Cara Delevingne's Festival Guide: 'If I'm Doing A Movie, I Put Having Glastonbury Weekend Off In My Contract'
Missing a year of Glastonbury Festival would feel like missing a birthday for Cara Delevingne. The British model and actor prioritises a weekend on Worthy Farm so much so that she gets it written into job contracts that she's not available for the June dates. Non-negotiable. 'It's the festival I've been to the most and it's the one I will go to forever,' she tells ELLE UK from her Los Angeles home.
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'Missing a year makes me feel like I'm missing my own birthday. That's what it feels like it's. if I'm doing a movie or something, I'll always put it into a contract.'
It makes sense that this festival fan is fronting Burberry's latest campaign, which champions Britain's long-standing love affair of days spent outdoors listening to music, from Glastonbury to Green Man.
'I grew up going to festivals and I grew up doing Burberry. I feel really grateful and very honoured to be in the campaign,' she admits. 'Burberry are just the loveliest people to work for and work with. It's always been that way. So, to come back to it, it's like coming home.'
Delevingne isn't alone as the Burberry line-up includes Liam Gallagher, Loyle Carner, Alexa Chung, and Lennon Gallagher, Molly Moorish-Gallagher and Gene Gallagher amongst it. 'It was honestly very surreal. It was like we're at a festival, but where you can play your own music,' Delevingne says of the impressive backdrop that echoes classic imagery of candid festival moments. 'It was kind of ideal. Sometimes when you're on shoots and they're like 'smile', and you have to force it, but this was actually me just having a f*cking blast.'
Delevingne appears in three looks in the campaign, made up of a consortium of festival-ready pieces that would easily fit into her own wardrobe. There was one piece that did travel home that day. 'Don't worry I was honest and said that I'm taking it. I do not wear skirts a lot, but it's a Burberry kilt,' she shares. 'I remember showing up to my sister's birthday in this kilt a couple of days later, and everyone looked at me because they hadn't seen me in a skirt since I was forced to wear one. I would never choose to wear a skirt, but a kilt is different. I am definitely taking with me for festivals.'
Festival memories run deep for Cara, but there's something about her first time attending in the summer she was 15 that stands out most. 'I think the first time going to a festival is just always the most insane thing.'
'The first time I went to Glastonbury someone's ticket was fake and we had to break someone in. Six of us were sleeping in a three-man pop-up tent, and it was absolute chaos. It felt like a real pilgrimage to find where we were going and to find our friends. And then finally you get there. I miss that part of festivals, obviously, maybe not the camping, but yes, squeezing everything in a pop-up tent. But I miss how hard it is to get it sorted and to get it done. When things are so hard, it does make the payoff so much better.'
Now in her early thirties things have changed. 'My back can't handle it,' she laughs. 'Also, being sober is so different at a festival. They tell you when you get sober that you won't feel like sh*t the next day, but you do because you stay up late. Anyways, I'm just old now and if go to sleep too late you just feel like ass.'
While the idea of a festival usually conjures images of massive sound systems set amongst otherwise peaceful green fields, there is so much more variety than this un the UK, whether it's Notting Hill Carnival or Pride.
'I try to live proudly all year round,' Delevingne says. 'Queer people are just the most not eccentric as such, but also just the most creative. There's no trying to be normal, which I feel like when you live suppressing something for so long, when you finally live freely and live who you are, you want to just be the most yourself you've ever been and I think that comes out in a way that queer people celebrate each other and celebrate being queer, because it really is all or nothing.'
As Pride month takes hold, Delevingne admits that this could be one of the most crucial in our lifetime so far. 'It seems throughout history that you take two steps forward and take three steps back. And I think that in these moments when we're being pushed back, we really just have to keep pushing forward and keep being represented and representing ourselves. That to me is the most important thing.'
'Okay, so I have a few essentials that I always bring now I'm a bit older, one is a camel pouch. It's small, it's sleek, you can put it under your jacket, just so you can have water wherever you go, shove electrolytes in there, whatever works.
I also always bring a head torch. I think there's something about getting lost in the dark when I was at Glastonbury in the first year, there's slightly traumatised me for life, because I bring a head torch wherever I go. Even if I go on holiday, I always bring one.
I never think it's a problem wearing the same thing twice at Glastonbury, just as long as you cover all bases, of, like, an umbrella that can be used in the rain or the sun. It doesn't usually rain, but you need to be prepared.
I don't like wellies unless it's raining. I do a lot of walking, and I like to move very far around the festival in a day. So, I prefer hiking shoes.
