09/10.2018
delights
THE FILMS ISSUE
The Secret Life of
Emily Mortimer Q&A with Matthew Broderick
Bill Hader on having bad jokes
Rosamund Pike on her new Netflix film
SEPTEMBER/OCTOBER 2018
Contents
specials 8 No Joke 14 Q&A w/ Matthew Broderick 18 Life of Jane Fonda style 18 Pike’s Peak 24 Hair Bounces Back 26 Essentials home 36 Coco Comfort
health 30 Compassion Now 32 The Practice of Well-Being food 40 Stealthy Healthy Snacks in every issue 4 Editor's Letter 42 Last Look
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from the editor
The Film Issue Good film reminds us of the interconnectivity of our humanity. It illuminates the human condition and illustrates that we all share the world that we are in. Film stimulates our sensibilities, our sense of self, and both strengths and weaknesses, and allows for reflection on what we can be and ultimately what we can do. Film can also unite us in times of severe polarization—human emotion is neither red, nor blue, but purple. Anything that challenges you to reflect on your life and your inner self is a form of mindfulness. We spend our lives asleep, metaphorically, and an immersion in culture (reading, watching films and viewing art) encourages us to wake up and see things as they are or as they should be. It helps us to explore the path to wellness. The Spotlight films, some premiering on the East Coast, feature quite a lineup of filmmakers and stars, including our cover actress, Academy Award-nominated actress Rosamund Pike, who is headlining in A Private War. Her gutsy take on war correspondent Marie Colvin is hauntingly real. Also featured in this issue are actress Emily Mortimer, who produced To Dust with her husband, Alessandro Nivola; Matthew Broderick, starring in To Dust; and the inspiring Jane Fonda, whose conversation with her longtime friend and producer Paula Weinstein and her documentarian Susan Lacy offers a compelling look at Jane Fonda in Five Acts, on HBO. We are hosting opening night of The Favourite with Rachel Weisz (our June cover star) and Emma Stone headlining the darkly comedic drama about court intrigue.
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Special
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Life
10 Q&A
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Interview
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NO JOKE Bill Hader’s anxiety was no laughing matter. He talks with David Lynch Foundation CEO Bob Roth about how Transcendental Meditation helped him overcome it.
Bill Hader is one of the funniest men in comedy today. Among his long list of honors and credits, he starred for eight seasons on NBC’s Saturday Night Live and is currently the co-creator and lead actor for HBO’s hit show Barry (for which he just won an Emmy Award for best lead actor in a comedy). Hader is also a meditator and strong supporter of the David Lynch Foundation. Here, he sits down with his good friend Bob Roth to talk about how his five-year practice of Transcendental Meditation has helped him overcome a debilitating battle with anxiety and panic attacks, which were undermining a very promising career. BOB ROTH: You once said the first four years at Saturday Night Live weren’t fun for you. Why? BILL HADER: I was terrified. I had massive panic attacks on every show and I wouldn’t sleep the night before, because I knew I was going to be live on national television and I felt so much pressure. In fact, when I did the Stefon character, I would put my hands in front of my face because I was so nervous. BR: What did you do? BH: I had some friends who said, “You should take pills” or “Smoke this, man, you’ll be great.” But I said, “Uh, I don’t know.” So I tried taking Xanax and other stuff. But I had issues coming off the pills. I would be at a Whole Foods with my kids and they’d say, “Dad, why are you crying?” I was crying! BR: How did you hear about Transcendental Meditation?
BH: I’m a big David Lynch fan and I happened to be listening to his audiobook of Catching the Big Fish when he talked about Transcendental Meditation. I thought to myself, “I should try that.” I went to the TM center in Manhattan and met my teacher, Josh Pittman, who is one of the nicest guys in the world. He taught me TM, which essentially is as simple as someone teaching you how to brush your teeth. I took to it really quickly. I immediately felt a clarity and a calmness. The fear kind of ebbed out of me. I still knew all the stakes—that I could still mess up on national television—but I also had the feeling of, “So what if that happens? I’ll be OK, I’ll be alright.” BR: But did that feeling of calm make you feel passive or less creative? BH: The opposite. When you have a genuine sense of calm, the fun things come out that you weren’t expecting. You just grab it and you see where that goes. But when you’re tight, that doesn’t happen. To find out more about Transcendental Meditation, visit tm.org.
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films
Q&A
Matthew Broderick
The two-time Tony Award winner, Gen X icon, part-time Amagansett resident and star of the forthcoming black comedy To Dust, which is screening at HIFF, applies his quirky wit to musings on good times, superheroes and mortality. DELIGHTS: Who would play you in your film biography? MATTHEW BRODERICK: James Cagney, of course. D: What’s on your nightstand? MB: An asthma inhaler, change and some batteries. Also John Updike’s Rabbit, Run, Philip Roth’s The Counterlife, Ian Fleming’s On Her Majesty’s Secret Service and A Place for Us by Fatima Farheen Mirza. D: What advice would you give your younger self? MB: Slow down, a bit. D: Thing you do to get out of a bad mood? MB: Cook, ride a bike, watch a black-and-white movie. D: If you could be a superhero, who would you be and why? MB: Superman is good. A little boring, maybe but good. Honestly, The Invisible Man. I realize he’s more a homicidal maniac but still, I really think it would be cool to be invisible. D: Worst job you’ve ever had? MB: There have been several, but I don’t want to hurt anyone’s feelings. D: What would you change in the world? MB: End poverty. D: Funniest thing you’ve ever heard? MB: My friend Garo tried to hold an automatic door closed at the supermarket when we were kids. The sound of his sneakers squeaking as he desperately held on to the opening door still makes me laugh.
