Harper’s Bazaar

The incomparable 74-year-old dancer, choreographer, and actor For Thompson, it was making the documentary Summer of starred this summer in The Orchard, Igor Golyak’s technologically Soul—his first attempt at the form—which won an Oscar. And for supercharged adaptation of Anton Chekhov’s play The Cherry Trotter, it was writing the lyrics, cocomposing, and acting in the Orchard, at the Baryshnikov Arts Center in New York. “The horse’s off-Broadway show Black No More. The musical is about a charlatan back gets higher every time you jump into the saddle … and who sells a procedure that turns Black people white. I’m definitely getting smaller, so there’s that, but I’m happy to be onstage again,” he says. “Makes one feel alive.” “It’s scary to go from working in a medium that you can sort of do on autopilot to engaging in so many firsts,” Trotter says. The intimacy that comes so naturally for dancers proved “I had to use different muscles. As Black men, we grow up where revelatory to a couple of musicians from Philadelphia enjoying hardness is rewarded. To unlearn that is therapeutic.” banner years. Ahmir Thompson and Tariq Trotter, better known as Questlove and Black Thought of legendary hip-hop group the For artists, a season of renewal after a forced fallow period Roots, found themselves thrust into the unfamiliar. has made way for hope, a precious natural resource when the world feels in peril. HB “There’s not quite LANGUAGE yet to understand or COMPREHEND what we’ve all BEEN THROUGH the last few years. There’s just RELEASE. Something BURIED deep down that NEEDS to come OUT.” MAGGIE ROGERS, MUSICIAN Jacket and skirt, YOHJI YAMAMOTO. Shirt and tie, EMPORIO ARMANI. Earrings, PANCONESI. Tights, FALKE. Slippers, PROENZA SCHOULER. HAIR: MATT BENNS FOR BUMBLE AND BUMBLE; MAKEUP: LAURA STIASSNI FOR DIOR; MANICURES: MAMIE ONISHI FOR CHANEL; GROOMING: DON B.; SET DESIGN: JULIET JERNIGAN. FOR THOMPSON AND TROTTER, GROOMING: DARIEN HILLIARD; HAIR: ELLIOTT SIMPSON; MAKEUP: MARIA C. SCALI. SPECIAL THANKS TO PLEASE SPACE STUDIO. SEE THE DIRECTORY FOR SHOPPING DETAILS.

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WINONA RYDER Is Still PROCESSING The STRANGER THINGS star on COMING to TERMS with the PAST, MAKING SENSE of the PRESENT, and WHAT to DO when you FIND YOURSELF in the HOLLYWOOD VERSION of the UPSIDE DOWN Photographs by DAN MARTENSEN Styling by CAROLINE NEWELL Story by HEATHER HAVRILESKY W henWinona Ryderwas a kid,she daydreamed sometimes point out minor historical mistakes that series creators about movies—not starring in them, but Matt and Ross Duffer and the writers had made. “She’d tell them, watching and filming them. Her parents, ‘This song actually came out in ’85, and you have it in ’83.’ She who are both writers and editors, moved knew all of these minute, tiny details they didn’t even know, and to a commune on the Northern California they had to change things in the script based on that.” coast when she was seven, and though there were no TVs, her mother would put up a sheet on the side of a MY OWN ENCOUNTER with Ryder’s wild and curious mind barn to show old movies. “I was in heaven,” Ryder says. After begins when she emerges from a car driven by her boyfriend of her family moved a few years later to Petaluma, a city in the San more than a decade, Scott Mackinlay Hahn, 51, who works in Francisco Bay Area, she would try to view the world through the fashion. Dressed in a low-key white T-shirt and black overalls, camera’s lens. “There’s this bridge there. It looks so small now,” Ryder, who turned 50 last October, looks innocent and nervous, Ryder says. “But I used to put the strap of my book bag across my like a kid being dropped off for her first day of school. After forehead. I’d sort of walk and force myself to see things in black locating a relatively private table on the patio at the Four Seasons and white, like a movie.” in Beverly Hills, we settle into a conversation that lasts four hours and covers everything from The Americans (“I still haven’t finished “I created this whole kind of fantasy world,” she explains. the last season because I don’t want it to end. So I’ve saved it.”) “There was an old theater I loved, and I used to fantasize about to the paintings of a South Carolina artist named Ment Nelson living there. Like, ripping out the seats and having a bed and a (“He paints with rainwater. He’s so talented!”) to Laura Dern (“She’s bathtub and a bike and watching movies all the time.” so grounded and smart”) to Australian filmmaker Jennifer Kent (“I really want to work with her”). It’s telling that Ryder’s childhood daydreams were the products of an expansive, freewheeling imagination. Her knowledge of film, The one subject Winona Ryder doesn’t want to talk about is music, books, and pop culture in general is