, yes, and I would trust him. 

AP: I think that was ingenious. And it actually gave it a modernity that a regular suit might not have. And a black jean was probably great for all those action scenes because they could put pads under them and you wouldn’t see anything. And back to Pulp Fiction, and they’re also wearing black suits, what was your budget like then?

BH: $36,000. I remember sitting with Quentin at Barney’s Beanery, and I said to him, ‘I really think that Vincent and Jules are Reservoir Dogs.’ And he thought about it. He goes, ‘You know, I like that. I like that’. This time I could do actual suits because now these guys have a little more money. I could do a linen suit with Vincent so that he always looked kind of a mess; and with Jules [Samuel L Jackson] I wanted a very slim-fitting narrow lapel, which was not that popular back then. So I went downtown and I found this Perry Ellis suit that I could get at a discount. And the collars of the shirts were very important to me, too. With Reservoir Dogs, each one of those guys had a different shirt with a different collar and a different width of tie in proportion to the width of their chest. This is all very technical, but it gives them a difference. So in Pulp Fiction, I did that again. 

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AP: And so Jules had a very narrow collared shirt because he’s the preacher?

BH: Right. And then there’s a bit of a cowboy theme in Pulp Fiction, too. Amanda Plummer has the cowboy boot dialogue, and Jules calls Tim Roth ‘Ringo’ – Gregory Peck played Jimmy Ringo in The Gunfighter. They’re all gunfighters. And so for me there was this kind of a Western influence in the costume. And we all used to shop at King’s Western Wear in the Valley and that’s where I got the idea for the bolo tie. I thought, well, here’s Vincent thinking he’s cool. He’s got his bolo tie on. And Mia [Wallace, played by Uma Thurman] says to him, ‘How are you doing, cowboy?’ And he refers back to her as a cowgirl. So these are all messages to me. So I came up with that idea and Quentin liked it. 

AP: A lot of those choices influenced the way people dress then and now. Let’s talk a little bit about Mia. I really was taken by her proportions and how you used them. How did it come to be that her trousers were short, like pedal pushers?  The proportions of her outfit work so beautifully, especially in the twist-dancing scene… the way that you tailored that shirt, and it had the French cuff with the cufflink, and the black-and-white motif. I really love the beautiful symmetry of design in that scene. They’re dancing and they look like cake toppers. That scene is burned in our minds forever. It really kicked off a trend. 

BH: Well I thought that Mia was really a Reservoir Dog, but she couldn’t express that because she was married to the boss and she had to be chic and glamorous; the eye candy. But on her date with Vincent she wanted to show him that she was one of the guys. And so I said, I wanted her to wear the black and white. But Uma is very tall, and we didn’t have any money, and all the pants weren’t long enough for her, and so I said, ‘What the heck, let’s just cut ‘em off’. I called Chanel and I said the magic words, Uma Thurman – they are magic words, things fall from the heavens – and I told them I needed these gold ballet slippers I had seen in a magazine and they lent us them. And then the shirt had to give her some shape and I wanted it to be oversized because I wanted it to say ‘I’ve got money but I’m also one of you; I’m a bad girl’. And then we added the bandana underneath. So it was another cowboy reference. 

AP: And then Mia’s bob. It all works in tandem: the short pants and the oversized shirt, and then that black bob, it’s just so successful. 

BH: The bob is all Quentin. It’s based on the old film star Louise Brooks and that’s what he wanted. And so knowing that, you start with that, instead of hoping that it’ll work with what you’re doing, you start with that. That’s the reality. And the reality is the inspiration. 

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AP: Something else I love, which you do beautifully, is using a costume piece more than once to tell the story; when it starts on one character, then another character wears it. So, for example, we have Vincent wearing his black suit and that wonderful trench coat. And then we have Mia coming back from dinner with him and she has the trench coat on. That’s just beautiful. It says so much. It still looks so great today. 