D: What makes you laugh? MB: Mel Brooks D: Favorite thing about the Hamptons International Film Festival?
D: Best advice you’ve ever been given?
MB: The setting, and that it’s still not super big.
MB: After an audition my father said, “Why do you assume you did anything wrong? Maybe they picked the wrong actor.”
D: The thing you love most about the Hamptons?
D: Food vice?
D: In To Dust, which is screening at the festival, your character is a biology professor helping a grieving widower. How do you feel about death?
MB: Bologna D: Healthiest thing you do? MB: Bike. Read. D: When was the last good cry you had (and over what)? MB: A few days ago. I watched Three Identical Strangers.
MB: Produce, the beach, my friends, biking with my whole family.
MB: I’m not looking forward to it. D: What appealed to you about this role? MB: An ordinary person doing an extremely kind thing. And doing it almost by accident. D: What did you and co-star Géza Röhrig learn about each other? How did you play off one another? MB: I enjoyed Géza enormously. We have very little in common on the surface, but we seemed to understand each other very easily when acting. I admire him. D: What challenged or inspired you about this story? MB: I was touched by [Géza Röhrig’s character] Shmuel’s desperation to feel better, and to get answers. I think the movie speaks about science and religion, the advantages and limitations of both, in an interesting way.
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DELIGHTS / SEPTEMBER/OCTOBER 2018
Life Of Jane Fonda
Two-time Oscar winner Jane Fonda shines in her riveting HBO documentary, Jane Fonda in Five Acts, which explores the iconic actress and activist’s eight influential, action-packed decades. Here, film and television producer Paula Weinstein sits down with Fonda and the film’s director, Susan Lacy.
Paula Weinstein: Susan, why now? What motivated you to make this film now? SUSAN LACY: I read Jane’s book, My Life So Far, when it came out 13 years ago while doing a series I created, called American Masters, and was always looking for good stories, particularly about women. I strongly believe that you shouldn’t make a film about a great artist if you don’t have the material to tell the story with. There is something in Jane’s story that everyone can relate to, whether it’s difficulty with a parent or child, insecurity, body-image issues or unfaithful husbands. Her candor about these things and unrelenting honesty, including looking at her foibles and mistakes, is such an inspiring journey to self. That’s what this film is about. PW: And Jane? As I look at the film, I certainly admire it a lot. I think it’s wonderful. We’re in a very big moment of transition in terms of the next generation of feminists. This is a perfect switch here. What do you hope young women will take from the film, and was that part of why you decided to tell it after writing your book? JANE FONDA: I wish I had seen a documentary like this when I was younger, because I believe it would have made me think about the importance of not just drifting through life like a waif in a stream, but really putting your oars in the water and trying to determine what direction you want to go in. This film shows that you don’t have to get stuck where you are. You don’t have to settle for what people tell you you’re supposed to be, or how men define you. You can keep moving. But it has to be intentional. I think that’s one of the biggest messages for young girls. Also, that they’ll go after you if you’re an activist, but you can survive. I mean, I’m here. PW: Susan, the film is interestingly structured in five acts. What made you make this choice? SL: The notion of acts is actually embedded in Jane’s book, as she said when she left Ted [Turner] and decided to write her memoirs, she wanted to understand her first two acts. She says it in the film, too, about her third. So acts were in my head and when I started making the film, I realized that often in making portraits of artists, who have really made a major cultural impact, the third act is hard. It’s usually sad and the decline. And I thought, “The act Jane’s in right now is every bit as interesting as the first.” PW: It’s way better. SL: It’s way better, exactly. You’re [Jane] the opposite of what many of us call the third act problem. PW: Jane, did you have any feelings about it? JF: I thought it was really smart. It’s not how I divided my book, but Susan discovered that it’s a gender journey, so that’s how she divided it up. I appreciate it. PW: I found it very bold. But I want to remark, as a feminist and friend, that one of the things Susan did in the film, is really make it clear that Jane led these transitions. SL: At the root of this story, there is a through line of integrity and bravery. You might have been, as you’ve said in your book, defined by men, but nobody told you to go to Vietnam except you. JF: Yeah, they did. SL: You were encouraged to go, I know, by people to use your celebrity to help bring attention to what was going on, but you made those decisions. You chose your path. And I don’t think you give yourself enough credit through most of the telling of your story.