sprawling. Winona Ryder. Every time I bring up some aspect of her career, she says a few words and then diverts to some other artist or actor “It’s just kind of epic how wild her mind is and how it goes or writer she loves. This seems less like a self-protective defense to all these different corners,” marvels David Harbour, who plays than a genuine interest in a wide range of people and things. former police chief Jim Hopper, Ryder’s would-be love interest on Stranger Things, the nostalgic sci-fi Netflix series set in the ’80s When we finally land on the high-pressure zones of her earliest that recently returned for its fourth season and has catapulted brushes with fame, Ryder becomes quieter. “Being talked about, Ryder back into the spotlight. being reviewed … realizing that someone could pause you, ➤ Harbour says that while they were shooting, Ryder would 08/22 101

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could rewind you? It was so overwhelming,” she says. shared the same tensions between disillusionment and exuberance, Ryder landed her first movie role, in the 1986 adolescent eye-rolling and open longing. Ryder’s porcelain-doll features and rom-com Lucas, at age 13. By the time she was 18, she was a house- hold name. An intensely scrutinizing, particularly nasty brand of expressive, silent-film-star face telegraphed one part lost girl, two tabloid culture sprang up in the early ’90s. The prevailing notion then was that fame and money insulated one from emotional parts blasé teenager. She managed to appear at once vulnerable hardship. “I know it’s kind of like ‘Oh, poor Winona,’ ” she says. “But when you’re in pain, pain is pain. But that [realization] took and completely over it. me a while.” And when Ryder fell in love with Johnny Depp in 1989, they The pressure on young movie stars—and young women in particular—to cement their place in the firmament, against the were like a dark fairy tale come to life: two moody, exquisitely backdrop of an era when leading men were routinely cast with love interests two decades younger, had to have been crushing. beautiful young people haunting the red carpet with the graceful “This business is brutal,” Ryder says. “You’re working constantly, but if you want to take a break, they tell you, ‘If you slow down, nonchalance of Old Hollywood movie stars. The pair got engaged it’s going to stop.’ ” after just five months and broke up after four years. Depp’s “Winona She pauses. “And then it did slow down. So then you’re hearing, ‘It’s going to be impossible to come back.’ And then that changes forever” tattoo eventually crumpled into the far less romantic “Wino to ‘You’re not even part of the conversation.’ Like, it was brutal.” forever,” echoing the dissolution of an entire generation’s swagger. N evertheless, many of us haven’t forgotten that in the late ’80s and early ’90s, Winona Ryder was the Since then, Ryder has kept her own personal life mostly out conversation. She seemed to embody the essential spirit of Generation X, an unruly mob of ideal- of view. But she does hint that the ferociousness of Hollywood istic slackers and secretly starry-eyed cynics. No one captured the troubled but hopeful vibe of culture in the early ’90s made life far darker for her than anyone the child of the ’70s like Ryder. Her most memorable roles back then—in Beetlejuice, Heathers, Edward Scissorhands, Reality Bites— knew. “That was my Girl, Interrupted real life,” Ryder says, referring to the 1999 film she executive produced and starred in about a young woman in a psychiatric hospital, for which Angelina Jolie won the Best Supporting Actress Oscar. “I remember I was playing this character who ends up getting tortured in a Chilean prison [in the 1994 drama The House of the Spirits],” says Ryder, who credits “an incredible therapist” for encouraging her to imagine being gentle to a younger version of herself. “I would look at these fake bruises and cuts on my face [from the shoot], and I would struggle to see myself as this little girl. ‘Would you be treating this girl like you’re treating yourself ?’ I remember looking at myself and saying, ‘This is what I’m doing to myself inside.’ Because I just wasn’t taking care of myself.” (Continued on page 106) 104 B A Z A A R