BH: I love that you noticed the raincoat, because that was something I was really, really adamant about. And Quentin liked the idea. I knew that I wanted her dancing around in that big coat and then she could find the drugs in the pocket. I wanted to make it more of a natural thing and so I had to get that coat on him in order to later get it on her. And so I searched everywhere for one of those old gabardine raincoats from the 1950s and found it at Palace Costume.

AP: It worked so well. And I love the colour… it would be easy for it to be a black raincoat but then we would really not see the detail. Also when she puts it on, it’s clearly not her coat. And what’s amazing, again, is the way these characters dressed in Pulp Fiction still inspires the way people dress today. It’s the marriage of your trueness to the characters, but also the fact that you and Quentin really tapped into a fantasy of larger-than-life characters that a part of us would like to be. And elements of the way they looked are attainable: you both turned regular items into iconic ones by the way you used them on the characters.

BH: Yes, I suppose it is the connection that the public makes with the characters. There’s a poignancy to Mia Wallace. I mean, she has to wear the trench coat as she has to find the drugs in the pocket. So therefore she could just ruffle through his coat that’s left on the couch, or she can have it on and reach in the pocket. And these are motions and actions that the audience can relate to. 

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AP: That’s because these are the choices you made in respect to how you saw these characters. The reason for its influence on fashion is that this film is such a great reflection of what was happening in our culture, and it just resonated with people. These characters are unattainable, but people can create their own versions and make it accessible because the design is so uncluttered, it’s so specific. 

This film also is indelibly a part of ‘the film language’ with other costume designers and directors. I’m sure you’ve seen that your work is often referenced or recreated. In the 1990s I was doing a lot of music videos, and I know that this was cited as the pinnacle of cool for so many directors; we’ve seen iterations of it in music videos and fashion magazines. Just this last Halloween, I was in New York and I was invited to a party where everyone was supposed to come dressed as a character from Pulp Fiction. There were 500 people dressed as these characters you helped create…

BH: Who knew that 30 years later we would all still want to dress like the baddies in Pulp Fiction [laughs]. But I’m only as good as my director. I’m inspired by my director. I get all my ideas from the energy that’s coming out of my director. And Quentin was on fire. He was on fire with these two movies, and they were original, and they were different from anything I ever read.

All images © 2000 Block 2 Pictures Inc. © 2019 Jet Tone Contents Inc.
Reservoir Dogs / Pulp Fiction / Once Upon A Time in…Hollywood

February 26, 2024

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The cast of Succession

The 30th Screen Actors Guild Awards mark another step towards Oscars in awards season – and Hollywood Authentic was there on the dove grey carpet and inside the ballroom for all the drama… As the actors gathered at LA’s Shrine Auditorium on Saturday afternoon, the mood was more celebratory than usual given the tumultuous year the voting body, SAG-AFTRA, have had since the last awards ceremony. After months of crippling strikes, this event felt like a moment to not only congratulate specific talent in awards categories but the acting community as a whole for being able to return to film and TV sets after fraught negotiations through the end of 2023.

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Brendan Fraser and Cillian Murphy

It was something a luxuriantly-bearded Kenneth Branagh touched on when he and his castmates got on stage to accept the award for outstanding performance by a film cast for Oppenheimer, recalling how the London premiere for the film in July coincided with the strike beginning. “We all walked off the carpet and stood in solidarity with the union. We didn’t get to see the film.”

Oppenheimer’s awards sweep continued with Best Actor and Supporting Actor gongs going to Cillian Murphy and Robert Downey Jr. While Murphy thanked the names on his call sheet (“you made me brave, guys”), Downey Jr joked that he would “never grow tired of the sound of my own voice”. Though both men were expected winners in their categories (adding to their awards collection that will surely mean triumph at the incoming Oscars), there was history made with Best Actress winner, Killers Of The Flower Moon star, Lily Gladstone. As the first indigenous winner to take home the accolade, Gladstone arrived at the podium in a red, fringed Armani Prive gown and spoke in her Blackfoot language before tearfully expressing her unity with her fellow actors. “This has been a hard year for all of us. Those in this room, those not in this room, I’m so proud that we have gotten here in solidarity with all of our other unions.”

