Olivia Wilde Opens Up About Age-Gap Romances & Earning Confidence

25 Jun 2026 · 55 min · 26 chapters

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In short

Olivia Wilde discusses her directing and acting work, especially “The Invite,” plus her views on age-gap/may-december romances, confidence, and double standards for middle-aged women dating younger men. She also talks about parenting, integrating kids into her work, and her role as an artist/dominatrix in Greg Araki’s “I Want Your Sex.”

Guests

Olivia Wilde (director and actress; also mother of two). Episode hosts: Chloe Mal and Choma Nardi (Vogue/Bon Appetit-style lifestyle/publishing hosts; senior editors mentioned later).

Key claims

The Invite is a “chamber drama” shot in chronological order in one location, built from a Spanish play/film lineage and workshopped with cast. Wilde says public scrutiny made the double standard feel more intense, and that liberation comes from disengaging from external validation.

Notable examples

Her “I Want Your Sex” character draws on Madonna’s “Truth or Dare.” She cites Rotten Tomatoes swings as proof subjectivity. She describes Edward Norton improvising a monologue that was kept. She references Esther Perel’s relationship framework and Oscar Wilde’s quote about never marrying.

Written by AI. May contain mistakes. Listen to the episode to check what was said.

Chapters

Tap a time to open that second in VO

First Impressions of Olivia's Film

0:45 to 1:18

Discussion about the film's unique format and cast performances.

“entire film and they are all so fantastic it's Olivia Wilde, Seth Rogen, Penelope Cruz and Ed And each one of them so sort of unexpected and funny and great in these roles.”

Remake and Themes in 'The People Upstairs'

1:18 to 2:15

Exploration of the film's themes and comparisons to classic works.

“And it's a remake of the Spanish film The People Upstairs, which is also known as Sentimental.”

Olivia's Experience with Age-Gap Romances

2:15 to 2:36

Hosts discuss Olivia's insights on age-gap relationships.

“But she was very frank and wise about it.”

Choma's Newsletter and Events

2:36 to 4:25

Choma shares details about her newsletter and recent events she attended.

“In fact, I think I used to have a blog that was called Naughty by Nature.”

Fashion and Social Events

4:25 to 6:41

Conversation about recent fashion events and celebrity appearances.

“So basically like a slip dress over pajama pants.”

Vogue Summer Issue and Ice Cream Launch

6:41 to 7:33

Discussion on the Vogue summer issue and an associated ice cream launch.

“Well, there's one flavor, which is the Vogue flavor, Vogue a la mode.”

CFDA's Reimagining of the American Flag

7:33 to 9:46

Hosts discuss the CFDA project involving American designers and flags.

“and we ended up doing espresso-soaked honeycomb covered with chocolate, crushed up, and the crunch was delicious.”

Summer Vibes and Travel Trends

9:46 to 10:40

Hosts share thoughts on summer travel trends and the focus on local experiences.

“So there's going to be a flag raising event, which I think will be really fun.”

World Cup Excitement and Film Recommendations

10:40 to 12:19

Discussion about the World Cup and recommendations for films to watch.

“I keep getting messages from friends in New York saying it's like it feels like the best summer in New York ever.”

World Cup Excitement and Film Recommendations

13:00 to 13:55

Discussion about the World Cup and recommendations for films to watch.

“And we're senior test kitchen editors at Bon Appetit and the hosts of the Bon Appetit Bake Club podcast.”
Show all 26 chapters

Introduction to the Conversation

14:00 to 14:23

The hosts express excitement about Olivia being on the show.

“Join us the first Tuesday of every month as we debrief about our latest bake.”

Olivia's Busy Summer Schedule

14:23 to 16:16

Olivia discusses her film schedule and balancing motherhood.

“I am so excited, Olivia, to be here with you today.”

Integrating Kids into Work Life

16:16 to 17:31

Olivia shares her experiences with involving her children in her work.

“Like my son and I made a little children's book together that was a combination of recipes and silly stories.”

Attending the Monaco Grand Prix

17:31 to 19:18

Olivia recounts taking her daughter to the Monaco Grand Prix and their experience.

“Like, I remember when the first billboard for the A24 film, Backrooms, appeared.”

Fashion and Style Between Mother and Daughter

19:18 to 21:02

Discussion about Olivia's daughter's fashion choices and their bond.

“No, she just understood it to be what she was seeing in real life in that moment, kind of understood the concept.”

Playing Unconventional Characters

21:02 to 22:20

Olivia talks about her role as an unhinged artist dominatrix.

“And I was, so I just kind of, I'm like, yes, I love how many freckles you've drawn on.”

Exploring May-December Romances

22:20 to 25:06

Olivia discusses the fascination with older women and younger men in media.

“That was also Greg Araki is a real auteur and an icon of 90s queer cinema and really a singular filmmaker.”

The Double Standard in Society

25:06 to 28:00

Olivia elaborates on the societal double standards women face regarding age and expectations.

“I mean, and I do feel like there's such an interest right now.”

Understanding External Validation

28:00 to 30:19

Explore how external validation can affect personal growth and relationships.

“to make so clear how intense the double standard really is.”

Writing and Directing a Universal Story

30:20 to 33:16

Discover Olivia Wilde's insights into adapting a universal story for film.

“I mean, speaking of taboos and, you know, the Iraqi film, I feel like that is very much at the heart of the invite.”

The Unique Process of Filmmaking

33:17 to 35:37

Learn about the creative process and challenges Olivia faced in her latest film.

“It's so rare, typically logistically impossible.”

Confidence in Directing and Collaboration

35:50 to 42:05

Olivia Wilde discusses the importance of confidence and collaboration in filmmaking.

“This week on Critics at Large, we're talking about Steven Spielberg and his blockbusters, Jaws.”

Olivia's Optimism and Collaboration with Megan Ellison

42:05 to 44:23

Olivia Wilde discusses her evolving views on relationships and creative collaboration with producer Megan Ellison.

“And that, of course, allowed us to just talk endlessly about how we all felt about this.”

