Jamie Oliver Says ‘Chefs Table: Legends' Episode Was 'A Bit Like Therapy'
The Netflix docuseries is composed of four episodes, each spotlighting a different culinary icon, with Oliver being featured alongside José Andrés, Thomas Keller and Alice Waters. The approximately 50-minute episode dives into Oliver's television beginnings with The Naked Chef and follows his journey from novice cooking show host to mentor to activist.
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'Early in my career, don't ask me why — I was genius or mad — but I started making all of my content. I set up a production company as a chef that didn't know what he was doing,' Oliver tells THR. 'I've always been in control, and this is the first time when I've been in no control,' he adds of filming the docuseries, which required him to be retrospective, calling it out as something 'the program wanted me to do.'
Having been full-on for the past 25 years, looking back isn't something Oliver has made time for. Of spending 12 hours chatting for the documentary, he jokes, 'My ass was definitely sore. I don't sit down much.'
The show's director, Brian McGinn, proved to be quite similar to the chef, Oliver learned after their 10 days together. But one of McGinn's biggest challenges, at least in Oliver's eyes, was unraveling his packed career. 'I felt sorry for him, really,' Oliver says. 'I had so much old content for him to go through.'
Oliver says he's proud of his Chef's Table: Legends episode, which covers several aspects of his life, including his commitment to education, whether it be through his former restaurant Fifteen — which trained young adults from disadvantaged backgrounds — or his series Jamie's School Dinners, which showed the chef's dedicated campaign to offering nutritious yet still tasty school meals to children in the U.K. Still, he says the episode was just the 'tip of the iceberg' of his career.
While his efforts thus far have focused heavily on the U.K., Oliver, who hails from Essex, England, feels it's important work that can be done elsewhere in the Western world. 'Every story I've told in the U.K. has been relevant in the U.S.,' he says. 'We're so different, but we're so similar, and we both can be blessed in so many ways to live in the countries that we live in with the opportunities that we have.'
The docuseries' message is a universal one, Oliver notes, in that food and nourishing oneself is always important. 'We've created all this content, and we'll continue to do that for free,' he says of his series. 'British and American kids deserve and need to be connected with food so that they can have choices when they become young adults and can be happier, healthier and live longer, more productive lives.'
This story first appeared in a June stand-alone issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe.
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Geek Tyrant
2 hours ago
- Geek Tyrant
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CNN
2 hours ago
- CNN
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'She's a real diva, in the most positive sense of this word,' said the Swiss artist Urs Fischer in a video call. 'She's also a bit of a mystery to me, despite knowing her for a long time.' Fischer met Karpidas more than two decades ago when he was in his twenties, participated in one of her Hydra gatherings in the mid-2000s, and has regularly attended art-world parties with her. Fischer noted her 'larger-than-life' presence: She's often in striking hats, cigarette in hand, and has the tendency toward telling grand stories and scrawling, multi-page handwritten letters, he said. 'When I think of any memory of her, she's always at the center of a place — she's not the person on the periphery,' he recalled. 'A mirror of her' Karpidas, originally from Manchester, was introduced to art collecting through her late husband, Constantine Karpidas, known as 'Dinos,' whose own eye was fixed on 19th-century art including Pierre-Auguste Renoir and Claude Monet. Then by meeting the art dealer Alexander Iolas, Karpidas found her own path. Iolas, nearly retired by that point, had been a formidable dealer of major 20th-century artists, particularly Surrealists, and his approach was the 'blueprint' for international mega-galleries such as Gagosian and Hauser & Wirth today, according to Barker. But with Karpidas' financial means and determination, he worked with her to build a singular collection of 20th-century art. Pauline with Constantinos Karpidas, known as Dino, who introduced her to art collecting when they married. Karpidas is part of the lineage of 'grande dames,' Barker said — the affluent 20th-century women who built social networks across the most prominent artists, fashion houses and designers of the time — and she may be the last of her kind, he noted. She was close friends with Andy Warhol and frequented his parties at The Factory, she was dressed by Yves Saint Laurent, and her homes were the efforts of prominent interior designers Francis Sultana and Jacques Grange. She's been compared to the late, great female patrons Peggy Guggenheim and Dominique de Menil, both of whom she knew. But though her counterparts' collections have become important cultural institutions, through Sotheby's, the bulk of Karpidas' collection will be disseminated across the art market. In her London residence, Fischer said, 'the whole space became one artwork. Every fragment of that apartment has its own little story.' While he's been in many homes of affluent collectors over the years, Karpidas' apartment stands out for how personal and exuberant it is. 'In some way, it's probably a mirror of her interest and her psyche,' he said. 'It's not just like a wealthy person's home. It's like a firework.' 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On the floor of LGDR (now Lévy Gorvy Dayan) in New York, he cast a sculpture of the collector gazing at a reproduction of the 2nd-century 'Three Graces,' an iconic Ancient Greek statue symbolizing beauty and harmony in art and society, which Karpidas purchased in 1989 before selling it to the Metropolitan Museum of Art. In Fischer's version, he rendered the three female nudes, as well as Karpidas, as life-size wax candles. All white except her dark oversized jewelry, the wax effigy of Karpidas looked to the sculpture she'd purchased decades before, all of the figures' wicks' aflame. Eventually, like many of Fischers' works, they all melted down, the fire winking out.