ELLE Collective is a new community of fashion, beauty and culture lovers. For access to exclusive content, events, inspiring advice from our Editors and industry experts, as well the opportunity to meet designers, thought-leaders and stylists, become a member today HERE.
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San Francisco Chronicle
42 minutes ago
- San Francisco Chronicle
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Elle
an hour ago
- Elle
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Lily is too busy getting it on with her ballerina crush, Diego, to pick up her mother's calls, but she and Herbert Jr. eventually land a joint meeting with Ms. Fingerhood. It doesn't go well. When the meeting is over, the teens are in a panic. Lily was told she's too well-rounded and shouldn't mention 'that I'm Asian or adopted,' and Herbert Jr. was told to not to mention lacrosse and to have 'more relatable African-American experiences.' It's funny because that is what colleges want—kids to lean into stereotypes and exploit their trauma in their applications. At least Anthony is doing well. He just landed a brick-and-mortar spot for his dream Hotfellas Bakery, complete with baguette-shaped door handles and 'crotch-level' countertops. Miranda's new reality fixation might just get her a date. (Do you guys think she's watching the new season of Love Island too?) She and the waitress making her and Carrie's guacamole can't stop gabbing about the drama on their favorite show. 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Erica Gonzales is the Deputy Editor, Culture at where she oversees coverage on TV, movies, music, books, and more. She was previously an editor at There is a 75 percent chance she's listening to Lorde right now.
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3 hours ago
- Los Angeles Times
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The Times' news and culture critic Lorraine Ali spoke to the group about the emotional fallout of a heavy scene, the art of defying expectations and more. Read highlights from their conversation below and watch video of the roundtable above. Many of you move between drama and comedy. People often think, 'Drama's very serious and difficult, comedy's light and easy.' Is that true? Banks: I think the degree of difficulty with comedy is much higher. It's really hard to sustainably make people laugh over time, whereas [with] drama, everyone relates to loss and pining for love that's unrequited. Not everybody has great timing or is funny or gets satire. Henry: There's something fun about how closely intertwined they are. In my series, I'm playing a heroin addict running for my life, and I have this codependency with this friend … There's a scene where I've been looking for him, and I'm high out of my mind, and I find him in my attic, and all he's talking about is how he has to take a s—. And I'm like, 'But they're trying to kill us.' You just see him wincing and going through all these [groans]. It is so funny, but at the same time, you're just terrified for both. There's always humor somewhere in the drama. Banks: There's a reason why the theater [symbol] is a happy face/sad face. They're very intertwined. Renée, with Bridget Jones — how has she changed over the last 25 years and where is she now with 'Mad About the Boy'? Zellweger: Nobody's the same from one moment to the next, one chapter to the next and certainly not from one year to the next. It's been a really interesting sort of experiment to revisit a character in the different phases of her life. What I'm really grateful for is that the timing runs in parallel to the sort of experiences that you have in your early 20s, 30s and so on. With each iteration, I don't have to pretend that I'm less than I am, because I don't want to be the character that I was, or played, when she was 29, 35. I don't want to do that, and I certainly don't want to do that now. So it was really nice to meet her again in this place of what she's experiencing in the moment, which is bereavement and the loss of her great love, and being a mom, and trying to be responsible, and reevaluating what she values, and how she comports herself, and what's important and all of that, because, of course, I relate to that in this moment. Stephen, 'Adolescence' follows a family dealing with the fallout of their 13-year-old son being accused of a brutal murder. You direct and star in the series. What was it like being immersed in such heavy subject matter? Did it come home with you? Graham: We did that first episode, the end of it was quite heavy and quite emotional. When we said, 'Cut,' all of us older actors and the crew were very emotional. There were hugs and a bit of applause. And then everyone would be like, 'Where's Owen?' [Cooper, the teenage actor who plays Graham's character's son]. 