This year has brought an unusual sense of community in LA, especially for Edebiri, who faced evacuation in January due to wildfires (her own home remained safe, though many friends and colleagues were not as fortunate). By the time of our initial conversation, downtown LA had recently experienced a curfew amidst protests against ICE and the âNo Kingsâ movements.
ME, YOU, AND EVERYONE WE KNOW
Edebiri posing with her friend and photographer Tyler Mitchell, alongside her dog, Gromit. She is dressed in a Louis Vuitton top, shorts, and belt, while Mitchell sports Dior. The Parsons Armchair is from Howe.
This challenging period strengthened the friendship between Edebiri and Roberts, who shared several emotionally complex scenes in the film. âWe transformed from relative strangers to friends in no time; it felt surreal,â Roberts expressed via email. âBeing around her is truly remarkableâthe way she thinks and communicates is incredibly engaging.â Guadagnino recounted a day when a power outage halted production: âI couldnât edit, shoot, or do anything. Then I received a message from Ayo and Julia inviting me to join them at an amusement park.â
For Edebiri, the toughest day on set involved a scene that they hadnât rehearsed thoroughly. During a pivotal confrontation at the university, Maggie, driven by anger, slaps Almaâa moment that Roberts insisted be real. âIt was daunting,â Edebiri recalls. âI had to slap literally the most talented person, Julia Roberts.â
By then, Edebiri had engaged in multiple discussions with both Roberts and Guadagnino, which led her to feel the emotional and narrative significance of the scene. The final piece was learning to let goâa central theme of the filmmaking journey. âThere were times when Luca would challenge me, saying, âI see you overthinking or trying to justify it. But Maggie, although sheâs smart, follows her emotions.ââ
Guadagnino had given assignments to his cast, and for Edebiri, one was to watch Ken Russellâs Women in Love; she was to focus especially on Glenda Jacksonâs portrayal of the strong and unapologetic Gudrun. This proved beneficial: âWatching it made me realize that Maggie might be misunderstood,â she notes. âThereâs freedom in accepting that people might dislike or not comprehend her actions.â Leading up to the filmâs premiere in Veniceâwhere Edebiri wore a chic off-white bouclĂ© suit and a striking red dress with playful ruby buttons from Chanelâshe hoped the audience would approach the film with depth, rather than reducing it to mere like or dislike.
This ties back to what Edebiri mentioned earlier about her evolving relationship with fame and how it impacts her work. As her audience expands, the stakes of her endeavors in both stand-up and acting have transformed. âMany artists can become mere characters or ideas to the audience,â she reflected. âWhen they step outside that expectation, it’s met with confusion: âWhatâs going on? Do we still like this?ââ
It appears that she is entering a new phaseâone defined by the improvisational principle of yes, and⊠For instance, Edebiri is developing a film centered on Barney, the beloved purple dinosaur. (âI think itâs going to be excitingâ is all sheâll disclose for now.) She is also collaborating on a feature with Boyceâher co-writer on âWorms,â a standout episode from the fourth season of The Bear. âI remember feeling during the first season that this was someone I wanted to collaborate with throughout my career,â reflects Boyce about Edebiriâand she also names Keke Palmer and Teyana Taylor as potential future collaborators.
She concludes sincerely: âItâs such a joy to deepen self-awareness. I am thankful for the chance to explore what truly matters to me. Not too long ago, I felt I had limitless time. Now, with the loss of dear onesâa close friend passed two years backâand with my parents aging, amid the worldâs chaos⊠I feel like Iâve passed through a threshold.â