Navigating Beauty Standards as a Director

44:23 to 47:16

The discussion shifts to the pressures of beauty standards for actresses and the challenges of aging in the industry.

“It is not what you would typically imagine for a comedy.”

Rejecting Traditional Press Expectations

47:16 to 49:29

Olivia shares her experience of dressing differently as a director compared to her time as an actress, emphasizing comfort and authenticity.

“But I think it is great that more people are sort of talking about it.”

Connection to Lucille Ball and Her Legacy

49:29 to 50:28

Olivia reflects on filming in the same soundstage as 'I Love Lucy' and the impact of Lucille Ball on her career.

“I was delighted that you guys shot this on the same soundstage that I, Lucy, was shot at.”
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Transcript

Automatic transcript. May contain errors.

0:05This is The Run Through. I'm Chloe Mal. And I'm Choma Nardi. And on today's episode, we are bringing you a conversation that I had last week with director and actress Olivia Wilde. Oh, my God. I cannot wait to see the invite. Is it everything I want it to be? Oh, my gosh. Choma, you're going to have so much fun. It is such a hoot. I have to say, the first 30 minutes, I was like, hmm, I'm not sure if this is for me. and then I got so into it and just it I was laughing out loud it's really like a chamber drama and it could be done on the stage it's in one location which is why they filmed it in chronological order and it's really these four characters interacting as a quartet for the entire film and they are all so fantastic it's Olivia Wilde, Seth Rogen, Penelope Cruz and Ed And each one of them so sort of unexpected and funny and great in these roles.

0:59I really enjoyed it. This is Olivia's third film that she's directing. And it's coming to theaters on Friday the 26th, this Friday. I got to see it early with some colleagues, which, no spoiler alert, but it can be an awkward movie to see with your colleagues. Okay. Noted. Including Anna. Okay. And it's a remake of the Spanish film The People Upstairs, which is also known as Sentimental. And it's about two couples. And it sort of felt like a zany 2026 version of Who's Afraid of Virginia Woolf, but sort of gone awry, even more awry. And I am not going to ruin anything about what happens when these two couples have their dinner party.

1:50But, you know, maybe something, you know, you didn't anticipate with your neighbors. But we also talked about Olivia's role as artist and dominatrix in Gregor Rocky's new movie, I Want Your Sex. And the subject matter of that film brought us to the double standards of being a middle-aged woman dating a younger man, which is something we know Olivia has had some experience with. So I was a little nervous to ask her about that. But she was very frank and wise about it. So I'm excited for you to, you know, tune in. Choma, what is happening in London? Tell me about your newsletter. And I'm obsessed with you calling it Naughty by Nature.

2:28I thought malware was pretty freaking brilliant. So I dug deep and I went back to an old moniker of mine, beloved, that was on Instagram. In fact, I think I used to have a blog that was called Naughty by Nature. I think of it as your Instagram handle. I know, I know. Wait, you have a blog, Choma? Let's unearth those. Oh, my gosh. You know, Sally Singer asked me to do it before I got the job, I think, as like a kind of like, you know, show us what you're made of kind of thing. Soft test. Soft test. So it's taking. So now I'm tasked with making content and I and I love the sort of loose personal aspect of yours.

3:04And I thought, damn, I've got to go out into the world and make some content. So that's what I did this week. Yay. What content did you make, Sharma? What did you see? So last night I swung by the Coco Goffs event. She's in town from Wimbledon and has also collaborated with Mimia Nubalis on this really adorable collection of tennis gear and sneakers. Spoiler alert, she will be wearing some of this on the court. And we chatted very briefly. She was inundated with fans and it was quite hard to get her attention. But when I did, she was absolutely delightful and I'm obsessed with her. So that was fun.

3:39Wait, are you going to Wimbledon? I am we're doing an event oh right we're doing an event with Ralph Lauren and Anna's going to be co-hosting and and my colleague Adam who is now the head of edit head global head of editorial content for GQ is coming over too so it's going to be big GQ um Vogue collab and so it'll be really fun the guest list is shaping up really nicely I can't tell you's on it but they're fab so lots happening lots lots happening and then last night was also the serpentine a garden party ran into a lot of great people both new yorkers i mean can you believe i was introduced to like mike bloomberg was there and lauren santo domingo flew over from she'd come in from paris i guess it's really hot in paris like 101 or something yeah and i saw wes gordon for breakfast which was nice and he was he was lovely and we were talking about our mutual love of you and he brought Olympia as his date to the party but who are your best dressed I don't know if you had a look but everybody here is talking about the fact that Sienna Miller who always looked flawless really committed to the Connor Ives look and wore this sort of fur trimmed in 95 degree weather I mean bless her heart she looked amazing she's obviously always a fave and then I thought Alexa Chung looked particularly great in this Dallara look which she came with Dallara Michael B Jordan was there which was like big deal for us to have such big celebs in the house um can you believe it was my first time that just tells you how late I am to the garden party what did you wear Choma so I wore a piece I got from the eBay sale actually I wore this Dries dress from a collection that was all floral prints and then these Dries pants.

5:24So basically like a slip dress over pajama pants. It's very floral explosion. So I'll send you a picky. So you'll see. I want to see. It was fun. What else do we want to talk about? Yeah, I do feel for everyone who's in Paris for Men's Fashion Week because it is just unprecedented heat there. I couldn't believe that Connor Story wore latex knee-high socks to the YSL show. I mean, that is just a level of sweaty sliminess I never want to endure. I also felt like it was such a sign of the shift in seasons that the cute Dior ushers went from their gray-knit polo sweaters to just pique polo shirts.

6:10And also, we've been talking about how everyone, the accessory of the season in Paris right now is the handheld fan. Charlie XCX currently had two, an electric one and a regular paper one. I feel like there's like a generational divide. The young guys have the electric ones and like millennials have the fan and maybe Charlie's somewhere in between. And I'd love to talk a little bit about the Vogue summer issue. I saw that there was an ice cream launch. I was very jealous and I want to know every flavor that was available on the menu. Well, there's one flavor, which is the Vogue flavor, Vogue a la mode.