'Is Owen OK? Is he with his child psychologist?' No, Owen's upstairs playing swing ball with his tutor. It was like OK, that's the way to do this — not to take myself too seriously when we say, 'Cut,' but when I am there, immerse myself in it. Let's be honest, we can all be slightly self-obsessed. My missus, she's the best for me because I'd phone her and say, 'I had a really tough day. I had to cry all day. My wife's died of cancer, and it was a really tough one.' She goes, 'The dog s— all over the living room. I had to go shopping and the f— bag split when I got to Tesco. There was a flat tire. They've let the kids out of school early because there's been a flood. And you've had a hard day pretending to be sad?' Bardem: I totally agree with what Stephen says. You have a life with your family and your children that you have to really pay attention to. This is a job, and you just do the job as good as you can with your own limitations. You put everything into it when they say, 'Action,' and when you're out, you just leave it behind. Otherwise, it's too much. Certain scenes, certain moments stay with you because we work with what we are. But I think it doesn't make you a better actor to really stay in character, as they say, for 24 hours. That doesn't work for me. It actually makes me feel very confused if I do that. On the show 'Monsters' I tried to protect Cooper [Koch] and Nicholas [Alexander Chavez], the actors who play the children, because they were carrying the heavy weight on the show every day. I was trying to make them feel protected and loved and accompanied by us, the adults, and let them know that we are there for them and that this is fiction. Because they were going really deep into it, and they did an amazing job. Elizabeth, in 'The Better Sister,' you portray Nicky, a sister estranged from her sibling who's been through quite a bit of her own trauma. Banks: I play a drunk who's lost her child and her husband, basically, to her little sister, played by Jessica Biel. She is grappling with trauma from her childhood, which she's trying not to bring forward. She's been working [with] Alcoholics Anonymous, an incredible program, to get through her stuff. But she's also a fish out of water when she visits her sister, who [lives in a] very rarefied New York, literary, fancy rich world. My character basically lives in a trailer park in Ohio. There's a lot going on. And there's a murder mystery. I loved the complication … but it brought up all of those things for me. I do think you absolutely leave most of that [heaviness] on set. You are mining it all for the character work, so you've got to find it, but I don't need to then infect my own children with it. Sacha, you have played and created these really gregarious characters like Ali G or Borat. Your character in 'Disclaimer,' he's not a character you created, but he is very understated. Was that a challenge? Cohen: It took me a long time to work out who the character was. I said to [director] Alfonso [Cuarón], 'I don't understand why this guy goes on that journey from where we see him in Act 1.' For me it was, how do you make this person unique? We worked a lot through the specificity of what words he uses and what he actually says to explain and give hints for me as an actor. A lot of that was Alfonso Cuarón saying, 'Take it down.' And there was a lot of rewriting and loads of drafts before I even understood how this guy reacts to the news and information that he believes about his wife. Jenny, 'Dying for Sex' is based on a true story about two friends. One has terminal cancer, and the other — your character — supports her right up until the end. Talk about what it was like to play that role in a series that alternates between biting humor and deep grief. Slate: Michelle Williams, who does a brilliant job in this show, her energy is extending outward and [her character] is trying to experiment before she does the greatest experiment of all, which is to cross over into the other side. My character is really out there, not out there willy-nilly, but she will yell at people if they are being rude, wasteful or if she feels it's unjust. [And she's] going from blasting to taking all that energy and making it this tight laser, and pointing it right into care, and knowing more about herself at the end. I am a peppy person, and I felt so excited to have the job that a lot of my day started with calming myself down. I'm at work with Michelle Williams and Sissy Spacek and Liz Meriwether and Shannon Murphy and being, like, 'Siri, set a meditation timer for 10 minutes,' and making myself do alternate nostril breathing [exercises]. Brian, many people came to know you from your role as Paper Boi in 'Atlanta.' The series was groundbreaking and like nothing else on television. What was it like moving out of that world and onto other projects? Henry: People really thought that I was this rapper that they pulled off the street from Atlanta. To me, that's the greatest compliment … When I did 'Bullet Train,' I was shocked at how many people thought I was British. I was like, 'Oh, right. Now I've twisted your mind this way.' I was [the voice of] Megatron at one point, and now I've twisted your mind that way. My path in is always going to be stretching people's imaginations, because they get so attached to characters that I've played that they really believe that I'm that person. People feel like they have an ownership of who you are. I love the challenge of having to force the imaginations of the viewers and myself to see me in a departure [from] what they saw me [as] previously. Because I realize that when I walk in a room, before I even open my mouth, there's 90 different things that are put on me or taken away from me because of how I look and how I carry myself. Javier, since doing the series are you now frequently asked about your own opinions on the Menendez case? The brothers claim their father molested them, and that is in part what led to them murdering their parents. Bardem: I don't think anybody knows. That's the point. That was the great thing about playing that character, is you have to play it in a way that it's not obvious that he did those things that he was accused of, because nobody knows, but at the same time you have to make people believe that he was capable. I did say to Ryan [Murphy] that I can't do a scene with a kid. Because in the beginning, they do drafts, and there were certain