Lady Gaga on Mining Personal Trauma for ‘House of Gucci’

It’s 9 at night in early November in a brightly lit photo studio in Culver City, and Gaga has been posing in dramatic headpieces and gowns for a few hours, occasionally trailed across the room by her attentive hairdresser, Frederic Aspiras, fanning the nape of her neck. She has changed into a loose-fitting royal blue Celine tracksuit for an interview in her dressing room, her hair swept into tidy Princess Leia buns, her hazel eyes often filling with tears as she talks.

Around the time Scott finally got a script he liked, by Becky Johnston and Roberto Bentivegna, Warner Bros. released, earning a Golden Globe Award, and Robert Rodriguez’s, all roles that capitalized on the flair for drama she demonstrated in her stage persona but none that suggested she could carry a movie. With, which would end up grossing $436.2 million worldwide and earning eight Oscar nominations, including one for best picture, Hollywood realized Gaga was not just a piece of stunt casting.

Gaga knows that melodrama is part of her brand, but she hopes that people understand she is being sincere when she talks about her total absorption in the role. “I feel so insecure talking about this,” she says. “I get nervous that people will assume that I’m sensationalizing a certain type of acting.”

Born Stefani Joanne Angelina Germanotta in New York City, Gaga started playing piano at age 4 and soon learned that music got her what she most craved, which was attention from her father, Joe, a businessman who started a company that sold hotel WiFi and now runs an Italian restaurant on the Upper West Side, Joanne Trattoria. “It’s a bottomless pit,” Gaga says. “I know my father’s proud of me, but my body doesn’t know.

I wish I could do that.

🐍🐍🐍🐍🐍🐍

Oscar! Now!

Queen

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