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Lily Gladstone

The Last Of Us star Pedro Pascal was so unprepared for a win as Best Actor in a drama series that he admitted to having got drunk on the table booze (including Taittinger champagne) when he got on stage. He was seated next to black-lace clad Jessica Chastain (in Armani) during a dinner of salmon, with a pie station available for dessert. Most actors abandoned their plates to mingle before the ceremony began: Anne Hathaway in cobalt Versace chatting to Glen Powell wearing a brown Brioni tux, Margot Robbie maneuvering her statement pink bow dress by Schiaparelli around the gold chairs, Pedro Pascal catching up with Billie Eilish (who autographed Melissa McCarthy’s forehead in an on-stage skit), Brie Larson talking with Jodie Foster and Oprah Winfrey regal in on-theme violet on The Color Purple table. Hannah Waddington showed other guests her cardboard clutch bag, created by her daughter and featuring crayoned ‘Epic’ designs.

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Pedro Pascal

All awards show need a presenter talking point – Michael J Fox’s arrival at last week’s BAFTAs being one – and the SAGs reunited the cast of The Devil Wears Prada 18 years after the film’s release as Anne Hathaway, Emily Blunt and Meryl Streep handed out the Best Actor in a comedy series gong. As Streep opened the winners envelope, Blunt quoted one of her killer lines from the film to the delight of the audience; “by all means, move at a glacial pace – you know how that thrills me.” Social media noted that Hathaway’s dress tone was a nod to Streep’s waspish line about ‘cerulean blue’ from the movie… Also reuniting, 21 years after the release of The Lord Of The Rings trilogy, were hobbits Elijah Wood and Sean Astin, as they presented The Holdovers star Da’Vine Joy Randolph, wearing champagne silk, with best supporting actress.

Succession had dominated other awards events this season and they took home the cast top honours in drama, but it was Elizabeth Debicki who won Best Actress in a drama series for her depiction of Princess Diana in The Crown. The Bear nabbed Best Actor and Best Actress in a comedy series for Jeremy Allen White and Ayo Edebiri, while Beef co-stars Ali Wong and Steven Yuen cleaned up as Best Actor and Actress in a limited series.

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Meryl Streep, Jeremy Allen White , Emily Blunt, Anne Hathaway
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Da’vine Joy Randolph
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Glen Powell and Ali Wong
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Ayo Edebiri

The event was closed out by the lifetime achievement award going to Barbra Streisand, dressed in black and gold complete with beret, and greeted with a standing ovation and laughter as she told the ballroom that she was thrilled to have known about the award in advance so she didn’t have to put on a happy face when someone else won. She went to talk about her first crush, Marlon Brando, and thanked the assembled actors for giving her so much joy on-screen.

As the after-party continued before guest headed to other soirees across town, everyone no doubt had their eye on the next awards show in the calendar. Only two weeks to go before Hollywood does it all over again at the 96th Academy Awards at the Kodak Theatre…

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Ryan Gosling
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Aaron Paul and Bryan Cranston



Outstanding performance by a cast in a motion picture – Oppenheimer

Outstanding performances by a female actor in a leading role – Lily Gladstone

Outstanding performance by a male actor in a leading role – Cillian Murphy

Outstanding performance by a female actor in a supporting role – Da’Vine Joy Randolph

Outstanding performances by a male actor in a supporting role – Robert Downey Jr 

Outstanding Action Performance by a Stunt Ensemble in a Motion Picture – Mission: Impossible – Dead Reckoning Part 1