6:47And it was a big team workshopping which we discovered that many Vogue staffers favorite ice cream flavor is mint chip. And we all felt like... Oh, weird. I hate mint. Mint. We were so surprised because it's my favorite but I was surprised that it was so popular and we really felt like the metublasification of fashion has made mint such a big fashion color right now. So we were like, let's do something with mint And I originally wanted to do mint espresso and do like chocolate covered espresso beans into your mint chip. I love that. I would be picking out those beans. We tried it and when they were cold, they were too crunchy.

7:27So we had to do different options and we worked with Morgensterns and Mr. Morgenstern helped perfect the flavor and made everything himself. and we ended up doing espresso-soaked honeycomb covered with chocolate, crushed up, and the crunch was delicious. I love honeycomb. Okay, maybe I can reconsider the mint. I think you should reconsider. You like mint tea. I do love mint tea. This is a fresh Vietnamese mint. How long is this going to be on the menu? When am I going to be able to? Two weeks. I'm going to have to save a pint for you. Save a pint for me. Oh, my God, please. But it was really fun because we made it like a little block party.

8:05Next door, we had a pop-up where we had all the photos from our World Cup U.S. men's national team shoot with Iman, which I loved. And then next door to that was Iconic Magazines, which had Gracie Abrams' issue, the summer issue, in the cover and wrapping around. And so it felt like this fun takeover of Ribbington Street. How cool. And it was really fun. It was exciting. And for anyone who came, the first 200 scoops of ice cream, if you subscribed to Vogue on the spot, you got a free scoop. I love that. I love that. I also saw that the CFDA United Flags of Fashion story for the anniversary, the big 250.

8:41I know. Tell me everything. How was that? It's been really a labor of love for Naomi Eliza, who's been working on this with some other members of our fashion team, with the CFDA. And basically, it was a way to reclaim the American flag, which feels like in the last few years has gone very sort of MAGA and weighted politically. CFDA asked over 100 American designers to design their own version of a state flag. And so certain people designed flags that meant something to them, like Michael Kors did New York and Bodie did Georgia. And then other people just chose random states that they wanted to reinterpret.

9:19And it's been really fun to see what people have done with those designs. And for the summer issue, our designer Hazel did an amazing sort of patchwork quilt of all the flags. And we photographed it in backdrops of American state parks. And so that was really fun. And it looks really beautiful. And then they're going to fly all the flags at Rockefeller Center at the end of July. So there's going to be a flag raising event, which I think will be really fun. There is like a situation on TikTok right now and beyond where grass is greener in terms of people's Instagram adventures in Europe. And it's like Euro summer.

9:59And this year feels like American summer. And that I think is the Knicks winning has been this amazing moment in New York. And the World Cup being in the U.S. and Mexico and Canada has felt like this amazing sort of summer of sport in the U.S. And it just feels very exciting. Like people are sort of appreciating their hometowns a bit more than wanting to go further afield. Also, it's so expensive to fly transatlantically right now because of oil prices that I think people are trying to look closer to home. And Nicole Phelps has a great article that goes live today on national parks and visiting national parks and the best way to do your national park tourism, which I've never done.

10:38And I'm really now inspired. That's definitely on my bucket list. I keep getting messages from friends in New York saying it's like it feels like the best summer in New York ever. Exactly. People are high-fifre-fiving each other in the street. And there's a real vibe and atmosphere. It's crazy. It's really amazing. Choma, have you been watching the World Cup? Yes, I have been glued to the screen because my dad is in town. And all that he wants to do is watch soccer, obviously. Thankfully, there's a five-hour time difference because after the Serpentine Gardner party, I rushed home to see England versus Ghana.

11:11It was a draw. It's wonderful to see because there's so many, obviously, the players on the Ghana team that play for British teams and many British players who have Ghanaian heritage. So there's a real, it was really fun. It was a really intense match. I wanted both sides. I felt for both sides. But I have high hopes for the England team. Let's see. But I want them both to qualify. I want Ghana, because I've been basically rooting for all the African teams, like Cape Verde, Ivory Coast. Like there's amazing goalkeepers that have come through. I've been really, suddenly I'm just like all about it.

11:45We love the Congo teams, the designer of all their outfits. We interviewed the designer. I saw that. And he was fantastic. And it did really well. People were very interested in it. I definitely think they were the best dressed, like, arriving at the airport. And their fans were just a delight to see, too, all dressed up and with the drumming. I've been really into the football. And America have been doing so well, too. The USA have been killing it. It's been great. I know. And here I was saying that they were going to be crushed, but I think not. I'll take it back. Chalba, I hope you see Toy Story 5.

12:23It is so good. I cried. Okay. And then I went from Toy Story on Saturday to Film Forum, which was playing a third man, which is one of my very favorite movies, and I'd never seen it on a big screen. So that was really fun. There's a Carol Reed retrospective at Film Forum right now. So I was delighted to see that. and we had New York's primaries on Tuesday. I voted before work. Mumdani's endorsed candidates really came through. Another reason to be cheerful about New York, he seems to be like crushing it. It's true.

12:59The Run Through will be back in just a moment with Olivia Wilde.

13:11I'm Jazzy Seppcek. And I'm Shilpa Oskokovic. And we're senior test kitchen editors at Bon Appetit and the hosts of the Bon Appetit Bake Club podcast. Bake Club is Bon Appetit's community of confident, curious bakers. We love to bake. Some might even call the two of us obsessive. And we love to talk about all the hows and whys and what didn't work that come with it. Every month we publish a recipe on bonappetit.com that introduces a baking concept we think you should know. Then you'll go bake, send us any questions you have. And we'll get together here on the podcast to talk about the recipe. And this month, we are making whole lemon bars.

13:47Imagine lemon bars, but with just kind of the lemoness dialed up to kind of like a reckless decibel level. Head to BA.com and come and bake along with us. Send us your questions, pictures, and any thoughts to BakeClub at BonAppetit.com or find us on Substack. Join us the first Tuesday of every month as we debrief about our latest bake. Find BA Bake Club wherever you get your podcasts. Happy baking.