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interview
JF: Well, when I was about to turn 60, I was married to Ted Turner, and realized, “Oh, my God. This is gonna be the last act.” Now, I think I’ll live longer than 90 because if Gloria’s [Steinem] gonna do it, I’m gonna do it. I used to ask, “Gloria, why do you want to live to 100?” And she said, “Because I want to see how it all turns out.” SL: What was going on with you at the moment that made you write the book, and be willing to spend all that time digging so deeply? JF: I didn’t want to be like Columbus, who didn’t know where he was going when he left or where he’d been when he got back. I wanted to figure out where I’d been, so I’d know where I was going. I researched myself. It’s something I highly recommend and it requires things like carefully looking at photographs, talking to other people and trying to figure out who your parents were. Why did they act like they had duct tape over their eyes? Why couldn’t they reflect you back to yourself with love? Who were their parents and why did they behave the way they did? That’s what I started to do. I didn’t know there was a word for it, “life review,” that psychologists encourage people to do. It transforms you because you realize it had nothing to do with you. It wasn’t your fault. If they couldn’t love you, it was their problem. You can forgive them because you understand bad behavior is the language of the wounded. You have to break the cycle and move in a different direction. Right now, older women are the fastest-growing demographic in the world and we’re living a whole adult lifetime longer than our parents and grandparents did. It’s good to be a late starter. I’m a late bloomer, and I’m really glad. Everybody’s born whole, but does anybody get through childhood in one piece? I don’t think so. But it’s good that way, because then when you get older, you actually feel when you begin to move into yourself again. It doesn’t just happen. You have to be intentional. You have to work at it, study, meditate—you have to do a lot, but it can happen. SL: There’s a wonderful scene where Jane talks about doing Barbarella, which she didn’t want to do at first, but Roger Vadim convinced her she should do it, and he directed her in it. JF: He wanted me to do a striptease for the opening credits and he promised me that the letters in the credits would cover everything. He lied. I was so nervous that I got drunk, really drunk, on vodka. Then when we went to watch the film the next day, a bat had flown between the camera and me, so we had to do it over again. What you see in the film now is the same thing with a hangover. [Laughs]
films
SL: But it was in France that you became politicized, meeting with a lot of soldiers. Also, Simone Signoret, who was very involved in the student protests, and Jean-Paul Sartre and Simone de Bouvier. JF: Simone Signoret was a great, great, movie actress in France. She befriended me when I went to France and took me under her wing. She used to take me to anti-war rallies where Jean-Paul Sartre and Simone de Beauvoir would speak. She never proselytized; she would just expose me. After I became aware of what was going on in Vietnam because I had spent time with soldiers who were resisters, I went to Paris and was confused about what to do. I went to Simone’s home in the country and I just remember ringing the bell and her opening the door and saying, “I’ve been waiting.” SL: I think for as much as you learned from the men you were married to, they learned a lot from you. Each of them has said at the end, “This was the love of my life. I fucked up.” In the first section, as a child in the Santa Monica Mountains, you talk about looking through the window of a home nearby, and seeing what you thought was a family. Do you think much of your life has been a quest for that? JF: I’ve never thought about it. I guess so. I think it’s because of my son. He always loved having a big family, so I’ve tried to create a big family for him. SL: I do think that you’ve been looking for that. I mean that’s my interpretation anyway. It may not be conscious, but that you were building toward a life with a family. And look at the family you have now. JF: I know—and I’m single! I’m so happy! It’s just me. I live in a place now that’s all mine.
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Style
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Interview
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Experts
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Essentials
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Pike’s Peak She rose to fame in Gone Girl. Now, in I Care A Lot, streaming now on Netflix, Rosamund Pike portrays a cunning legal guardian who meets her match in Peter Dinklage.
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style
F
interview
rom Bond Girl to Gone Girl, Academy Award-nominated actress Rosamund Pike finds meaning in the role of a lifetime as Marie Colvin, one of the most celebrated war correspondents of our time, in A Private War. With a new Netflix movie, I Care A Lot, and a star-turn as Marie Curie in Radioactive, the 39-year-old British actress and mother of two sons is no stranger to daring, complex female lead roles, having made a name for herself in Pride & Prejudice with Keira Knightley and action dramas Die Another Day and Jack Reacher. The fearless and renegade Colvin, who chronicled the cost of war for The Sunday Times in London for over 25 years, traveled to the frontlines of harrowing war-torn towns in the Middle East, where the intrepid reporter physically and emotionally sacrificed everything— all in an effort to give a voice to the voiceless victims of conflict. Pike’s process and portrayal of Colvin goes deep, and is evident when we sat down to talk about her important place in history and in this film, in which Pike gives such a convincing performance that when Colvin speaks on video at the end of the film, it sounds uncannily like Pike. Pike echoes the same sentiment with which Colvin lived her life: Will enough people care when this story reaches them? Led by Academy Award nominee and critically acclaimed documentary filmmaker Matthew Heineman, this narrative feature also stars Jamie Dornan, who gives a wonderfully authentic performance as Colvin’s colleague in the trenches, photographer Paul Conroy. Honoring the Oyster Bay, Long Island, native, the Marie Colvin Stony Brook University Center for International Reporting was established after her death. CRISTINA CUOMO: A Private War is an incredibly told story. When did you first come across the story of the war correspondent Marie Colvin, and what was the appeal of this part for you? ROSAMUND PIKE: I felt very passionately about Marie. I had read about her and felt very moved by her story, and the way she put her own life on the line in pursuit of the story and the truth. It was a courage I admired, and I’m very drawn to people who show that kind of courage. I felt that I understood her. I don’t know why, but I felt I could relate to her, and I knew I wanted to play her. I believed that a documentary maker by trade would challenge me to be very fearless in my performance, because I knew there was nowhere to hide if you’ve got someone who’s used to filming total reality. And I knew that he was not going to accept any artifice. CC: Did Marie’s desire to share this very real human aspect of war and the stories of the victims as a means of telling the truth of history resonate with you? RP: The crossover with my mode of working and Marie’s is that I also look for the human in the stories I tell. I want people to relate to the human in all of us. You’re chasing something that will resonate with people and make them feel something—a moment of humanity and truth, as they sit in a dark room watching a big screen. And I think she wanted people to sit at home with their breakfast reading the papers and feel something. That’s where we crossed over. Sharing the human experience and realizing that we are not isolated and we are not insular—that’s what makes us transcend the everyday in our own lives. Raising awareness was hugely important to her. It is very easy for wars to be told in the history books as tribal conflicts, territorial conflicts or governmental conflicts, and she wanted to remind people that it’s the old, the elderly, the sick, and the women and children who suffer the most.