Outstanding Performance by an Ensemble in a Drama Series – Succession

Outstanding Performance by an Ensemble in a Comedy Series – The Bear

Outstanding Performance by a Female Actor in a Drama Series – Elizabeth Debecki

Outstanding Performance by a Male Actor in a Drama Series – Pedro Pascal

Outstanding Performance by a Female Actor in a Comedy Series – Ayo Edebiri

Outstanding Performance by a Male Actor in a Comedy Series – Jeremy Allen White

Outstanding Performance by a Female Actor in a Television Movie or Limited Series – Ali Wong

Outstanding Performance by a Male Actor in a Television Movie or Limited Series – Steven Yuen

Outstanding Action Performance by a Stunt Ensemble in a Television Series – The Last Of Us

Words by Jane Crowther
Photographs by Greg Williams

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Emma Stone, David Beckham, Carey Mulligan, Marcus Mumford and Bradley Cooper

Hollywood Authentic hit the red carpet, ceremony and parties at this year’s EE BAFTA awards – join us for a recap on the fun from the South Bank’s Royal Festival Hall.

The festivities kicked off with a proposal at 2pm as an early-arriving guest popped the question and host David Tennant took to the carpet to greet waiting fans as the cars began arriving. It was a family affair for many of the nominees; Emily Blunt, dressed in gold-beaded Elie Saab, arrived with her parents, as did Paul Mescal (plus his siblings) while Christopher Nolan brought along his teen son, Magnus. The red carpet was soon filled with talent taking the opportunity to greet each other and admire the performances that had impressed voters; and in the case of Mescal (rocking Cartier lapel diamonds), get star struck by David Beckham.

Florence Pugh (in Harris Reed with statement Boucheron jewels) embraced Da’Vine Joy Randolph, Bradley Cooper (long-line Louis Vuitton) and Carey Mulligan high-fived, the Chicken Run 2 team carried maquettes of their characters in fowl evening wear while Emma Stone, wearing custom Louis Vuitton, Margot Robbie and Emily Blunt swapped news. As nominees and guests mingled, Hannah Waddington prepared for her mid-show number by dancing to the DJ with Colman Domingo while they waited to be snapped by press photographers. Plum-coloured fits were a theme with Cate Blanchett arriving in burgundy Louis Vuitton, Daisy Edgar-Jones in wine Gucci hotpants, Lashana Lynch embellished in maroon Prada, Josh Hartnett head-to-toe in claret and Ryan Gosling giving his custom Gucci white suit a raspberry trim.

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Florence Pugh and Emily Blunt

The festive mood continued inside as guests sipped Taittinger over three floors, Gillian Anderson admiring Taylor Russell’s white Loewe gown as attendees found their seats, and Liliput the Maltese terrier getting ready backstage for her show opener with Tennant. He promised the ceremony would be as ‘smooth as Ken’s chest’ and with a back-to-basics plan after last-year’s breakout sofa chats, the gongs were handed out in a brisk running time – including Sophie Ellis Bexter’s barnstorming rendition of ‘Murder On The Dancefloor’ from Saltburn.

Leading the nominations race (with 13), Oppenheimer cleaned up – taking home 7 accolades including best film, director, actor and supporting actor, while Poor Things netted 5 including best actress. Holocaust drama The Zone Of Interest also won big with three category triumphs.

Positioned at the side of stage, Hollywood Authentic founder Greg Williams captured the winners exclusively as they left the spotlight, BAFTA masks in hand. ”The coolest trophy by far!” exclaimed adapted screenplay winner, Cord Jefferson, while EE Rising star winner Mia McKenna-Bruce giddily admitted she was so stunned that had no idea what she’d said in her speech as last year’s recipient Emma McKay fanned her with the award envelope.

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Cillian Murphy and Cate Blanchett 

Putting himself in good stead to win at Oscar, Robert Downey Jr. took home the supporting actor mask for Oppenheimer (but only after signing for it backstage) 31 years after winning for Chaplin, telling the audience “the entirety of my life story in 30 seconds‘’ and that Christopher Nolan had suggested he “attempt an understated approach as a last ditch effort to perhaps resurrect my dwindling credibility” with the role.

