For W's Directors Issue, the Oscar-nominated filmmaker envisioned Hüller as another complicated woman: Marilyn Monroe.
On a sunny winter’s day in Beverly Hills, Sandra Hüller, wearing a navy Chanel swimsuit, was doing the breaststroke across an amoeba-shaped swimming pool. Hüller, who is nominated for the Best Actress Oscar for, in which she portrays a woman who is accused of killing her husband, can be wonderfully inscrutable on-screen. In both, Hüller would be channeling the life of perhaps the greatest screen goddess of all time: Marilyn Monroe.
Triet, who is nominated for Best Original Screenplay , Best Director, and Best Picture Oscars, agreed with Hüller. “Look at this photo of Marilyn,” she said, showing me her phone. Monroe was in her kitchen, with a plate of food nearby. “She has a little sauce around her mouth,” Hüller exclaimed. “She had just eaten too much pasta!” Triet nodded—she clearly loved the small flaw behind the perfection.
For the next setup, Hüller changed into a black cocktail dress from Bottega Veneta. One shoulder was exposed, and the dress looked like it might have actually been borrowed from Marilyn’s closet. “If you ask, ‘Would Marilyn wear that?’ ” Hüller said, “it would have to be!” Back on the lawn, next to a pergola covered in vines, Hüller struck another Monroe-esque pose. “I knew that Sandra could do anything, but this is coming faster to her than I thought it would,” Triet marveled.
Not surprisingly, this was the only scene that Harari and Triet had difficulty writing together. “We didn’t want to show only the ugliness,” Triet explained. Just then, she was called into the house—a sparsely decorated midcentury ranch. Hüller was in the yellow kitchen, wearing a brightly patterned Balenciaga gown that seemed to be made from a plastic floral tablecloth. Hüller, as Marilyn, was holding a period-correct telephone, the cord wrapping around her. “I love it!” said Triet.
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