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CC: How did you research who this girl from Oyster Bay, Long Island, was? RP: It was a very unusual experience and a very profound one because I stood in her shoes a fair bit and met her friends and was privileged enough to have a certain intimacy with some people who are very close to her. ‘The life of the party’ is what a lot of people remember of her. And you have to have a sort of black humor when you’re in situations like that, as I learned from Paul Conroy—who is played by Jamie Dornan—who joined us for the whole shoot. Paul was with us everyday, so stories would just bounce out of his mind. He was amazingly generous. One of her friends lent me one of her sweaters, which I wore in the film, and then when we were in Jordan filming in each of the conflict zones, Matthew got whatever level of reality by casting supporting background cast who were frequently refugees from the conflict that we were covering. So in the Homs section, 80 percent of the people featured were people who lived in Jordan after coming from Syria. And the women in the widow’s basement, that’s what they called it—a widow’s basement, women who had gone to shelter underground not knowing where their husbands were and if they’d ever see them again. Women and children were sheltered there and the stories that I get from those women, those are their real stories. Those aren’t scripted lines. It was a very profound experience for me. CC: That must have been harrowing to see first-hand all that treachery of war. Was there any part of that that you struggled with while filming? RP: There were definitely very emotional days and a kind of window on appalling situations that are very hard to forget. There were images during the making of this that will probably be seared in my brain forever. CC: When she comes back to receive her correspondent of the year award after Sri Lanka, and her producer tells her that some people are saying that she’s foolish for going in there, what part of that had to do with her being a woman? RP: She was seen as a bit of a kamikaze. She set her bar higher than most people would feel was an acceptable risk. She was rarely treated any differently by the people she worked for because she was a woman. It got her access when she was in the Middle East that a man might not have gotten because she was sort of more unfathomable. She wasn’t necessarily their version of a woman, and nor was she a man. She said sometimes she occupied the space of a third sex. I’m sure that’s what got her the close relationships she had with Yasser Arafat and even Colonel Gaddafi. She was a curiosity and she traded on that. She knew that she could play the curiosity, but underneath be tough as nails. CC: And she’s relentless in her faith in humanity. Do you think she made a difference? RP: Well, she certainly did in some places and I think as anyone who works in the humanitarian field will say, it can be a drug if you’ve had one success. But it’s a fallacy to think that you can save anybody. You can raise awareness and you can perhaps influence…. Early on in her career, Marie was in East Timor and the U.N. had a compound of people who they were sheltering from the hostilities. And then there was going to be an imminent attack. There were people who were closing in on the compound with machetes and guns and it was deemed too dangerous for the peacekeeping presence and the journalists to stay, so everybody got out. Marie was the only one who stayed, and her presence there shamed the U.N. into keeping their presence there and saving those people from certain death. That was when she said her famous line, when her editor rang and said, “What do you mean you didn’t get on the plane?” And she said, “I can’t go. If I go these people will die.” And he said, “Where’s everybody else? Where are all the men?” And she reponded, “Well, I guess they don’t make men like they used to.” Which has gone down in history but people don’t often don’t know the context.
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interview
CC: I was so impressed with how you channeled her physical struggles and her deterioration. How did that affect you when you were in the moment? RP: If I go back into her voice or anything it comes with all the physicality of her, because you work on it in preparation and rehearsal. You try and take her into you physically. You know the way she carried her shoulders, the way she used her hands, the way her fingers spoke, the way she handled her eye patch, the way she touched her face, the way she ran her hand through her hair, everything I studied from documentary footage and private footage that people shared. Even still photographs. I tried to piece together a walk from that still image. And then I’d just be in a room walking, sitting, standing, talking, smoking, lying, crouching, running, trying to be her—in a dance studio, so it’s got mirrors and you can see what seems to be working and what isn’t working. It’s a really interesting process. I’m having fun these days doing parts that are physically further away from me. CC: And then there’s the best-selling book Gone Girl that you did, and I counted over 60 awards for your performance. How does that much focus on one role appeal to you as an actor? RP: Well, you crave that again. The fact that the adults wanted to go and see that movie in the cinema was the real thrill of it for me. On opening night, people were queuing to get tickets and it was an event and it wasn’t a superhero movie, it wasn’t a tent-pole franchise movie. It was an adult thriller drama that the adults had to see and wanted to be part of the conversation. It was incredibly exciting. Also, David Fincher is a masterful director, and I would like to have that experience again too. CC: How has being a mother changed what you look for in a role? RP: I don’t think it’s changed what I look for—it’s changed what I’m able to do. It’s changed what I’m able to convey because I have nothing to hide anymore; once you’ve given birth and you’ve had that most wild of human experiences, you feel pretty free to do anything else physically. CC: What do you fear? RP: I fear losing my parents, a child being sick. And I fear things for the world. My biggest fear is the escalating plastic problem. You really feel it when you go to the countries I went to in preparation of this role. I went to Lebanon and the plastic waste is everywhere and I find it very upsetting. I fear the damage to our planet. CC: How do you feel about turning 40 soon? RP: Oh, I’m cool with that. I played Marie Curie who was 24 and I played Marie Colvin who was 57, so I get to float. I never feel I’m restricted by the number. CC: What’s the strongest takeaway from playing Colvin? RP: That when you do feel fear, you can go there anyway. I think it’s about having fear, looking it in the face, and doing something anyway.
