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For Corey Hawkins, the marathon is just beginning
For Corey Hawkins, the marathon is just beginning
Despite starring in hit movies, being nominated for two Tony awards, and working alongside legends like Samuel L. Jackson and Denzel Washington, Hawkins is just hitting his prime
So much about Corey Hawkins’ career feels scripted, as if he’s been running a steady marathon.
The pace has been unhurried, but it’s been aligned with purpose. He’s been deliberate in the projects he takes on. And this month, so much of that alignment comes to fruition. Hawkins is the first on the call sheet in a feature film — a first for him — in Andscape’s The Man in My Basement.
Hawkins constantly pushes himself — physically, physiologically — and his biggest competitor is himself. On the road. On set. On the theatrical stage. Or wherever else you might find him.
It’s been a decade since Hawkins, 36, got his first taste of fame — and depending on how you look at it, his first taste of freedom, too — after he brought a young Dr. Dre to life in Straight Outta Compton, the 2015 musical biopic that told the origin story of hip-hop super group NWA.
Trained at The Juilliard School, a world-renowned performing arts institution in New York City, Hawkins studied alongside future superstars like Oscar nominee Danielle Brooks and learned from alums like Jessica Chastain who came back to talk to the would-be thespians. At Juilliard, Hawkins braced himself for a long, well-thought-out, enduring career.
As an actor, he was prepared to work on or off the Broadway stage because that’s where he felt alive. Theater was where everything was pure, authentic and made his heart race the same way it did when, years later, he discovered the world of distance running. When Hawkins’ feet hit the pavement, somehow, someway, he would work to last the 26.2 miles to pull ahead and soar in the physical and mental challenge of simply outlasting himself, drawing against his breath and eventually crossing the finish line
At this point – again, a decade in – Hawkins’ credits and collaborations feel like an incredible list of the top visionaries and leading Hollywood talents. It’s peppered with famed actors like Samuel L. Jackson and Denzel Washington, and directors like Spike Lee, Joel Coen, and Jon M. Chu. He also recently wrapped a Christopher Nolan film, The Odyssey, that’s due next year that’s paired him with Hollywood elite, including Matt Damon, Charlize Theron, Lupita Nyong’o and Zendaya.
And that’s just the short list.
make it shakespeare
If a marathon is 26.2 miles, and if the 15-mile marker is that physical and mental turning point that tells a runner that you’re deep in the race, Hawkins might surprise you when he estimates where his career is at this moment.
“I’d say I’m just hitting my stride at mile five,” he said without hesitation. “And for some people, that’s more than a 5K, you know what I mean?”
“So it’s an accomplishment, but you still have so many more miles to go?” I asked.
He nodded.
“I got miles – miles,” he said with emphasis, “to go.”
Straight Outta Juilliard
It’s been time for Corey Hawkins to be here.
Ten years ago, Straight Outta Compton surprised everyone. The film was a gritty, niche music biopic that was cast with relatively unknown actors in the lead roles, and it was set in the world of gangsta rap. None of this should suggest that the film would live comfortably in the summer blockbuster landscape. But the film’s box office dominance suggested otherwise. It opened at No. 1, grossing more than $60 million its opening weekend, which far exceeded expectations. Ultimately, Straight Outta Compton earned more than $200 million worldwide, which made it the highest-grossing musical biopic at the time.
Part of what fueled the movie’s success was that it arrived smack dab in the center of the rise of the Black Lives Matter movement. It struck a cultural nerve and was incredibly timely given that the film dealt with police brutality, free speech, Black identity, and artistic rebellion.
It was a cultural moment.
“I was coming off of graduating from Juilliard, and in my head, navigating the industry meant just being on Broadway — that was the goal,” Hawkins said. “At that point, I had done one Broadway show, so for me, the world kind of opened up and I was like, ‘Oh, well, what’s this film thing over here?’ I was doing Romeo and Juliet on Broadway. I didn’t think I could play Dr. Dre.”
And what he was doing on Broadway was notable. Hawkins was one of a few Black actors who had been cast in a beloved Shakespearean work, which hadn’t happened in years. And he was making that history alongside Condola Rashad and Chuck Cooper. It was a dream. And he was happy living in it.
Hawkins first met Danielle Brooks in 2007, when they were auditioning for the school. They were in final callbacks in New York, and Brooks was taken with how talented he was — noting that he can act, sing and dance. Brooks’ breakthrough came in 2013 as Tasha “Taystee” Jefferson in Netflix’s series Orange Is the New Black, a critically-acclaimed hit that came two years before the world would be introduced to Hawkins.