moments where I said, 'I can't. It's not needed.' The only moment that I had a hard time was when [Jose] has to face [his] young kid. It was only a moment where Jose was mean to him. That's not in my nature. Henry: I discovered, while doing my series, 'My body doesn't know this isn't real.' There's an episode where I'm shot in the leg, and I'm bleeding out and I'm on all this different morphine and drugs and all this stuff, and I'm literally lying on this ground, take after take, having to mime this. To go through the delusion of this pain ... in the middle of the takes, it was just so crazy. I would literally look at the crew and say, 'Somebody hug me! Somebody!' Stephen, that scene where you confront the boys in the parking lot with the bike, I was just like, 'Oh, my God, how many times did he have to do that?' This kid gets in your face, and I was like, 'Punch the kid!' My heart went out to you, man, not just as the character but as you being in there. Graham: Because we did it all in one take, we had that unique quality. You're using the best of two mediums. You've got that beauty and that spontaneity and that reality of the theater, and then you have the naturalism and the truth that we have with film and television. So by the time I get to that final bit, we've been through all those emotions. When I open the door and go into [Jamie's] room, everything's shaken. But it's not you. It's an out-of-body experience and just comes from somewhere else. Bardem: Listen, we don't do brain surgery, but let's give ourselves some credit. We are generous in what we do because we are putting our bodies into an experience. We are doing this for something bigger than us, and that is the story that we're telling. What have been some of the more challenging or difficult moments for you, either in your career or your recent series? Zellweger: Trying not to do what you're feeling in the moment sometimes, because it's not appropriate to what you're telling. That happens in most shows, most things that you do. I think everybody experiences it where you're bringing something from home and it doesn't belong on the set. It's impossible to leave it behind when you walk in because it's bigger than you are in that moment. Banks: I would say that the thing that I worked on the most for 'The Better Sister' was [understanding] sobriety. I'm not sober. I love a bubbly rosé. So it really did bring up how much I think about drinking and how social it is and what that ritual is for me, and how this character is thinking about it every day and deciding every day to stay sober or not. I am also a huge fan of AA and sobriety programs. I think they're incredible tools for everybody who works those programs. I was grateful for the access to all of that as I was making the series. But that's what you get to do in TV. You get to explore episode by episode. You get to play out a lot more than just three acts. Stephen, about the continuous single shot. It seems like it's an incredibly difficult and complex way to shoot a series. Why do it? Graham: It's exceptionally difficult, I'm not going to lie. It's like a swan glides across the water beautifully, but the legs are going rapidly underneath. A lot of it is done in preparation. We spend a whole week learning the script, and then the second week is just with the camera crew and the rest of the crew. It's a choreography that you work out, getting an idea of where they want the camera to go, and the opportunity to embody the space ourselves. Cohen: That reminds me of a bit of doing the undercover movies that I do because you have one take. ... I did a scene where I'm wearing a bulletproof vest. There were a lot of the people in the audience who'd gone to this rally, a lot of them had machine guns. We knew they were going to get angry, but you've got to do the scene. You've got one time to get the scene right. But you also go, 'OK, those guys have got guns. They're trying to storm the stage. I haven't quite finished the scene. When do I leave?' But you've got to get the scene. I could get shot, but that's not important. Henry: There's a certain level of sociopathy. Slate: I feel like I'm never on my mark, and it was always a very kind camera operator being like, 'Hey, Jenny, you weren't in the shot shoulder-wise.' I feel like such an idiot. Part of it is working through lifelong, longstanding feelings of 'I'm a fool and my foolishness is going to make people incredibly angry with me.' And then really still wanting to participate and having no real certainty that I'm going to be able to do anything but just make all of my fears real. Part of the thing that I love about performance is I just want to experience the version of myself that does not collapse into useless fragments when I face the thing that scares me the most. I do that, and then I feel the appetite for performance again. Do you see yourself in roles when you're watching other people's films or TV show? Graham: At the end of the day, we're all big fans of acting. That's why we do it. Because when we were young, we were inspired by people on the screen, or we were inspired by places where we could put ourselves and lose our imaginations. We have a lot of t— in this industry. But I think if we fight hard enough, we can come through. Do you know what I mean? It's people that are here for the right reasons. It's a collective. Acting is not a game of golf. It's a team. It's in front and it's behind the camera. I think it's important that we nourish that. Henry: And remember that none of us are t—. Bardem: What is a t—? I may be one of them and I don't know it. Graham: I'll explain it to you later.
