Kate Hudson, who returned to the cinema after several years away from the cameras. she talks about her career, her parents, nepotism and cancel culture.
On a fragrant fall morning in September 1999, Kate Hudson felt differently. She tried to put it into words in her journal. She’s always had that habit: she once told an interviewer that it kept her “focused,” something one would expect of her. She was in the middle of filming Almost Famous – that coming-of-age story that ignited her career and earned her an Oscar nomination – and she had woken up from a night of filming on a crowded tour bus. “I left the hotel and said ‘hello’ to the light coming from the hills,” she wrote. “Today I feel extremely emotional. My heart aches constantly. I don’t know why. It’s not that I’m missing something, it’s that I feel everything and my heart is accepting it.”
Kate Hudson recounted that diary entry to Almost Famous director Cameron Crowe in an interview in 2000, and I now recall it to Kate Hudson in a London hotel room 22 years later. She blushes, biting her fingernail at the memory of her, as if one of her parents has brought up an embarrassing photo album. “Oh, that’s meoooo,” laughs the 43-year-old actress . “That’s me in life. Feeling it all. When I was younger, that part of me was a little out of control. I didn’t understand it. As I got older, I learned how to handle that kind of rawness. But I still love feeling of that way. That’s why I’m an actress! I mean, come on…”
Kate Hudson is huddled in the corner of a sofa, wearing blue slacks and a matching bell-sleeved top. She looks characteristically serene and tanned, with her hair in long waves. There’s an urban legend among interviewers that your subject is more likely to open up if you mirror her body language. Impossible to know if it’s true. But after a few minutes of trying to emulate Hudson, I realize I look a little crazy. She is always moving. On the couch. Off the couch. Hands in her pockets. Her hands through her hair. Feet on the table. Feet folded under her body. I give up.
People love Kate Hudson. Men. Women. Whoever. It is ideal to feel attraction: a symbol of relaxed and cultured bonhomie . I wonder if that adoration could be a product of her rom-coms, but she’s not sure. How to Lose a Man in 10 Days and Raising Helen, however, cemented her as something of a new-century metropolitan dream girl . And of course, she was Almost Famous, in which she plays a rock star muse, Penny Lane: a character so luminous that it prompts her to happily follow her to whatever dark nightclub she finds herself drawn to. At least one wants to hang with her while she shops for fur-trimmed jackets. Kate Hudson concedes that those characters may have aided the love she inspires. But she also believes that people are attracted to her because she is “imperfect”.
“I didn’t have a very traditional life, you know,” he says. “Maybe it sounds familiar? Women come up to me and talk to me a lot about their personal lives. I think that’s because I was always very open and honest about everything. I could never fake it about it.
It would be exhausting.” There she has a point. Kate Hudson has been very open about her and her brother Oliver’s estrangement from their biological father, musician Bill Hudson : they were more or less raised by Kurt Russell, who has been with their mother Goldie Hawn since Kate was 3 years old. She has also been honest about her experiences as a mother; she has three children between the ages of 4 and 18, with musicians Chris Robinson (The Black Crowes), Matt Bellamy (Muse) and folk rocker Danny Fujikawa, to whom he got engaged last year. She always seemed to march to her own beat.
When her first child Ryder was born in 2004, Kate Hudson vowed to stay healthy amid all the voyeuristic media coverage at the time. “I felt like I was living in a fish tank,” she recalls. “It was a time in my life where I was either letting the magazines and the tabloids give me a ton of anxiety and make me hide, or just say ‘fuck everybody.’ I chose not to care about how people would interpret me. , or what was being said in the press, or how it was going to be taken out of context.” She keeps her hand near the recorder between us. “Not that you ‘re going to take me out of context, but you know what I mean.”
We’re here to talk about Glass Onion, the sharp and shiny sequel to Between the Razors and Secrets that has just been uploaded to Netflix . I spent a good part of the movie realizing how much I missed Hudson: Glass Onion marks his first high-profile work since at least 2016.. That was when his various side hustles (vodka, dietary supplements, podcasting, athletics) became his main focus, with acting taking a backseat. In that moment it was easy to forget not only how good she is on screen, but also how much the kind of movies she used to star in was missed.
Those glossy big-city comedies, those expensive big-studio movies for thirty-somethings, like his voodoo horror The Skeleton Key.
Glass Onion is part of a franchise, sure, but it hits the same sweetheart hubs as early Kate Hudson vehicles. It’s ridiculously likable, an overpriced mystery comedy filled with gags, stage sets, and celebrity cameos. Every Netflix subscriber has it on their list, if they haven’t seen it already. And unlike the platform’s star-studded Christmas movie in 2021, Don’t Look Up, it won’t make you hate yourself when you finish it. “I love making movies that make people feel good,” says Hudson. “It’s a great thing that something I do makes someone feel…” he searches for the next word. “…confused!” She seems to tingle in her seat, before laughing so loudly and honestly it sounds like someone saying “Wow!”.
Kate Hudson plays Birdie Jay , a former influencer turned perpetual magnet for controversy. She is completely terrible, like most of the characters in Between the Knives and Secrets other than Detective Benoit Blanc played by Daniel Craig . Ethnic fireships shoot from her mouth as she salivates in an argument. Her covid mask is full of designer holes. She once dressed as Beyoncé for Halloween and you can imagine how that turned out.