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WINONA RYDER matter whether it’s another actor who’s number two on the call sheet or it’s a PA who happens to be handing her water.” CONTINUED FROM PAGE 104 The Duffers say Ryder’s input indelibly shaped the role of Ryder says that one of her costars in 1993’s The Age of Innocence, Joyce Byers. “We originally just thought of Joyce as this strong, Michelle Pfeiffer, supported her when she was struggling, reminding devoted, worried mother,” Ross Duffer explains. “But then suddenly her that everything confusing and unhinged about her reality would Winona brings an entirely new flavor to it, and we just thought fade away and life would eventually feel normal again. “I remember about how much fun we could have with her, getting involved in Michelle being like, ‘This is going to pass.’ But I couldn’t hear it.” the supernatural.” Ryder and the Duffers talked about their favorite childhood movies, including Close Encounters of the Third Kind— “I’ve never talked about it,” Ryder says. “There’s this part of especially the scene, he says, “when Richard Dreyfuss’s character me that’s very private. I have such, like, a place in my heart for gets obsessed and makes a mound out of his mashed potatoes.” those days. But for someone younger who grew up with social media, it’s hard to describe.” Soon Joyce became a multidimensional character, not just pivotal to the central plot but also helpful in drawing great perfor- The most vicious tabloid circus, though, descended in 2001, mances out of the younger actors. “Winona brings it 100 percent after Ryder was arrested for shoplifting at Saks Fifth Avenue in every time,” says Matt Duffer. “I think that makes a big difference Beverly Hills. (She has since explained that after breaking her to the other actors, especially when she’s working with the kids.” arm, she was overprescribed painkillers, which rendered her disoriented. The prescribing doctor’s medical license was subse- “It’s always been about the craft with Winona,” says longtime quently revoked.) friend Keanu Reeves, who met Ryder in L.A. in the late ’80s and worked with her several times, including on Bram Stoker’s Dracula And then she disappeared. “I definitely retreated,” Ryder and A Scanner Darkly. Reeves was struck by Ryder’s intelligence explains. “I was in San Francisco. But I also wasn’t getting offers. and her sense of humor, but he says what sets her apart is that I think it was a very mutual break.” she “embodies a kind of vulnerability and a backbone at the same time. You believe her. She’s grounded. You feel the wholeness of “It’s so interesting when you look at the early aughts,” she her characters.” says. “It was a kind of cruel time. There was a lot of meanness out there.… And then I remember coming back to L.A. and—it was a In Stranger Things, Ryder adds a new layer to her usual authen- rough time. And I didn’t know if that part of my life was over.” ticity and emotional presence: great comedic timing. “The more we’ve worked with her, we’ve discovered how funny she can be,” Because of these experiences, Ryder has been mindful of says Ross Duffer. “I mean, she’s really, really funny.” how her younger costars on Stranger Things are coping with the attention the show has brought them and how they’ll adjust once It’s almost as if the favorite gloomy teen of the ’90s has grown it wraps. (The show will end after a fifth season, set to air in the into a secure adult, finally comfortable enough in her own skin to next year or so.) “I want the kids to understand, this does not share her wisdom and sense of humor with the world. When Ryder’s happen,” she says of being on a show so zeitgeisty that people are boyfriend, Hahn, shows up to drive her home, we all end up chatting clamoring for your attention. “This is really unusual. And I’m always for almost another hour. It’s easy to imagine that he’s partly respon- telling them, ‘The work is the reward!’ Because when I was that sible for her newfound ease and confidence. age, it was so hard to enjoy the fruits of my labor.” “I was just telling her about that interview we saw with Harvey The Duffer brothers think Ryder’s guidance has been incredibly Fierstein …” Ryder says to Hahn. Then she turns to tell me, “He useful to them. “She’s talked to the kids about what celebrity is like grew up on Fire Island.” and how the press can be and the anxiety and confusion that come along with celebrity,” says Ross Duffer. “I think she’s really helped “Yeah, I grew up in Harvey’s prime, when those guys were them. I know she’s specifically helped Millie [Bobby Brown, who truly trying to have a normalized voice and piece of the world. plays Eleven on the show] a lot to work through that. And that’s And they had to hide everything,” says Hahn. something that no one else can help with, really, because so few people have experienced it. It’s not something I understand. It’s Having mentioned that she cried at the end of Fierstein’s not something that, you know, even a parent would understand.” interview, Ryder says to Hahn, “You were emotional too!” THE SENSITIVITY THAT MADE Ryder’s Hollywood trajectory Witnessing Gen X’s moody, daydreaming heroine wind up so painful also seems to be her superpower as an actor. Harbour with another empathic, romantic soul feels like a kind of closure, recalls that while they were filming a scene in