“Even though my visibility might have popped before his, he was always giving me advice in the middle of [my journey] anyway because Corey was kind of creeping into the industry before I was,” said Brooks, who earned an Oscar nomination for her work in 2023’s The Color Purple, where she played opposite Hawkins.
“Even when we were in school. I remember him doing a reading with Don Cheadle where they flew him out to LA! He was the first one out of our class to get an agent and a manager before we even did our final showcase our senior year,” Brooks continued. “So he’s always been ahead of the game. It just took Straight Outta Compton for people to know that he was popping.”
When Hollywood came a’calling for Hawkins to explore portraying Dr. Dre, there was clear interest, but filmmakers weren’t quite sure if he was right for this role.
“There was some hesitance about this classically trained Black dude,” Hawkins said. “[But] my dad sold drugs. Mom was a cop. I knew what that was.”
“Wait. What? Are you serious?” I asked him.
“Oh yeah,” he said. “[My parents were] born the same day, same year, same hospital, met up 18 years later, had me and then went …” he trailed off.
“In different directions?”
He nodded. “Yeah.”
On his resume was Juilliard and Shakespeare. But the first act of Hawkins’ story deserves a stage of its own. He grew up in Washington D.C. and spent time in Maryland’s Prince George’s County. He split time in both places because his father lived mostly in southeast D.C., which battled economic disinvestment, high rates of poverty, crime and underfunded schools. His mother’s parents were in PG County, which is a center of Black excellence and affluence.
“You get put into this box,” Hawkins said. “And I remember having producers come up to me and go, ‘You know this is the streets, right? You got to make sure you…” And then they’d give him some “tips” about how to navigate the hood.
But the script flipped soon afterward because perhaps he played the role of Dr. Dre too convincingly. Well that intermingled with society’s difficulty with understanding that a Black man can be several things at once, and move in between several worlds while doing it.
“Post-Compton people come up and they go, ‘We don’t know if you can do the other side. We don’t know if you can do Shakespeare.’ So it’s interesting seeing how the world tries to usher you into certain zones,” Hawkins said. “But for the most part it was — especially for me and Jason Mitchell — eye-opening. We hadn’t really crossed into that world in terms of a studio film, having the support. Having Dre, Cube, all of them on set — it was wild, it was magical, it was … wow.”
But Hawkins’ career didn’t come with a blueprint. So, what was the next move? What does one who was previously unknown, then gets cast in a movie that outperforms studio and industry expectations do after all of this?
He tried to keep his expectations low, but his goals high.
“I don’t expect much of this industry. And I didn’t expect much of it because I didn’t really understand what the industry was or how it worked and what heat was and this project leads to this. And that narrative, I think, can be dangerous,” Hawkins said.
“But I did have that narrative in my head, especially after the success of Compton. It was the highest grossing music biopic of all time, and these little Black kids were part of that — who no one really knew, who a lot of people doubted in the same way that a lot of people doubted NWA and what they could do.
“I always say, if NWA wasn’t a real group, no one would make that movie. No one would go, ‘Oh yeah, one becomes a billionaire, one becomes a movie mogul. This guy died of AIDS – dramatic.’ And Black kids from Compton? But it happened.”
Because of that success, Hawkins allowed himself to anticipate the next move.
“I did expect things to open up,” he said. “I did expect roles and … the kind of soul-searching characters that I was used to playing at Juilliard, theater stuff. I wanted that on the film side, and it wasn’t there.”
For a moment, Hawkins did what most young actors do when they find themselves in his situation: They ride the wave. He immediately signed on for the reboot of the beloved TV franchise 24, where he played the main role of Eric Carter in 24: Legacy. The show premiered in 2017 right after the conclusion of Super Bowl LI and became the most-watched episode in the franchise’s history.
The show only lasted one season, but its cancellation didn’t deter Hawkins much. That same year, he had a role in Kong: Skull Island that featured an impressive cast of Tom Hiddleston, Samuel L. Jackson, John C. Reilly and Brie Larson. The film was another well-reviewed box office success and earned an Oscar nomination for visual effects.
And then he went back home. To Broadway.
Christopher Polk/Variety via Getty Images
Hawkins was cast in the 2017 limited engagement Broadway revival of Six Degrees of Separation, and worked alongside Allison Janney and John Benjamin Hickey.
And perhaps his biggest champion for that move was Jackson, whom Hawkins shared chats with in Australia while they were filming Kong.
“Sam is also one of those cats who came from the theater,” Hawkins said. “He came from the Negro Ensemble Company, him and [his wife] LaTonya. So we talked about a lot of that stuff and how to continue to mix that up, how to continue to – especially when you are in an industry that doesn’t necessarily see you, see what you’re capable of – the best place to go back to. The most freeing place for me to go back to is the stage, because there’s no hiding there, there’s no running away.