He was followed onstage by The Holdovers star Da’Vine Joy Randolph, winning best supporting actress and continuing to dominate this category during awards season. Tears threatened as she praised her co-star Paul Giamatti and reminded viewers that her character in the film served as “a beautiful reminder of how her story has rippled through the world.”

After Samantha Morton received a fellowship award for her decades-long career (feted via video by Tom Cruise), Cillian Murphy continued the Oppenheimer sweep with a Best Actor win presented by last year’s Best Actress winner, Cate Blanchett. Heralding his “Oppen-homies” and the “most dynamic, decent, kindest producer-director partnership in Hollywood” in Emma Thomas and Christopher Nolan, he waited in the wings to see the outcome of the Best Film category. Before that Emma Stone bagged Best Actress from Idris Elba, keeping the family theme going in her speech by thanking her mom for making her “believe this crazy idea I could do something like this” and also for giving her life. A joke that played well in the auditorium but also backstage when the Oppenheimer team came off for their Best Film win and Emily Blunt told Stone how much she’d enjoyed her speech.

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Emma Stone and Idris Elba
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Chiwetel Ejiofor and Da’Vine Joy Randolph
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Robert Downey Jr.

While the team embraced and handed the award to each other, Blunt’s proud dad held her handbag and congratulated Waddington on her soulful rendition of “Time After Time” during the in memoriam section. The closing category was particularly memorable for the surprise arrival of presenter Michael J Fox, who was touched to receive a standing ovation. His wife Tracy Pollen waited backstage to congratulate the star on his speech, especially courageous as he continues to struggle with Parkinson’s. As he stood at the podium he enthused; “There’s a reason why they say movies are magic – cos movies can change your day, change your outlook, they can sometimes even change your life”.

Racing to the green room for a celebratory photo, the Oppenheimer team then hit the dinner downstairs as guests at tables decorated to represent the Best Film nominees were served a starter of six root bhaji and roast carrot, a chicken caesar main with triple cooked chips and a toffee chocolate dessert with vanilla mascarpone and a tiny chocolate BAFTA mask. As glasses clinked, Ayo Edebiri and Emma Corrin chatted on the stars, Hannah Waddington and Michael Sheen caught up at a table as Daisy Edgar Jones and Paul Mescal had a Normal People reunion. Stone changed into a monochrome dress with candy-stripe shoulders for her dinner and she wasn’t the only one swapping looks as the parties kicked off across town.

Florence Pugh slipped into David Koma white lace to take in the Universal celebration party for Oppenheimer at the Nomad Hotel in Covent Garden before stopping by the British Vogue and Tiffany afterparty at Annabel’s alongside her co-star Robert Downey Jr., who’d changed his formal black shirt for a Sex Pistols t-shirt. Also in attendance were Anna Wintour (in trademark sunglasses), Dua Lipa, Anya Taylor Joy, Emily Blunt, Rosamund Pike, Clare Foy, Sophie Ellis Bexter, Andrew Scott, Idris Elba, Da’vine Joy Randolph and Emerald Fennell.

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Michael J. Fox
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Paul Mescal and Andrew Scott
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Emma Corrin and Holly Waddington
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Jack O’Connell, Mia Mckenna-Bruce and Emma Mackey

The celebrations continued at the now-legendary Netflix party at The Chiltern Firehouse where Paul Mescal and Andrew Scott (in red Berluti) continued their awards season bromance, Hannah Waddington and Sophie Ellis Bexter swapped performance notes and Emma Stone and Bradley Cooper hung out. They were joined by a who’s who from cinema, including Phoebe Dynevor, J.A. Bayona, Idris Elba, Regé-Jean Page, Teo Yoo, Rosamund Pike, Callum Turner, Archie Madekwe, Lily James and Keegan-Michael Key (still heroically wearing a pristine tux). The merriment went on long into small hours…


