![]() I think he just thought that’s exactly who he was, this grand voice and elegant life. Because I don’t think it felt fake to him. He had to create himself to become who he really was meant to be. It’s interesting, the idea that somebody adopts a persona… I think he did curate himself, but at the same time, I do believe that that sort of in itself suggests that there’s a fakeness to him. It’s nice, that sort of culmination of the persona, if you like. And then you pull the black turtleneck over your head, and become the Halston people then came to know. Just to portray him to the audience so that people can get a sense of who this man was: people who do know who he was and people who have no idea, like myself.ĭEADLINE: There’s a pivotal moment in the first episode where you, as Halston, are looking in the mirror and you suddenly slick back your hair. And you’re not showing all of his life, but sort of the highlights, if you like, or the lowlights sometimes. I suppose working with Dan and working with Ryan scripts, we’re trying to show a man’s life. But I felt like I got him as right as I wanted him to be. And that’s all of him, it’s everything about him. If you’re playing somebody who’s been alive and who’s loved and respected, you’ve got a massive responsibility to get him right. MCGREGOR: He didn’t walk like me, so I had to walk like him. Atsushi Nishijima/NetflixĭEADLINE: One of the things you capture is Halston’s walk, how elegantly he moved through the air. There’s a very ‘meant-ness’ about the way he’s holding himself-that’s not a word-but he’s striking a pose, almost. And you could see how he wanted himself to be seen, almost. There’s that sort of steeliness in his eyes. But there was something about him in those photographs, where I just knew I had to play him. And that’s really how I ended up involved in the project anyway, because I met Dan and he showed me these incredible big blown-up photographs of Halston… I didn’t know who he was. And especially the photographs of Halston. ![]() I’ve always found that they’re very telling. I’ve done it a few times-playing people who have lived. And so, I watched a lot of that stuff and then tried to become him. He liked to shoot his workshop and he liked people to see him designing and fitting. And there’s a lot of footage of Halston, too. And then, of course, I worked with Dan on that, and I worked with Jeriana, the costume designer, on his look and his clothes, and that’s all informative. And I just tried to get a sense of who he was. ![]() I spoke to his friends that were surviving, although there’s not many left really. MCGREGOR: I watched a lot of interviews of him. But it was a tall order to do that.ĭEADLINE: How did you find the character to the point that you could embody Halston so comfortably on screen? So, it was very difficult to shoot, and the Covid people at the Netflix production were incredible and kept us all safe. And he was able to, especially during Covid, make a ’60s and ’70s New York come alive, against the odds, really, because we were shooting January to March in New York City, and then we were closed down, and then we came back later in September to December with the height of Covid there in New York City. And I really loved working with Dan Minahan on the series. "Few Countries Have Korea's Level Of Experience With Zombies": How The Creators Of Netflix's 'Zombieverse' Staged A Reality TV Apocalypse In SeoulĮWAN MCGREGOR: He was an amazing character to play.
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