“Once you finish a film, you sort of give that over to someone else to either make or break a performance. And there’s a lot of trust that’s involved. There’s a lot of trust in theater as well. But from the moment you step on that stage and the lights go low and the audience is sitting there, people are unwrapping the candy, and that collective experience is sacred to me, and not too many people can do it,” he continued.
“That’s where you separate the wheat from the chaff. And I’ve seen people try, but they just can’t hack it. And it becomes a bit of a drug. It becomes a bit of an adrenaline rush to get back to the stage and prove your mettle, to test your mettle,” Hawkins said.
“You can get so comfortable. It was very cushy. The money, the ease, traveling, that life you get is so jaded. But you go back to the theater where you’re making $500 off Broadway a week barely before commission and taxes. It reminds you of the hustle and why you do it,” he continued. “Six Degrees of Separation was that for me. I wanted to tackle something that felt like a character study, that felt like I could really get behind the eyes of somebody I didn’t quite understand and wrestle with it for weeks and weeks until the day we closed.”
Hawkins needed that moment, especially as he was collecting credits and hearing the early chatter about what his career could be. Jackson explained that the industry was once looking for the next Sidney Poitier, and essentially the four-way-race included him, Denzel Washington, Forrest Whitaker and Laurence Fishburne.
“Everybody can’t be that dude!” Jackson quipped with a laugh.
The conversation now is does Hawkins have the fortitude to be the next Denzel or Samuel L. Jackson — you know, the type of actor who, when you hear their name attached to a project, the industry immediately starts buzzing about award worthiness, sight unseen.
In Jackson’s case it’s that, plus being — until recently — the highest-grossing actor of all time. (Scarlett Johansson recently edged him out by a mere $580 million, pennies considering both of them top $14 billion in box office totals.)
“Corey has a great assortment of skills — skills,” said Jackson, repeating the word with emphasis. “Everybody kind of carves their own space, and I think he’s done that. Interestingly enough, there aren’t a lot of people who can do what he’s done. He did Shakespeare on screen with Denzel. No one else has done that! And he’s going toe-to-toe with Willem Dafoe in his next movie, The Man in My Basement.
“Corey has challenged himself and he’s done a variety of things — being Dr. Dre and being in Kong Skull Island with me. And to go from a drama to a comedy, to go to Broadway and do a hit show in Top Dog/Underdog. Corey is super versatile. And people are totally beginning to realize that. And they’ll know who he is,” Jackson said.
Because of the quick fire way with which Hawkins was introduced to the world, by way of a groundbreaking and financially successful film in Straight Outta Compton, fronting a TV series (Jackson nicknamed him Black Bauer, like the original 24 lead character, on the set of Kong once the news of the series broke) the world opened up to him even if it didn’t open in the way he imagined it would.
“To be honest, I have this sort of thing where I start to feel a bit like a fraud,” Hawkins said. “You’re out there and you’re doing these things, but you don’t know if it’s the heat. You don’t know if it’s the success and the heat that’s bringing that on, or we know it’s a heat driven business as long as people are talking about you, people want to know, people want you to do this because of that.
“But I wanted to make sure that I wasn’t losing the rigor, the gift, the training. And really, I had teachers who would talk about Broadway being the Olympics of acting for a lot of people. That’s where you go, that’s the height of it, and if you can do it there, you can do it anywhere,” he continued. “But I do think a little bit of that success, a little bit of that imposter syndrome started to set in and I had to go back and kind of go, ‘Do I still want to do this? Is this how I want to do this?’
"Corey has a great assortment of skills" Samuel L. Jackson
“In a world where a lot of my peers aren’t doing that, going back from genre to genre to TV to stage, and the problem with that though is that it can break up the momentum, it can hinder you if you don’t necessarily get the Tony nomination. Or even if you do, just that success, that string of things can kind of jump into theater, can kind of set you back a little bit too from the industry standpoint. But I’m not going to sacrifice that,” Hawkins said.
And, he didn’t.
In 2022, Stacey Sherrell Scott, a Juilliard classmate, started working as Hawkins’ acting coach in the Broadway revival of Suzan-Lori Parks’s Pulitzer Prize-winning play Top Dog/Underdog. In that production, he acted alongside Yahya Abdul-Mateen II and they played brothers Lincoln and Booth — yes, named by their father for the former president and his assassin. Hawkins’ work there was magnificent with critics calling it transcendent. Hawkins ultimately earned a Tony nomination for the role.
“Theater is important to him because that’s where he’s the freest,” Scott said. “You can do anything in theater. His impulses are beautiful. Even though he plays mysterious, he’s a very goofy, funny, amazing man, and his impulses are beautiful. And I think that’s a part of the reason why he loves live theater. That’s just the core of who he is and a part of where he lives in his acting. You can trust him.”
inside the fit
styling corey
Wardrobe by Jared Depriest. Words by Britni Danielle.