season three of the inverse of the gloomy generational vertigo incited by the way Stranger Things in which Hopper is shooting at Soviet guards, things have gone for so many of Ryder’s contemporaries. “We Ryder “started talking about what these normal Russians would have so much in common,” Ryder says of Hahn. “We connected enjoy, saying that these people aren’t in control of their lives. And on so many levels. But it was amazing that he’s not in this busi- I was like, they’re just the bad guys.” ness. ... I really did try to keep it quiet.” (Hahn is so far removed from showbiz that when he first met Ryder, he didn’t even recognize “She is just nothing but empathy,” Harbour adds. “I think her her. “He thought I was Milla Jovovich,” Ryder says, laughing. “He vulnerability and her big heart are really an anomaly in this business. told me I was great in The Fifth Element.”) We all as artists have a certain sensitivity. But to rise in the ranks of the film industry? She just doesn’t have any of those shells.” The quiet life is, after all, Ryder’s version of a best life. That’s where the fierce independence and raw emotional need of youth “She’ll connect with anyone on set,” offers Ross Duffer. “She tend to balance themselves out in maturity: far from the spotlight, loves just getting to know people and talking to them. So it doesn’t among old movies, old books, and old friends—the emotional equiv- alent of an old theater with just a bed, a bathtub, and a bike in it. HB 106 B A Z A A R

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Jil Sander von Musulin double scroll earrings, $1,050; Squigs Beauty, squigsbeauty.com. TooD, toodbeauty earrings, $480; nordstrom.com. Page 79 Alaïa scarf patriciavonmusulin.com. Falke tights, $35; falke .com. TPSY, tpsy.com. Urban Decay, urbandecay.com. coat, $6,060, and dress, $4,320; maison-alaia.com. .com. JW Anderson sandals; jwanderson.com. Westman Atelier, westman-atelier.com. Wildpatch, Bottega Veneta earrings, $420; bottegaveneta.com. Page 98 Chanel coat, price upon request; 800- wildpatch.co. YSL Beauty, yslbeautyus.com. HARPER’S BAZAAR (ISSN 0017-7873), AUGUST 2022, ISSUE NO. 3704, is published monthly with a combined issue in June/July and December/January (10 times per year) by Hearst, 300 West 57th Street, New York, NY 10019 U.S.A. Steven R. Swartz, President and Chief Executive Officer; William R. Hearst III, Chairman; Frank A. 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ARCHIVE MARTHA GRAHAM & MERCE CUNNINGHAM APRIL 1941 BARBARA AND WILLARD MORGAN PHOTOGRAPHS AND PAPERS, LIBRARY SPECIAL COLLECTIONS, CHARLES E. YOUNG RESEARCH LIBRARY, UCLA MARTHA GRAHAM stood barely above five foot two, but in the the work alongside a 21-year-old Merce Cunningham, whose own world of dance she was a giant. Born in 1894 in Allegheny City, career as a choreographer and performer would further push the Pennsylvania, Graham grew up surrounded by a mix of influences: avant-garde possibilities of dance as an art form. Graham danced Her father was a physician who studied the relationship between well into her later years, retiring from the stage in 1970 at the age movement and disorders of the nervous system; her mother, a devout of 76. But she continued to work behind the scenes, teaching Presbyterian, believed in the Puritan principles of discipline and and choreographing. Even then, she could still cast an imposing austerity. Graham’s own work as a choreographer and performer shadow. In 1994, Madonna, who trained at the Martha Graham would reflect both aspects of her upbringing. Beginning with Heretic, School of Contemporary Dance as an 18-year-old in the mid-’70s, her watershed 1929 piece, Graham began to forge a modern vision recounted to Bazaar her first accidental encounter with Graham, for dance as a rigorous physical language that could be used to whom she’d been dying to meet, while trying to sneak out to the explore more personal and psychological themes. Though often bathroom in the middle of class—a no-no in the strict Graham stark, her compositions frequently delved into the interior lives of program. “No one ever left the tomblike classrooms until classes women and were filled with rich characters and narratives. When were over! She stopped dead in her tracks to see who the violator Barbara Morgan photographed Graham for Harper’s Bazaar in 1941, was,” Madonna told Bazaar. Graham, then in her 80s, locked eyes she had recently debuted Letter to the World, a new ballet inspired with Madonna, looking her over before disappearing into a nearby by the poetry of Emily Dickinson. Graham herself performed room without a word. “I was left shaking in my leotard.” HB Martha Graham and Merce Cunningham performing in Graham’s ballet Letter to the World, photographed by Barbara Morgan, Bazaar April 1941 issue 108 B A Z A A R