Best Film – Oppenheimer

Outstanding British Film – The Zone Of Interest

Best Director – Christopher Nolan

Outstanding Debut By By British Writer, Director Or Producer – Earth Mama

Film Not In The English Language – The Zone Of Interest

Best Documentary – 20 Days In Mariupol

Best Animated Film – The Boy And The Heron

Best Original Screenplay – Anatomy Of A Fall

Best Adapted Screenplay – American Fiction

Best Leading Actress – Emma Stone

Best Leading Actor – Cillian Murphy

Best Supporting Actress – Da’Vine Joy Randolph

Best Supporting Actor – Robert Downey Jr

Best Casting – The Holdovers

Best Cinematography – Oppenheimer

Best Editing – Oppenheimer

Best Costume – Poor Things

Best Original Score – Oppenheimer

Best Production Design – Poor Things

Best Sound – The Zone Of Interest

Best Visual Effects – Poor Things

Best British Short Film – Jellyfish And Lobster

EE Rising Star – Mia McKenna-Bruce

Words by Jane Crowther
Photographs by Greg Williams

hollywood authentic, golden globes dispatch, golden globe awards 2024, 81st golden globe awards
emma stone, poor things, golden globes, golden globe awards 2024, 81st golden globe awards

Hollywood Authentic reports from inside the 81st Golden Globes, Los Angeles, where Greg Williams was given unprecedented access. Here we report on the evening’s highlights.

There was a sense of occasion, drama and buzz inside the Beverly Hilton’s ballroom as the movie industry elite, fuelled by Moët et Chandon and sushi by Nobu Matsuhisa, attended the first big bash of the year: the 81st Golden Globes.

Oppenheimer was the big winner of the evening – Best Motion Picture, Drama, Best Director, Drama (Christopher Nolan), Best Performance by a Male Actor, Drama (Cillian Murphy), and Best Actor in Supporting Role, Drama  (Robert Downey Jr). It also had some of the best acceptance speeches. Cillian Murphy summed up the Oppenheimer experience when he said: “I knew the first time I walked on a Christopher Nolan set that it was different. I could tell by the level of rigour, the level of focus, the level of dedication, the complete lack of any seating options for actors…that I was in the hands of the visionary director and master. I want to thank Chris and Emma for having the faith in me for 20 years. Thanks so much. One of the most beautiful and vulnerable things about being an actor is that you can‘t do it on your own, really.”

Downey Jr, meanwhile, had a different approach, for his acceptance speech: “Yeah, yeah. I took a beta blocker, so this is going to be a breeze.”

Best Performance by a Female Actor in a Motion Picture, Musical or Comedy, went to Emma Stone for her extraordinary performance in Poor Things, directed by Yorgos Lanthimos. After accepting her award, Stone said: “I think this is a rom-com. I see this as a rom-com, but in the sense that Bella falls in love with life itself, rather than a person, and she accepts the good and the bad in equal measure, and that really made me look at life differently.”

Stone, who received a standing ovation when she accepted her Golden Globe, offered a close-up of the award backstage. Dressed in Louis Vuitton, Emma celebrated with Yorgos and and co-star Willem Dafoe as the movie also won the award for Best Motion Picture, Musical or Comedy.

lily gladstone, killers of the flower moon, golden globes, golden globe awards 2024, 81st golden globe awards
Lily Gladstone

The evening also saw Lily Gladstone accept the award for Best Performance by a Female Actor, Drama, for her role in Martin Scorsese’s Killers of the Flower Moon. Gladstone (Blackfeet/Nimíipuu) is the first Indigenous person to take home a Golden Globe. “This is a historic one, and it doesn’t belong to just me,” she said, after opening her acceptance speech speaking in the Blackfeet language. “I’m holding it with all of my beautiful sisters in the film and my mother, Tantoo Cardinal.”