14:23I am so excited, Olivia, to be here with you today. Thank you so much for coming in. This is such a treat for us. Thank you. Thanks for having me. I want to know, what's your summer schedule? Like, what is today coming from? I am in the midst of this kind of final push for our film. Okay. And so I run in between screenings. Okay. Luckily, it's for a movie that I love, so it's joyful, but it is a constant thing. I'm also prepping another movie and attempting to not, like, fail as a mother and friend. So, you know. I have to say, I was very, I was listening to a few podcasts you've done from before Booksmart and sort of a while ago.

15:04And I was very inspired by your very passionate plea to mothers to defy the guilt machine. Yes. And also very inspired by your moms traveling for three weeks in war zones in a time when there was just a scratchy phone line. I mean, now I feel like there is this like tyranny of FaceTime because you feel like you have to FaceTime all the time and they don't really want to. They don't really want to. That's what I have found. My kids are like, they feel kind of like bullied into it by me. They're like, hi. And I'm like, and what happened then? They're like, listen, can we just talk about this in person later?

15:38And I'm like, okay. And also you were saying this was obviously, when was Booksmart? Five years ago? Six years ago? Yeah, something like that. You were saying that you were talking about whether to start sort of integrating your kids more into your work life. Right. And that's something I've been thinking about because my kids are four and six and they love coming to visit here. And actually, my son listens to Goosebumps with like on podcast. It's like a mom and her son reading. He's like, we should do a Goosebumps podcast. And I was like, I should bring him in here. I think creating projects with them is the best idea because then they equate you working as some kind of sign of the work ethic you'll put into a project with them.

16:16Like my son and I made a little children's book together that was a combination of recipes and silly stories. And it was the most fun thing we ever did. And I think that the problem is I keep making movies that are rated R that they just cannot possibly come to set. But although on the invite, I was in the sound mix at one point and my son came to visit and I thought it would be cool because we were at Abbey Road and he's a musician. And I was like, yeah, come to Abbey Road. And he sat in and watched these scenes that I realized only then were the most inappropriate scenes to be showing a child.

16:47And I was like, I have failed in several ways now. I have traumatized him. It's literally me talking about like pegging. It's not okay. And I'm like, this child has seen too much. So I'm still working it out. How much are they curious about what you do? Curious? And they're very supportive and they feel a sense of responsibility. A sense of like that they are sort of my agents and representatives. Like they will say, what do you have on the table? What are you choosing between? And I'm like, well, I want to do this movie. They're like, don't do that. That's too similar to this other thing. And there's.

17:22No, really? How old are they? They're 12 and 9. Okay. And they really feel like they have a strong handle on, like, the marketplace. It's really funny. Like, I remember when the first billboard for the A24 film, Backrooms, appeared. And I didn't know what it was because I'm not plugged into the YouTube community. And my son was like, that will be huge. Wow. And he said, that will be huge. You should do a movie like that. You have to find something like that and make it something like do that, find that kind of thing. And I was like, God, I should just listen to them more. Wow. I now I'm putting together a Christmas comedy and I pitched the entire thing to my daughter who's nine the other day.

18:04And actually, she picked out two things that we hadn't thought through that were so clever. And I thought the act of kind of pitching these things to them not only actually helps me because they're smart, but also it allows them to feel like my work isn't this separate thing that they are kind of abandoned for. I saw that you and your daughter just went to the Monaco Grand Prix. We did. Was that, are sports big in your household? Sports are big. Very excited. Are you excited about the World Cup? Very. The Knicks were, that was a major thing for us. We are lifelong Knicks fans, and the kids love going to Knicks games, and that was a big, big deal.

18:41And the Grand Prix was a new thing for Daisy. She's never really watched F1. So I was curious, as one is when you bring your kid and you think, are they going to be really bored? Are they going to be nagging me the whole time to leave? And I was prepared for that. And I thought maybe she'd think it was too loud. It's so overwhelming. It's so crowded. This little woman puts on the headset for two hours. She did not speak to me. I'd be like, do you want water? And she'd be like, shush, shush, shush. She'd be like, I can't. Just stop. George is having trouble. And I'm like, this is incredible. And the very kind Mercedes team engineers put her on their, like, radio.

19:20Oh, my God. So she could hear them talking. And I just was amazed. Did she watch F1 in life? No, she just understood it to be what she was seeing in real life in that moment, kind of understood the concept. And I was like, listen, this is the most extreme version of this. Like, this is Monaco. This is not, you know, if you're going to start anywhere with F1, like, it really doesn't get more exciting than this. Yeah. And she was locked in. And I just was, I'm continuously amazed by them, But I just was so kind of proud of her for just taking an interest and being really curious and being so game.

19:57It was very fun. And you guys wore matching dresses. We did. Which was kind of an accident. I was like, we're not these people. And she even said, she goes, oh, mommy, oh, no. This looks like we did it on purpose. And I was like, it's fine. Is she interested in what she wears and what you wear? She is. And she now is wearing a lot of my clothes. Really? At nine? She's very tall. So everyone else in my family is very tall. I'm the only person under six foot. And she's going to be like my sister, who's almost 6 '2". And she's nine and a half, but her legs are probably longer than mine at this point.

20:33And she wears everything. She wears my shoes. We have the same shoe size. Not for long. She'll grow out of them. But it's really interesting because it's created this whole other bond with us. And I'd say she's a lot more stylish than I am. She's a lot more thoughtful. Does she go to a school with a uniform? No. She did for a while. In London, for a bit, she did. And I felt like it robbed her of a level of self-expression that I think she takes great pride in. And I love seeing the choices she makes. I also have to, like, hold back from any criticism that we realize, like, God, the way that seeps in and your mother thinks it's advice, but you internalize it deeply.