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experts
Hair Bounces Back
Thanks to new treatments, stimulating the scalp and freshening up follicles is this fall’s mane event.
We’ve been waging the war against wrinkles and sagging skin for decades, with new products meant to keep our skin looking youthful emerging monthly, but there’s another frontier in our battle against the signs of aging—hair. “The circulation in your scalp slows down as you age, so nutrients don’t travel to the hair follicle as well,” explains Joel Warren, who has just opened an outpost of his beauty emporium The Salon Project at the Saks Fifth Avenue in Brookfield Place (thesalonproject.com). “If the nutrients are depleted, hair weakens and loses elasticity.” Ishi, owner of Salon Ishi on East 55th Street (salonishinyc.com), says the diminished condition of hair is also the result of decreased hormone production. “The individual hairs thin, and there is generally less growth,” he explains. Fortunately, there is a spate of new treatments that feed and treat the scalp, restoring health and vibrancy. “It’s like creating fertile soil to grow vegetables,” explains Paul Labrecque, whose salons on East 65th Street, in the Core Club on East 55th Street and in Palm Beach, FL (paullabrecque.com) now offer the P50 Capillaire treatment, a new version of the cult favorite exfoliating lotion made specifically for the scalp. “It uses cider vinegar, witch hazel, horseradish and 50 botanical ingredients to clean and condition your scalp and promote stronger hair growth. It helps balance the pH, regulate sebum secretion and exfoliate the scalp,” he says. “The shine in your hair after is really visible.” Salon Ishi offers a new treatment that mixes phytocannabinoids with essential oils including hemp, jojoba, rosehip seed, black pepper, rosemary, spearmint, coriander seed and lemon, as well as coconut oil, in a 45-minute shiatsu scalp treatment. “The combination of CBD oil and shiatsu on the scalp is incredibly stressrelieving,” says Ishi, “and, along with the other oils, it stimulates growth and gives the hair more luster.” Adi Aloni has a more express treatment: a vitamin C–packed hydrating pack. “First I clarify the hair, then add nutrition-infused drops and finally the mask,” says Aloni, who will impart new vitality to your locks in just half an hour at his intimate Simadi Salon (767 Lexington Ave, 6th floor). Warren goes to the next level at his newest location. In addition to the intense keratin shot treatment, which infuses the follicles with the hair’s basic building block, he has medical professionals on staff who inject PRP (platelet-rich plasma) into the scalp. “This is as natural as it gets—we inject nutrients from your own blood,” he explains. “They get to the root and really stimulate collagen. The new antiaging approach is revolutionizing the way we look at hair.”
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style
essentials Giorgio Armani Lip Vibes
Lancôme Monsieur Big Waterproof Mascara
Lip Vibes joins Lip Maestro And Lip Magnet with eight bold tones inspired by the language of colour. The matte, neon shades of head-turning coral, sensual red, playful pink and luminous purple for Lip Maestro are light and velvety, charged with four-dimensional volume and allow a woman to stand apart from the crowd. Lip Vibes for Lip Magnet, a fine elixir of matte colour, is centred on a palette of seductive reds. In rich scarlet, pure vermilion, berry-toned magenta and carmine burgundy, douse your lips with magnetic colour using the calligraphic applicator, designed for perfect contouring.
The first edition of this long-lasting mascara boasted mega-impact and megavolume, and became the go-to product for millions of women. Now, with a waterproof formula, Big Lashes Extension Fibers and four varieties of Big Colour Lash Top Coat, Monsieur Big offers up to 24 hours of flawless wear and daring style. With sweatproof, smudge proof and waterproof guarantees, its ultra-resistant formula and traffic-stopping volume is a cut above the rest. The Big Lashes Extension Fibers will tailor volume to achieve the look you want, while the Big Colour Lash Top Coats will ensure flashy, pop-art eyes.
YSL Beauté Mascara Volume Effet Faux Cils, The Curler.
Stay two steps ahead of the curve with YSL’s wickedly volume-boosting curl power. Wrapping around lashes, it generates an anti-gravity, lifting effect as it dries. Immediately, the dense texture reboots volume that’s buildable on demand. Finally, the caring formula is infused with three vegetal extracts – coconut oil, walnut leaves and bamboo oil – to nourish lashes. Available in three, maximum impact shades: Rebellious Black, Fearless Brown and Mischievous Violet.
Milk Makeup Adds New Shades
Joining Fenty Beauty, Makeup Forever, and Bobby Brown, Milk Makeup introduces a range of new shades to its Blur Liquid Matte Foundation and Flex Concealer lines, catering to a wider range of skincare lovers. Offering a variety of undertones, Porcelain, Golden Honey, Cinnamon, Mocha and Espresso are a few of the shades recently included in the empowering Blur Foundation collection. Also boasting an addition of Vanilla, Medium Beige and Caramel, among others, to the Flew Concealers, Milk Makeup takes purposeful steps in the right direction to cater to as many skin tones as possible.