It is enough to be trapped in the elevator with her to wish that she would come down on her. Invited to her private island by dastardly billionaire Miles Bron ( Edward Norton )—along with a gallery of would-be assassins including the exploited businesswoman ofJanelle Monáe and the men’s rights YouTuber played by Dave Bautista – Birdie ends up entangled in an elaborate conspiracy. Accusations and arguments soon arise. Poisoning and power games. Backstabbing and dead bodies. “Tell me about a delicious dinner,” says Hudson.
In Glass Onion, writer-director Rian Johnson exploits various real-world issues, from elitism and political corruption to the kind of dull, masturbatory high-tech futurism that smacks unmistakably of Musk. As for Birdie, she complains about being endlessly “written off,” though she never really seems to be punished for it: she’s still too rich, too connected, and too indifferent to the damage she causes. What does Hudson think of the cancellation?
“People should have a deeper conscience, right?” he says. “And the people who shouldn’t be left out. We should hold people accountable who do something that is sexist, misogynistic or racist. We should point out the lack of diversity in companies or the lack of women on boards. Kanye should get responsible for their conduct. Period.” The talk comes a few days after Kanye West appeared in a “White Lives Matter” T-shirt at Paris Fashion Week, but before he praised Hitler. “There are things that warn you very clearly that you can be cancelled.”
However, he has much more empathy for younger people. “If you’re under 40 there’s a line,” she points out. “It becomes more challenging when you go too far in the other direction. I don’t want kids to be afraid to make art or say things. They have to take risks and say what they think, because what they want to say can be very powerful. You can’t cancel someone just because they made a little mistake. The only thing that scares me about cancel culture is that it scares the younger generation. They don’t know if what they’re about to say can be received negatively or positively, and so they choose say nothing. I think we can make a little space for the younger generation and let them find their way.”
Kate Hudson often returns to the subject of boys, whether they be hers or someone else’s. It’s something he has in common with his mother, who left acting in 2002 to dedicate herself to educational programs for children. Of all the famous Hollywood mothers and daughters, Hawn and Hudson seem the most immediately alike. Both are irrepressibly sunny, gifted for drama and comedy, and strangely comforting on screen; the equivalent of chicken soup when suffering from an illness. They’re also incredibly close: Hudson and Fujikawa live just down the street from Hawn and Russell in Los Angeles, and Kate Hudson regularly attends events and premieres with her mother on her arm. But Kate Hudson says she wasn’t always as outspoken about her famous parents as she is now.
“When I was starting out, if someone asked me about them I would always try to change the subject,” he says. “I really wanted to have my own career. After a good decade had passed, though, I realized it didn’t matter. Sometimes talking about my parents was a huge distraction from talking about the movie I was supposed to be promoting.” He makes a face. An image of the Bride Wars poster—in which Kate Hudson and Anne Hathaway threaten each other with wedding cake cutters—flashes before my eyes.
She says she felt insecure about her family when she decided to pursue acting as a teenager and started auditioning at 16. “There was a lot more criticism,” she recalls. “I felt that I had to understand myself and be as prepared as possible. I felt that I had to measure up to something.” But she admits there seemed to be a lot more of the “daughter or son of” thing then. It meant having a very bright spotlight on her. “It was me, maybe Gwyneth… I felt lucky to get roles. I think a lot of directors and producers didn’t want to cast me because they didn’t want my parents involved in the movie .She definitely didn’t feel like her parents were helping her get a job, either. your movie. That is not how it works.”
I ask him if he’s been following the debate over “nepotism babies” – a term used to describe the vast gallery of new celebrities descended from establishment stars like Lily-Rose Depp, John David Washington and Maya Hawke. New York Magazine defined 2022 as “The Year of the Nepo Baby”. Hudson sighs. “This nepotism thing… I don’t care. I look at my kids and we’re a family of storytellers. It’s definitely in our blood. “. People can call it whatever, but it’s not going to change that. I think there are other industries where it’s more common, maybe modeling.
I see it in business more than in Hollywood. Sometimes I’ve been in business meetings where I wonder ‘Wait, is this whose son? Because he doesn’t understand anything!” For Hudson it’s very simple. “I don’t care where you come from or what your relationship is to the business. If you work hard and break it, it doesn’t matter.”
The actress says she now suffers from less anxiety than before, and is more willing to take risks. This year, for example, she will release an album . It’s not surprising that she has vocal talent: she was one of the few hits in Rob Marshall’s failed musical Nine – A Life of Passion, for example. But it’s surprising to know that that fear was holding her back from releasing a record until now.
“I feel more confident, not as raw,” she says. “If they reject it, I’m not going to die. Ten years ago, or five? I would have been devastated to put out something that wasn’t well received. But now I feel stronger.” What changed? “Oh, just age,” she laughs to herself. “Look, in this industry you get used to rejection. To criticism. And after a while you can retreat, or in some way you get stuck.”
She says she’s the same, like a 19-year-old saluting the sun on the set of Almost Famous, only a little less confused about herself. Less easy to hurt. “I still feel it all. Only now she doesn’t feel the same pinch.”
Read : Deshaun watson secrets