21:12And I was, so I just kind of, I'm like, yes, I love how many freckles you've drawn on. It's much better than what I was doing. I was going through like the entire manic panic hair care line and like putting like complete toxic shit in my hair and dyeing it like mud green. And my poor mother was just like, why? So she's better. Did you dye your hair for? I want your sex. I want your sex. That is a wig. Okay. I was wondering that. That is a wig. But ironically, I wore a wig for that and then immediately dyed my hair for another thing. and I was like, I really could have avoided the wig. But that was a wig that was inspired by a few different people, but I had this image that it was sort of a combination of like Bridget Bardot and Barbarella and like Nadia Lee Cohen.

21:56It was very Nadia Lee Cohen. It was very Nadia. And it was so fun. I have not seen I Want Your Sex yet, but I'm very excited about it because I want to talk about the invite after. But while we're talking about I Want Your Sex, I want to know how that came to be. And you play this sort of unhinged artist dominatrix. Have you ever played something like that before? No. That was also Greg Araki is a real auteur and an icon of 90s queer cinema and really a singular filmmaker. He has an approach that is very unique and a style and a kind of irreverence that I've always been really attracted to. And he approached me with this character, and I loved the kind of no-holds-barred, truly-not-giving-a-fuck energy of this woman.

22:51And I understood that Greg had really created this character as a way to kind of express a lot of his own opinions about sex today, Gen Z's opinions and practices with sex. And he just had this kind of ethos about the whole thing that was so liberating. And I very much wanted to kind of crawl inside his imagination and just serve his project. And this character was, I mean, such a badass. I really, I took a lot from Madonna, specifically rewatching Truth or Dare, which I think has to be one of the greatest music documentaries. I just tried to tap into the part of her that is so confident from a very real, authentic place.

23:40And so I tried to muster that in this character. But it was just so fun. It looked from the trailer like it was so much fun. And it kind of reminded me of your character on The O.C., which I feel like is where a lot of us first were introduced to. You're not wrong. There is a real crossover there. I think that character was like the teenage version of this woman. The same kind of very independent spirit. The funny thing is, in The Invite, I play a woman who's like riddled with anxiety and insecurity. And so the two are clearly the two sides of my personality. I exist somewhere swinging wildly in between these two sides.

24:18But I Want Your Sex was like, put on the most incredibly designed latex outfits, all designed by Ariane Phillips, who's the most incredible costume designer. And then put on this incredible wig and just be this person who is living completely by her own terms. Who has a sort of May December romance with Cooper Hoffman, who I just think is. Well, yes. That's what I was about to say is that he is, I think, the most exciting young actor working today. There's a different, I think, much more interesting process of establishing oneself as an actor today. And I think Cooper has done this not only in the shadow of his brilliant late father, but also just in this industry where there is a kind of homogenization of actors.

25:02He has continued to just be his own person. Yeah. And he's so good. I mean, and I do feel like there's such an interest right now. We were just talking about it. yesterday with some colleagues in these stories about May-December romances. There's the Natalie Portman movie coming out, which people are so excited about. What do you ascribe people's fascination with that to? I think that art in all forms has for centuries explored fantasy and the forbidden. And I think that particularly older women, younger men is still such a taboo in this culture, that it's through art, it's through literature and film that we really kind of allow ourselves to play.

25:50It's interesting because it's between Baby Girl and there's been so many films in the last couple of years, and ours is definitely a camp extreme version of it. But I do think that people are starting to, I think, like get a little bit more French about it. You know what I mean? I hope so. Just like relax. Yeah. I was going to ask you if you have any personal experiences you were drawing from, but then I got nervous about asking. I love your honesty about that. I was like, yeah, sure. But everyone is going to ask you that. Everyone will ask me that. It's not, it's true. I think that experiencing the double standard firsthand has been fascinating from a sort of anthropological standpoint, if one can, like, remove oneself from one's body and look at and zoom out.

26:36And it is so much more egregious than I think I ever really thought. Interesting. You get the sense, like, hey, it's 2026. People have come a long way. People won't have such a double standard about what we allow women to do in this world when it comes to romance, not to mention their careers and motherhood and all these other things that we traditionally sort of enjoy seeing men do in any way they want. The double standard, not only when it comes to beauty, but in terms of, like, life choices. I knew that was a thing that was real, just like we're aware of, like, pay discrepancy. We're aware of these things.

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27:14But when it smacks you in the face and you really can observe it and you realize that women are participating in it just as much or more than men. And I resent the fact that we have been enlisted to perpetuate the patriarchy, like, against our own best interests. Like, we are all operating this engine while the men who've created the system have just kind of moved on and said, like, thank you so much. They'll take care. They'll keep this going. That was really what Don't Worry Darling, the plot was really about, was the idea of how much we participate in this system that we kind of claim to take issue with.

27:53and to really understand and take responsibility for it. And that was one element of that. But I didn't expect the experience of being a public figure to make so clear how intense the double standard really is. And in a way, I think that it just made me, even as I guess maturity does in general for everyone, it makes you just really not care as much because when you see how ridiculous it all is, you just stop depending, I think, on that external validation because you observe how ridiculous it is. And it's like once you can see that the system is flawed, you don't desire the approval of that system as much.

28:40Was there a moment when you felt like you shifted that? Because I agree with you, but I find personally negative feedback I get publicly. Like, I can't figure out when the moment is that I'm going to start caring less. Right. Well, I think it might come from a moment where it really gets in your way, where you feel—it sounds so kind of hokey to use the term, like, ego death. Yeah. But I think that—I don't trust anyone who has another heartbroken. Only after heartbreak can you really be in love and be a kind of a responsible part of a relationship. You have to understand what's at stake. You have to see the bottom fall out to understand where you are.

29:16I really think that when it comes to understanding that success has to be based on an internal sort of meter and that you can't continue to expect to be validated by external forces, it's only once you understand how fickle. For instance, my first movie got 100 % of Rotten Tomatoes right away. My second movie got like a 30%. Yeah. And I was like, okay, the valuable thing about this experience is that I understand that neither are real. My first movie wasn't perfect. My second movie wasn't a piece of shit. They're both somewhere in the middle, and it's subjective. And I think that, in fact, that can be valuable when you do hit a point of real conflict, when something does actually force you to disengage from the machine that you've been looking to for kind of being fed validation.