Offstage, Timothée Chalamet (nominated for Wonka, and dressed  in Celine) was there with his date Kylie Jenner, and Robert Downey Jr. Also a jubilant Margot Robbie (in Armani Privee), America Ferreira (Dolce e Gabbana) and Barbie director Greta Gerwig were photographed fresh from collecting their gong for Cinematic & Box Office Achievement. Robbie, who accepted the award, captured the spirit of the evening when she said: “Thank you so much to the Golden Globes for creating an award that celebrates movie fans. This is a movie about Barbie, but it’s also a movie about humans. We made it – it’s about you. We made it for you, and we made it with love. Thank you for loving it back.”

timothee chalamet, wonka, kylie jenner, robert downey jr, golden globes, golden globe awards 2024, 81st golden globe awards
Timothée Chalamet, Kylie Jenner and Robert Downey Jr.
america ferrera, greta gerwig, margot robbie, barbie, golden globes, golden globe awards 2024, 81st golden globe awards
America Ferreira, Greta Gerwig and Margot Robbie

Equally thrilled were members of the Oppenheimer crew: Florence Pugh (in Valentino), Matt Damon and Christopher Nolan.

Elsewhere Joaquin Phoenix was spotted seated at his table, and earlier with the Beau Is Afraid director/writer Ari Aster; as was Will Ferrell entertaining Dua Lipa and Jodie Foster; Billie Eilish, who won best original song (along with her brother Finneas O’Connell) for Barbie’s What Was I Made For?; nominees Meryl Streep and Ryan Gosling; Florence Pugh with Selena Gomez (in Armani Privee); Dua Lipa at her table wearing a gown by Balenciaga with jewellery by Tiffany & Co; long-time collaborators Ben Affleck and Matt Damon; and Danielle Brooks, nominated for The Color Purple, wearing Moschino.

florence pugh, matt damon, christopher nolan, golden globes, golden globe awards 2024, 81st golden globe awards
Florence Pugh, Matt Damon and Christopher Nolan
ben affleck, matt damon, golden globes, golden globe awards 2024, 81st golden globe awards
Ben Affleck and Matt Damon
danielle brooks, the color purple, golden globes, golden globe awards 2024, 81st golden globe awards
Danielle Brooks
joaquin phoenix, ari aster, beau is afraid, golden globes, golden globe awards 2024, 81st golden globe awards
Joaquin Phoenix and Ari Aster

And, of course, the night didn’t finish at the Beverly Hilton. The celebrations continued at various locations across town.

The winners in the television category were dominated by The Bear and Beef – both shows received three awards – as well as Succession, which won four: Best Television Series, Drama; Best Performance by a Female Actor in a Television Series, Drama, for Sarah Snook; Best Performance by a Male Actor in a Television Series, Drama, for Kieran Culkin, and Best Performance by a Male Actor in a Supporting Role on Television for Matthew Macfadyen.

ayo edebiri, the bear, golden globes, golden globe awards 2024, 81st golden globe awards
Ayo Edebiri
the cast of succession, golden globes, golden globe awards 2024, 81st golden globe awards
The cast of Succession
matthew macfadyen, succession, golden globes, golden globe awards 2024, 81st golden globe awards
Matthew Macfadyen

The latter also had one of the our favourite acceptance speech lines: “I just adored every second playing the weird and wonderful human grease stain that is Tom Wambsgans. Tom Wambsgans, CEO, I should say. God help us.” 

And god help all those who had to get up early this morning. 