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Gucci Bloom Nettare di Fiori
For the final chapter of the Gucci Bloom fragrance story, the original Gucci Bloom essence is deepened in sensuality and intensity. Gucci Bloom Nettare di Fiori captures flowers at the fullness of their bloom, radiating their most powerful fragrance and allure. Feminine notes of rose and the osmanthus flower are intensified in the original olfactory structure featuring the accord of jasmine, Rangoon creeper and tuberose at the heart of the fragrance, coupled with base notes of patchouli, musks and osmanthus. Gucci Bloom Nettare di Fiori explores the mysterious and intimate character of a woman, her authenticity, confidence and unconventionality.
Health
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Wellness
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people
Compassion Now
In his new book The Last Dalai Lama?, Mickey Lemle shows why the message of the spiritual leader is needed more than ever. Filmmaker Mickey Lemle, who has known the 14th Dalai Lama for 35 years, noticed a difference in him about two years ago, a new sense of urgency. The messages that the spiritual leader of Tibet, now 83 years old, very much wanted to convey to the world are captured in Lemle’s 2017 documentary, The Last Dalai Lama? On October 31, a companion book, also titled The Last Dalai Lama?, by Lemle with Laurie Dolphin, will be published, along with an accompanying DVD of the documentary. The film is now available on iTunes, YouTube, Google Play and Amazon Prime. In a recent interview, Lemle says, “Some people, after seeing the film, said, ‘I met the Dalai Lama once and this is just what it’s like to sit with him.’ Or ‘I’ve never met him but now I know what it’s like to sit in his presence for an hour and a half.’ The film is like a transmission of his wisdom. You really get a sense of his wonderful humor and compassion and heart and presence, as well as all of the things that most concern him now.” One reason for the Dalai Lama’s urgency in sharing his message is that he has announced he will not reincarnate after his death. His decision is due to the Chinese government’s announcement that, despite its being officially atheist, China will control the selection of the next spiritual leader of Tibet. According to The New York Times, more than 140 Tibetans have self-immolated since 2009 in protest of Chinese oppression and to try to bring their tragedy’s attention to the world. “I compare it to the rainforest,” says Lemle. The wisdom of the Dalai Lama “belongs to the world—and yet it’s being destroyed as quickly as the rainforest is.” It was Compassion in Exile, Lemle’s 1993 documentary, that first brought the Dalai Lama and his plight to the attention of some in America. It revealed his struggles after the Chinese invaded Tibet and he was forced into exile in 1959. In his new film, Lemle also explores the scientific nature of the Dalai Lama’s wisdom. In one segment of The Last Dalai Lama?, the spiritual leader introduces the “Atlas of Emotions,” the work he did with Paul and Eve Ekman, who used behavioral science to map human feelings. “Twenty-five years ago, the Dalai Lama challenged a group of cutting-edge neuroscientists,” Lemle says. “He said, ‘We Tibetans have held the knowledge of how to overcome negative, afflictive emotions such as anger, grief, jealousy and hatred for 1,000 years. It’s time to share this with the world. It belongs to the world.’” lastdalailama.com
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health
wellness Insight
What if our world were a kinder, wiser, more compassionate place? A place where we exercise our minds just like we do our bodies? A place where transforming our minds can improve our well-being and extend to benefit the people around us?
Insight is having a deep understanding of how our minds work. In particular, this understanding applies to our thoughts and emotions, and how our beliefs and expectations shape our experience. The practical skills that foster insight help us to loosen rigid beliefs and form a flexible sense of self that can adapt to changing circumstances. This fluid sense of self, in turn, promotes wellbeing by increasing resilience and prompting transformative realizations about the nature of the mind, relationships and experience. The psychological flexibility that these skills engender is beginning to receive scientific attention as a fundamental aspect of well-being. Seeing oneself as growing and expanding is linked to higher wellbeing—and is thought to bolster well-being in part by helping us navigate life’s challenges in a constructive way. In contrast, overly rigid forms of thinking can be a sign of mental health dysfunction.
These questions drive me as a neuroscientist. Here is what I have concluded based on years of brain research: Well-being is a skill. Well-being is fundamentally no different than learning to play the cello. If you practice well-being, you’ll get better at it. Well-being has four constituents that have each received serious scientific attention. Each of the four skills below is rooted in neural circuits, and each of these circuits exhibits plasticity. If we exercise these circuits, they will strengthen to create enduring change in our lives.
Awareness
In short, awareness is being fully connected to our present experience. Mindfulness-based practices of all types have now entered the mainstream. The popularity of mindfulness meditation has resulted in a variety of resources to cultivate and practice the skill on one’s own via health-care programs, online apps and local meditation communities. Data show that when people are really focused on what they’re doing, and their minds are not wandering, they actually feel better about themselves. One study points to why this is important. Its conclusions suggest that the average person is not paying attention 47 percent of the time. There’s certainly room for improvement and greater well-being. In addition, studies show that mindfulness—being in the present moment—can lessen our tendency to want and desire the things we don’t have.