30:09So I think it, in a way, you have to kind of accept that you will confront something that feels like a barrier. And when you blast through it, it will feel very uncomfortable. But there is liberation on the other side. I mean, speaking of taboos and, you know, the Iraqi film, I feel like that is very much at the heart of the invite. I feel like. Yes. You know, I was thinking about this as I was prepping last night. I do feel like it's not the crying game, but there is a surprise. Yes. Like, you aren't sure where this is going to go at the beginning. And that's what I found so much fun. I mean, complicated because I saw it with 10 colleagues.

30:46But our deputy editor saw it in Sundance and immediately texted me and said, it's like, who's afraid of Virginia Woolf? But funnier and sexier. And then when I got in like 30 minutes, I was like, oh, this is just a character chamber drama. And then I was like, oh, this is something else. Yes, exactly. Walk me through how you first discovered this idea and what the process of writing it was like. Okay. Well, Virginia Woolf is a perfect starting point because Mike Nichols is kind of my end-all be-all. I was thinking about him when you were saying that about not watching people directing because he had a great line that he would always say, which was directing is like having sex.

31:26You never see someone else doing it, so you don't know if you're doing it right. And so it is kind of amazing if you're an actor because you do get that peephole onto it. Yes. No pun intended. Yes, it's so true. And I think the way Mike Nichols approached his films, much like the way he approached his theater, was to allow the cast to kind of inform what this project would be. He was devoted to rehearsal, devoted to the kind of development of the material through the rehearsal process. He would famously rewrite third acts of plays while they were in production, while they were touring. Everyone loved that.

32:06They all loved getting 16 new pages every morning. And I really admire that ability to stay kind of elastic and open and observant while you're working on something. So that was something that we really brought to this as a team because this project started as a Spanish play written and directed by a guy named Cheskai. He then adapted that into a film. That film was called Sentimental. It then got adapted into about seven languages. There was a South Korean version. There was a French version. There was a German version, Italian version. And then Rashida Jones and Will McCormick wrote the English language version.

32:45That script came to me. And I thought, what is this story that seems to be so universal? Why is it something that works in so many different cultures? And when I read it, I thought, oh, it's because, you know, relationships are hard in every language. Like, we're all trying to make it work. and we took this script and Rashida, Will, myself and the cast workshopped it together and evolved it or allowed it to evolve based on the personalization of each of these actors and when you have actors like Penelope Cruz and Edward Norton and Seth Rogen they are bringing such unique bold ideas to the table So we had two weeks in a very Mike Nichols-inspired way of sitting around and just chewing on this material together, making big changes, and then we started filming and we shot in order, which was something I've never been able to do.

33:40I couldn't believe that. I think, I mean, that's amazing. Yeah. But it's so rare. It's so rare, typically logistically impossible. But because of the single location, I knew we could do it, and it was the non-negotiable I brought to the table. I said, I want to shoot in order and I want to shoot on 35 millimeter. and I want rehearsal time. I mean, we were just talking about the Rotten Tomatoes of Booksmart versus Don't Worry Darling, and people talk so much about the pressure of a sophomore film. Was this, which feels like a very different movie from either of those, but a third film, was that freeing in a way?

34:14Did you come to it differently or with different kinds of trepidation? Yes, it was funny. Speaking of Mike Nichols, I mean, he had Catch-22, not well received, and then he went right into Carnal Knowledge, which was similar in that he stripped away so many of the factors of location and a giant cast and made it much smaller. And I felt like that was the process here. I thought, I took a few years to kind of regroup and just read a lot, watch a lot of great films and just kind of be quiet. And really thought about what I had to say. Production-wise, I thought, let me clear out all the kind of bells and whistles and crutches that I've depended on.

34:55Let me make this—I sort of tied my hands behind my back and said, I'm not going to be able to bail out of these scenes by switching to a different time, different location. Typically, I'm a big fan of magical realism. I started by directing music videos, so my kind of editorial approach is pretty aggressive. And for this, I thought, okay, the challenge is to be patient. Like, stick the landing. Stay there. Stay in the room. Allow it to be completely driven by the performances, the tension, the relationships. And that exercise taught me more than anything else I've ever done.

35:37We'll be back in just a moment with more from Olivia Wilde.

35:50This week on Critics at Large, we're talking about Steven Spielberg and his blockbusters, Jaws. Jurassic Park. Of course, E.T. They're all classics for a reason. Does his latest, Disclosure Day, come close to those heights? There's a lot riding for the movie business on this question, and then for the culture sense of itself is large. Are movies still important? Are people going to the cinema still a thing? Are the youth like we were? All of those questions, those big cultural questions are coming up through Disclosure Day. Join me, Vincent Cunningham, and my co-hosts on Critics at Large. New episodes every Thursday, wherever you get your podcasts.

36:39I was going back and reading the cover story from 2021, the Vogue story, and you were saying that Tarantino's advice is to make the film only you can make, which is something I think about a lot with writing. What about this movie made it that only you could make this? I think that I have lived enough years now to really see myself in each of these four characters, and they're very different characters. And I think when you can really empathize with each character in your film, you can create a story that actually feels more complete. and I think as you get older you're like I'm I'm incredibly flawed I'm also incredibly brave I'm incredibly insecure but I'm also incredibly confident in certain ways so seeing these different characters and thinking I can empathize completely so I feel I can responsibly tell their story yeah and I also think that the approach we chose for this film which I do think yielded a really interesting result required a level of confidence in myself that I didn't have at any other point and that is, I think, unique to the experience of being an actor turned director, where I really gave a lot of trust, a lot of control to the cast.

37:56And as an example, Edward Norton has a scene towards the end of the film where he tells a story. And it's a monologue that he wrote on his own. Oh, wow. And he said, can I tell a story in this scene? It wasn't planned. It wasn't on the page. We were shooting it the next day. and he said, I want to tell a story. I don't know if you want to hear it ahead of time. And he said, what if I just tell you for the first time while you're on film? And I thought, okay, let's do this. So we set up the camera on me. We had two cameras that day. We set it on me and Seth. And Edward performed this incredible monologue that was so far beyond anything I could have imagined.