Best Motion Picture – Drama: Oppenheimer

Best Motion Picture – Musical or Comedy: Poor Things

Cinematic and Box Office Achievement: Barbie

Best Performance by a Female Actor in a Motion Picture – Drama: Lily Gladstone – Killers Of The Flower Moon

Best Performance by a Male Actor in a Motion Picture – Drama: Cillian Murphy – Oppenheimer

Best Performance by a Female Actor in a Motion Picture – Musical or Comedy: Emma Stone – Poor Things

Best Performance by a Male Actor in a Motion Picture – Musical or Comedy: Paul Giamatti – The Holdovers

Best Performance by a Female Actor in a Supporting Role in any Motion Picture: Da’Vine Joy Randolph – The Holdovers

Best Performance by a Male Actor in a Supporting Role in any Motion Picture: Robert Downey Jr. – Oppenheimer

Best Original Song – Motion Picture: What Was I Made For?Barbie – Billie Eilish, Finneas O’Connell


Best Television Series – Drama: Succession

Best Television Series – Musical or Comedy: The Bear

Best Television Limited Series, Anthology Series, or Motion Picture Made for Television: Beef

Best Performance by a Female Actor in a Television Series – Drama: Sarah Snook – Succession

Best Performance by a Male Actor in a Television Series – Drama: Kieran Culkin – Succession

Best Performance by a Female Actor in a Television Series – Musical or Comedy: Ayo Edebiri – The Bear

Best Performance by a Male Actor in a Television Series – Musical or Comedy: Jeremy Allen White – The Bear

Best Performance by a Female Actor in a Limited Series, Anthology Series, or a Motion Picture Made for Television: Ali Wong – Beef

Best Performance by a Male Actor in a Limited Series, Anthology Series, or a Motion Picture Made for Television: Steven Yeun – Beef

Best Performance by a Female Actor in a Supporting Role on Television: Elizabeth Debicki – The Crown

Best Performance by a Male Actor in a Supporting Role on Television: Matthew Macfadyen – Succession

Photographs by Greg Williams

September 10, 2023

cailee spaeny, priscilla, venice film festival, venice dispatch, hollywood authentic, greg williams, bulgari, miu miu
hollywood authentic, venice dispatch, venice film festival, greg williams
cailee spaeny, priscilla, venice film festival, venice dispatch, hollywood authentic, greg williams, bulgari, miu miu

Photographs by GREG WILLIAMS

Cailee Spaeny, who last night won the Volpi Cup for best actress at the 80th Venice film festival, shot on the way to the premiere of Sofia Coppola’s eighth feature Priscilla. Spaeny plays Priscilla with Jacob Elordi as Elvis. The film is based on executive producer Priscilla Presley’s 1985 memoir Elvis and Me.

Cailee Spaeny and the Priscilla cast have been granted an interim agreement from SAG-AFTRA encouraging the cast to promote the film.

Priscilla is released on the 27 October. 

cailee spaeny, priscilla, venice film festival, venice dispatch, hollywood authentic, greg williams, bulgari, miu miu
cailee spaeny, priscilla, venice film festival, venice dispatch, hollywood authentic, greg williams, bulgari, miu miu

Cailee Spaeny wears jewelry by Bulgari, dress by Miu Miu, with make-up by Loren Canby, hair by Kiley Fitzgerald and styling by Nicky Yates

September 3, 2023

mads mikkelsen, the promised land, venice film festival, venice dispatch, hollywood authentic, greg williams
hollywood authentic, venice dispatch, venice film festival, greg williams
mads mikkelsen, the promised land, venice film festival, venice dispatch, hollywood authentic, greg williams

Photographs by GREG WILLIAMS

Mads Mikkelsen before the premier of his new movie The Promised Land at the Venice Film Festival on Friday.

Playing in competition in Venice, Nikolaj Arcel’s film portrays Mikkelsen as Capitain Ludvig Kahlen who in 1755 sets out to build a colony in the uninhabitable heath of Jutland following the Kings call to cultivate the land.

Arcel and Mikkelsen have previously collaborated on the Oscar nominated A Royal Affair. The Promised Land will be released 5 October, 2023.

mads mikkelsen, the promised land, venice film festival, venice dispatch, hollywood authentic, greg williams

Mads Mikkelsen wears watch by Chopard, suit by Zegna.