Purpose
Purpose is what motivates, inspires and drives us in life. One study found that if you have greater purpose in life, you’re less likely to be dead 10 years later. Whether you’re older versus younger or if you have a chronic condition or disease, cultivating a deep sense of purpose and meaning in life has been shown to have far-reaching benefits, including to our physical and mental well-being. Realizing and acknowledging what gives you meaning and purpose is important. If deepdown something is important to you, but you ignore that feeling, it can harm your well-being. As one of our researchers has said: “Think about what gives your life meaning. Do what makes you happy or makes you fulfilled, and make sure to save time for it.”
Connection
Nurturing connection with other people plays a significant role in our wellbeing, as loneliness is now considered one of the biggest threats to our mental health. The ability to empathize, behave compassionately and express gratitude are skills that can not only be learned, but also can make us feel good. There is substantial evidence to suggest that engaging in acts of generosity is an effective strategy to increase well-being. We call it a doublepositive whammy because, by being generous to others, you benefit them and yourself. Studies, including one from our lab, show that compassion training—in which one generates positive wishes for another being— primes a person’s ability to empathize with others and leads to pro-social behavior aimed at decreasing others’ suffering.
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The Practice of Well-Being
Neuroscientist Richard J. Davidson, Ph. D., maps out four actions to take for creating enduring positive change.
DELIGHTS / SEPTEMBER/OCTOBER 2018
Home
36 Tours
DELIGHTS / SEPTEMBER/OCTOBER 2018
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tours
Coco Comfort: Heiberg Cummings At Home
In the heart of Sag Harbor, William Cummings and Bernt Heiberg transform an unassuming beach shack into a midcentury modernized home with Scandinavian flair.
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B
oating, beaching, sunset: That trio of elements is poetry to designers Bernt Heiberg and William Cummings. About a year-and-a-half ago, the partners in life and in their New York-based Heiberg Cummings Design firm, set out to find an “extremely charming beach shack,” says Heiberg, and voilà! The mid-1930s home they now call “Coco House”—after Coco Cabana, not Coco Chanel—represents what the duo do best: “super comfortable living spaces with all the whistles you can imagine.” If the word “whistles” conjures up gold faucets, chintz couches or a lavishly appointed interior, you’re not tuned into the pair’s signature Scandinavian style, which is both rustic and chic. Known for their spare-but-not-spartan interiors, they initially focused on adding space, not stuff, working with Southampton architect Shawn Leonard and contractor Bill Flanzer to judiciously maintain the scale of the property while making it taller. The addition of two floors allowed for four bedrooms and four full baths, as well as an airy, spacious living room and a large open kitchen with a massive center island. Amenities such as a steam shower, an outdoor bathtub and floor-tobasement laundry chutes show the practical and intelligent mindset behind the simply curated spaces, inside and out.
Wishbone chairs and cushy canvas ones create an inviting setting for dining. Photography by Marili Forastieri
home
Texture plays a big part in the balanced palette of white, tan and gray that dominates the rooms. Wood stools, matte-metal side tables and blond woven-basket lampshades enhance the neutrals. Artwork is by Beth O’Donnell, with a large piece over the sofa that was curated by Belinda Kielland. “I don’t really like color myself,” states Heiberg, not at all sheepishly either. Still, he admits, brown and black can give an interior depth and a level of chic, and in the living room, the addition of a dark-chocolate leather chair, or stark black pillows on a white Belgian linen couch, prove that point. French doors open up to the pool and pebbled garden area, which are surrounded by grasses and plants landscaped by John Verderber, Jr.. “When the doors are open, you see beach grasses, wild roses and bamboo,” says Heiberg. “It’s very beachy, a dream of a garden.” A bamboo fountain flows into the pool, and when breezes blow the tall grasses, the sounds have a calming effect, even when the Coco residence is a full house on the weekends. “We socialize, and work here, a lot,” explains Heiberg. He, Cummings and their miniature dachshund Fia head out from their West Village apartment early in the week, in their white Ford Mustang convertible. “New York City is amazing, but it can be a brutal city at times, and out here we feel like we’re really living,” says Heiberg, who was born in Norway. Cummings was born in Colorado and grew up in San Francisco.
Being so close to Havens Beach, the pair take guests for jaunts on their boat, a 36-foot Chris-Craft called White Light, and fall weather brings ample opportunity to relax by the wood-burning fireplace when there’s a chill, or throw a kräftskiva, or crayfish party, complete with homemade bread, dill and shots of schnapps. “William is the master of the grill,” says Heiberg. “He’s also famous for his predinner Absolut martinis.” Jubel! (That’s ‘cheers’ in Norwegian.) William Cummings and Bernt Heiberg with their miniature dachshund Fia. Photography by Marili Forastieri
DELIGHTS / SEPTEMBER/OCTOBER 2018
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Food
40 Snacks
DELIGHTS / SEPTEMBER/OCTOBER 2018
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food
snacks
Stealthy Healthy Snacks
When it comes to kid-approved after-school treats, nutritious, tasty options abound.