38:37It was so, it was the missing link. It was this kind of emotional ramp from one tone to the next tone in the film. And it was perfect and beautiful, and we kept it in the film. And I was so grateful. He was so shocked that a director would give him that kind of trust. And I thought, well, of course, you're Edward Norton. You're brilliant. But I think that maybe if I were to really think about why is this the film only I could make, I'd like to believe that this is a film that required a level of confidence and trust that I think at this point I've earned. I think that's a great point is that you were able to give that trust because you came from the same position as an actor.

39:19I have to say, I just felt like every, all four of you were so spectacular and delightful, each in their own way. I mean, I've never seen Penelope like that. It was amazing. And Seth Rogen, who I just find to be the most charming, compelling actor. And I love that he did an interview with The Times where he was like, I know a lot about Javier Bardem now. We all talked about our spouses. And I love that it seems like it became this very intimate, collaborative environment for the four of you. We're all very much in love with Javier now. I mean, I already was, but it's intensified. It was so collaborative.

39:55I think that's something you often feel in theater, again, because you have the opportunity to rehearse. And there is that kind of time where you're just sort of like sharing and it kind of becomes this like therapy camp and everyone is working together and being very – you have to reveal yourself or you're sort of throwing off the balance. You can't like sit on the edge of the boat. It'll tip over. Like you got to get in the boat. And because it was such a small cast, this kind of quartet plus our very brilliant and brave writers, we learned a lot about each other. We also would argue about what made a healthy relationship.

40:33Oh, interesting. And we had Esther Perel as our consultant. So we would argue about what made a healthy relationship, and then we would say, like, well, let's see what Esther says. Because she's the expert. So we would be like, Esther, what do you think? And, of course, who would she agree with? She would allow for everyone's perspective. Although she was very clear on anybody who takes on a very kind of rigid perspective on relationships, she immediately dismisses because there is no one way. Her whole ethos is that honesty and communication is the only answer. And we very much were inspired by her idea that within one long-term relationship, one can have several relationships.

41:13And that became the kind of north star of the story. Recognizing that you have this opportunity in a relationship to end that relationship, no one's forcing you to stay. Yeah. But you must make it a choice to be there. Yeah. and you have an opportunity to reinvent, to start a new relationship with this person. Anyone you know who's been in a very long relationship will say they've had several relationships with that person. And I find that to be something that if we talked more about, people wouldn't, first of all, wouldn't expect their partner not to change. And second of all, wouldn't feel that, quote-unquote, failures, conflict within a relationship, things that inevitably go wrong are a sign of disaster.

41:56It could be the point that forces you to communicate on the level that could lead to the change you need, whether that's separation or reinvention. And that, of course, allowed us to just talk endlessly about how we all felt about this. And so I learned a lot. I think that I came away from this project feeling actually a lot more optimistic and kind of romantic about relationships. The movie starts with a quote that I added that's an Oscar Wilde quote. It says, one should always be in love. That is the reason one should never marry. Right. And people always say, like, Olivia, you're very cynical.

42:32And I am. But I will say this movie has warmed me up a lot. Well, you also changed your name. I did. inspired by Oscar Wilde. Exactly. So there's sort of a full circle there. My chosen grandfather. Great grandfather. I was also very excited that you teamed back up with Megan Ellison for this. I feel like I've been waiting for her to jump back in the ring. Yes. And you got her back in there. What was the process of working with her? It was great. I mean, Megan believed in me when I had directed no films. and she made Booksmart, and she and Chelsea Barnard really understood that giving directors creative freedom to express themselves while being guided but truly liberated in a way that many, many, many other production companies are not doing.

43:27That is what's so singular. I first worked with them, actually, I had a very small role in Spike Jonze's film, Her. And if Spike had tried to make that movie within a typical studio, it wouldn't have had any of the elements that make it what it is today. And of course, it continues to be more and more fascinating. I was going to say it was really ahead of its time. It's wild. But I noticed that Megan was a different breed of producer. And I wanted to work for someone who would give me the same trust. And Booksmart was that experience. It was incredible. I felt incredibly trusted and liberated from beginning to end.

44:07So again, here with the invite, Megan understood that the best way forward for this film was allowing me to feel a real deep sense of authorship. And that kind of trust yielded the film that I'm so happy to see audiences enjoying. Certain elements like music. Dev Hines made our score. It's a very bold score. It is not what you would typically imagine for a comedy. That would never have been approved by a studio. That wouldn't have even been entertained. They would never have allowed it. The ending being slightly ambiguous, same thing, would have been completely rejected. So I really feel and recognize the rarity of that kind of trust, and that is what drives Megan's belief system about Anna Perna and the way she wants to change Hollywood for the better and also allow for these mid-level films, independent films, mid-level films that are dying, of course.

45:06I know. I'm really in awe of her. I didn't realize that you weren't always planning to be in the movie. No, not at all. I had this weird imposter syndrome about acting in the film, but not about directing it. It's like, I think at this point, I feel like a much better director than actor. I think that's where I really feel confident. So I felt like I can lead these people. I can lead this production. But acting felt like, well, how dare I? And then they asked me to play the role, which was very moving. I couldn't believe it. I couldn't believe that they felt I really had the goods, to be honest.

45:41I didn't. Did you have someone else in mind? Oh, yeah. Every brilliant actress you can think of. And I was like, the material's so good. I'm sure if we go to them, we can convince them. And with you guys, and I kept saying, can we go to her can we go to her and they were like no no no why she's brilliant they're like yeah she's brilliant you need to play the role and that kind of support is I mean it's unbelievable and actually I'm very happy that that I did it because it was one less body in the room which allowed for this very tight production to thrive I also think I was able to notice certain things happening within scenes that the camera hadn't yet seen and then I would say I'm seeing what Seth is doing over here we have to come around and get it because it's gold.

46:23So it was actually really helpful in the end. Do you, as you are, I think we're about the same age, do you feel like as you are getting to be a middle-aged director and actress, you are thinking about what beauty and anti-aging stuff you're doing? It's interesting because as a director, I now am constantly searching for actresses who can still move their faces. And it's not easy. It's not easy, and I don't blame them. I am a product of the same machine. I am under the same pressures. I get it. I wonder how we will all navigate this. I just pray for, like, technology to allow for treatments that just aren't so aggressive.

47:12Like, there's something so medieval about a lot of these things. Like, can't someone come up with something better than Botox that just, like, doesn't force us to do these things? Because then I'd rather do that. But I think it is great that more people are sort of talking about it. I remember seeing, like, Olivia Colman be like, I love Botox. And I was like, she's so cool. I know. She loves Botox. It's cool. I think that it's a thing that I, that actors particularly, the struggle is like that is your instrument. You have to be able to use it, but then you have to go on a carpet. And I am, I've had the thing of people being like, she looks old and dead and awful.

47:51And you're like, fuck, how do you win? It's impossible. So I have no answers, only questions. I mean, along those lines, I feel like we talk a lot at Vogue about how complicated it is for female directors to dress for the red carpet. Oh, my God. Completely. And there's this thing where, like, I really love not having to dress up in the same way as I have as an actress. Like, for instance, I went on Seth Meyers' show last night, and I wore this Lofi-Sin cool suit, and I loved it, and I felt really great. And I thought, I'm wearing this because I finally want to be comfortable like the dudes always are on these shows where it is freezing in the studios.

48:29But I also don't want to promote this idea that in order to be taken seriously like the men, we have to not feminize ourselves. I don't think that's true at all. But I do feel like after decades of, like, tarting myself up for press tours, I am so relieved to be like, you know what? They wear T-shirts. I'm going to wear a fucking T-shirt. You're wearing a T-shirt today? I'm wearing a T-shirt. It's a really good one, though. What is this T-shirt? I don't know, but it's vintage and it's very good. It's very good. I know because, as you say, we were trying to Emerald Fennell about it, and she was like, I love feathers.

48:59I should not be able to wear feathers because I feel like I have to be taken seriously, so I have to wear tailoring. She's totally right. Yeah. I think for me, I am, like, rejecting decades of something, and I just am finally liberated. It's like in The Invite, I'm not wearing shoes. I mean, it all takes place in my house over a night. But I remember thinking, like, I've spent so many years acting and wearing uncomfortable shoes. And I was like, I'm not wearing any shoes. So I am rejecting all of this. We get to have more fun, and we shouldn't stop ourselves from doing that just because we're trying to be taken seriously.

49:34I think that's true. My last question. I was delighted that you guys shot this on the same soundstage that I, Lucy, was shot at. Because in a way, it's kind of like Lucy, Ricky, and the Mertzes. It is. It is. And I even got chills now. I remember we walked in to the soundstage where they shot that pilot, and I felt—I really felt connected not only to what she created with that show, but the courage of Lucille Ball at that time. Yes. She was the author of that phenomenon, and she pushed through decisions no one wanted. And she inspired me so much as a kid, and the physical comedy that I tried to bring to the character was very much rooted in my early years watching her.

50:15So it all felt like full circle. I mean, I loved Lucy so much. I dressed up as her for Halloween when I was seven, and I looked insane. I need to see that. I know. It was amazing. I had a real perk, which is that I would get to go get my costumes from the Warner Brothers costumes. Enormous hanger. Oh, what a dream. The Murphy Brown costume designer really would hook me up. It was amazing. I had like a taffeta. So great. so cool Olivia this was such a pleasure I'm so excited for people to see this movie it's so much fun I also think it's a great summer movie I feel like it's a good conversation starter it is I want to bring back the like summer social movie where you go with you know two couples go grab some wine after argue about what happened I think you know it's not long it's an hour and 40 minutes yeah you're in you're out and it's a good time I totally agree that's it for the run through see you next week

51:22the run through with vogue is produced by chelsea daniel alex de palma and alex john burns with help from emily elias the show is engineered by brand bandy and mixed by mike kutchman bye

51:40Hi, this is Bella Freud. Each week on Fashion Neurosis, I interview highly creative people in the world of fashion, film, art, sport, literature and music. The format of the show is that my guest lies on the couch and I sit in a chair like an analyst. I know. I ask questions, quite simple things that revolve around how we reveal or hide things through what we wear, how we do or don't draw attention to ourselves. Find Fashion Neurosis on YouTube or wherever you get your podcasts.

From the publisher

Olivia Wilde’s third film, The Invite, comes to theaters later this week and to mark the occasion, she joins Chloe in the studio. The movie, which is a remake of the Spanish film called The People Upstairs, tells the story of a couple who invite their neighbors over for dinner. Hijinks ensue! 

She and Chloe began by talking about the confluence of their children and their work. Wilde describes her children as being extremely influential and involved in her work. “They really feel like they have a strong handle on, like, the marketplace,” she laughed.

They then dug into both her third directorial work as well as her upcoming role as an artist and dominatrix in Gregg Araki’s I Want Your Sex. The elephant in the room of that topic was the May-December romance—she plays a woman who becomes involved sexually with a much younger man. When asked if she drew at all from personal experience in the role she explained: “I think that experiencing the double standards firsthand has been fascinating from an anthropological standpoint. And it is so much more egregious than I think I ever really thought. People have such a double standard about what we allow women to do in this world when it comes to romance.”

Also on today’s episode, Chloe and Chioma chat about Chioma’s new newsletter Nnadi by Nature, the Coco Gauff Miu Miu x New Balance collaboration, and the launch of Vogue a la Mode at Morgenstern’s ice cream shop in the Lower East Side. 

The Run-Through with Vogue is your go-to podcast where fashion meets culture. Hosted by Chloe Malle, Head of Editorial Content, Vogue U.S.; Chioma Nnadi, Head of British Vogue; and Nicole Phelps, Director of Vogue Runway, each episode features the latest fashion news and exclusive designer and celebrity interviews.

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