After a long day at school, kids want a delicious snack. You want to give them something healthy that doesn’t take all afternoon to prepare. If your kids are anything like mine, they’re more likely to reach for candy over kale or a bowl of cereal instead of a hard-boiled egg. But with some flexible planning, you can satisfy your kids’ cravings without spoiling their dinner appetites. If your kids crave chips, stock your pantry with healthier crunchy snacks, like zucchini chips, sweet potato chips, chickpea crisps or apple chips. Supermarket shelves are stocked with healthful, crunchy options. Just read labels closely to ensure the bagged goodies aren’t loaded with sugar, preservatives and other fillers. If you’re feeling supermom-ish, whip up a batch of homemade kale chips or bake a batch of crispy oven potato fries. If your kids crave frozen treats, buy dairy-free ice cream and top with chopped almonds or trail mix. Looking for something a bit healthier? Frozen homemade fruit treats, like frozen bananas or watermelon, are super refreshing. Keep a stash on hand. If your kids crave dairy, you can satisfy their appetite with some cheese sticks and crackers. Or opt for a dairy-free option, like a coconut yogurt parfait or my Chipotle Cheesy Pecans. While these dehydrated vegan delights taste like they have real cheese, it’s just nutritional yeast. Smoothies are another hit-the-spot snack. In my upcoming cookbook, Food You Want: For the Life You Crave, I feature a thick, dairy-free smoothie “milkshake” that kids go crazy for. If your kids crave chocolate, try offering them more nutritious dark chocolate instead of milk chocolate. If you have extra time, try making my delicious apple “doughnuts” topped with peanuts and then dipped in melted dark chocolate chips. They’re fun to make and even more enjoyable to eat. If your kids crave something salty and creamy, opt for a platter of chips and dips. Guacamole with tortilla chips is always a hit in my house. You can also serve hummus with gluten-free pretzel sticks or almond butter with crudités. If your kids crave cookies, no-bake chocolate chip energy bites are a fun and healthful option. Or make a batch of gluten-free muffins over the weekend and freeze them for a grab-and-go after-school treat. See more recipes on theflexiblechef.com
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Apple “Doughnuts”
Ingredients 2 large apples ½ cup natural peanut butter 2 tbsp. maple syrup Pinch of salt 1 12-ounce bag high-quality dark chocolate chips Cookie crumbs, sprinkles, nuts or toasted coconut, for topping Instructions 1. Cut apples into ¼-inch rounds. 2. Using a biscuit cutter, cut each apple round into a circle. 3. Using a small round cookie cutter, cut the center out of each apple round. This will leave you with a doughnut shape. Set apple slices aside. 4. Mix together peanut butter, maple syrup and salt. 5. Using your hands, mound about a teaspoon of the peanut butter mixture onto each apple slice. Set aside. 6. Melt chocolate chips in a double boiler and then dip each peanut butter-coated apple round in the chocolate. 7. Before the chocolate hardens, add desired toppings. 8. Lay each apple doughnut on a parchment paper-lined baking sheet and refrigerate to set.
last look
The Quiet Storm
Actress Emily Mortimer makes a triumphant return to the HIFF with the indie drama The Bookshop. After a recent Hamptons International Film Festival screening of The Bookshop, Emily Mortimer, who stars in the quietly stirring drama, stood up to toast the director and her co-stars at an intimate fete hosted by Purist at Dopo La Spiaggia. With a twinkle in her eyes, she recalled getting a pressing phone call from Patricia Clarkson (seated next to her at the party), telling her she’d “be an idiot not to take the part!” opposite her powerful smalltown matron in the film. Good thing for lovers of smart, independent cinema she heeded that advice. The London-born actress, who splits her time between New York City and Amagansett with her husband, actor Alessandro Nivola, and their two children, gives an intelligent, nuanced performance in the film. “There is something symbolic about the fact that my character is trying to start up a bookshop and that her fight is to bring books to people—to expose people to ways in which they can think more and be more curious about other people,” says Mortimer. “Her tale is one of real courage. She was a quiet woman, but one who had this mighty heart—and in a way it appealed to me that she didn’t succeed. So many of the stories that we see are about people winning, the triumph-over-adversity tale, and a lot of our experience in life is of not winning at all. There’s a real dignity that can be found in somebody being disappointed by life, but managing to keep going and keep putting one foot in front of the other, even though heartbreaking things happen along the way. And part of the reason that she can keep going is because she is a reader and she has this vast resource of her imagination and books that she can be free in her mind.”
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From her 2003 breakout role in Lovely & Amazing, which earned her an Independent Spirit Award, to Woody Allen’s Match Point and comedic television series such as HBO’s The Newsroom and Doll and Em (she co-wrote the latter with her friend and co-star Dolly Wells), whatever she’s in, Mortimer brings a fierce sense of humanity, and often a dry wit, which is clearly on display in real-life conversations. (When asked about maintaining a sense of balance and well-being, she cracks, “Once you get to that I think you might as well hang up your boots and die!”) The Bookshop was her second professional HIFF experience; Wig Shop, a comedic short she produced and starred in, was featured in the short films program in 2016. And this year, a film she and her husband produced—the buzzed-about To Dust, starring Géza Röhrig, who was in Son of Saul, the 2016 Academy Award-winning best foreign film—will show at HIFF. “It also stars Matthew Broderick, who is a neighbor in Amagansett,” she notes. The festival is a community affair for Mortimer. “It always feels very welcoming and cozy, and cool, interesting people always come to see the movies and support the festival.” When it rolls around every October, she says, it serves as a vital reminder that “there is a community out there that is still interested in the arts. Alessandro’s grandfather was an abstract expressionist painter out here back in the ’50s, part of the artist community here. It’s nice to feel that it’s not just billionaires and party animals out here now. There’s still a thriving artistic community and one that’s still interested in supporting the arts and buying books and going to the cinema—and the Hamptons Film Festival is definitely very much part of that.”