Starring and steering
The Man in My Basement is Hawkins’ first time as a leading man in a feature film.
It’s also the first time he’s produced his art.
The film is based on the Walter Mosley novel of the same name and also stars Willem Dafoe, a decorated actor who, like Hawkins, has spent much of his career working with auteurs and fellow accomplished artists. In the film, Hawkins’ character is stuck in a rut and is at risk of losing his family’s home, which seems to be the only thing he has of value in his life at the moment. Dafoe is a mysterious stranger who offers him a deal that’s difficult to turn down. And what transpires is a trippy, dark thriller that in many ways feels like you’re watching the live theater that Hawkins admires and thrives in so much.
Some of that is by design. It’s the directorial debut for Nadia Latif, who also co-wrote the film and comes from the theater world. Hawkins, Dafoe and the rest of the cast — which includes the talented Anna Diop and classically trained Tamara Lawrence — have spent time on the stage as well.
“There’s no better people to go toe-to-toe with than the theater people because they get it,” Hawkins said. “We’d be in rehearsals cursing and just trying to wrestle with the thing, and sometimes at odds with each other trying to figure out the best version of this. And sometimes that was me relinquishing my ideas of what I think the thing should be, because ultimately [Latif] wrote it and it’s her baby.
“So as a producer, as an actor in it, I was like, ‘I just want to get behind and lift her and support her in this venture.’ As a Black woman taking that step, watching her do this, I was just like hats off to what she was able to accomplish. She was so free in that process, too. I was just watching her navigate these meetings and conversations, and all of these things, and still taking care of these characters. And the story was really special.”
Hawkins talks about Latif the same way he talks about the filmmakers he’s spent the last decade working with — full of admiration and respect and not really acknowledging much that this truly is her first time out the gate. It’s noticeable enough that I comment on it and he shares a beloved gem he got from a mentor a few years back.
“I’ll ask about projects or check in with [Denzel] just to be like, ‘What do you think about that or this?’ And his thing at the end of the day is trust the pilot,” Hawkins said. “When you get on a plane, you implicitly trust that that person’s going to get you to where you want to go. And if you have any doubt, you’re not getting on that plane, right?
“If there’s any doubt that he doesn’t know what he’s doing, you’re not getting on the ride. And so whatever those doubts might have been, I think the reward outweighs their risk.”
The film opens at one of the industry’s most important events, the Toronto International Film Festival. TIFF is one of the festivals that plays a critical role in setting the tone for Hollywood’s awards season. It’s the unofficial start to Oscar season, and many films that have premiered there go on to receive – and win – major nominations. Nomadland, which was nominated for an Academy Award in 2021, was produced and starred in by Frances McDormand. It had its debut at the festival.
And as far as his budding career as a producer, Hawkins is taking a page from McDormand’s book.
“I always approach things with curiosity. I want to understand what kind of producer I want to be. I’ve talked to Frances McDormand about it as well,” Hawkins said. “They’re shooting a film in Scotland right now and she’s like, ‘And this is how I’m navigating producing and stepping,’ because there’s different kinds of producers, and you have to learn the kind of producer you want to be or if it’s even for you. And I don’t want to just be a producer in name: start a shingle and then have a bunch of projects that I’m developing and taking around town. I have friends going, ‘Bro, you said you wanted to do it. Here’s an opportunity. Step into it and step into it fully.”
Performance with a punch
There aren’t many actors who can spar with Denzel Washington. We can all pretty much count on one hand — and maybe not even need an entire hand, to be honest — the number of actors who can stand toe-to-toe with Washington as a scene partner.
I mentioned that to Hawkins and he smiled, knowing where I was about to go. I’d mentioned something similar to him four years ago after I saw a screening for The Tragedy of MacBeth, the Joel Coen film that received so much industry attention because it was the rare solo effort he wrote and directed without his brother Ethan, and also because of the ridiculously talented cast he assembled for the visually stunning piece of cinema.
The film is an adaptation of the Shakespeare play and stars Washington and McDormand — the former was nominated for his portrayal of the titular character. Hawkins was cast as MacDuff, who is the heroic antagonist.
“As much as we’ve celebrated him and his work,” said Brooks, “we’re still quite behind.”
Brooks’ admiration for Hawkins is awe-inspiring. She even tears up at one point thinking about working with him on the 2023 adaptation of The Color Purple — she was Sofia, he was Harpo — and said he was the first person she called when she got the role. Being scene partners in a big budget, highly anticipated studio adaptation of a beloved piece of work was a dream realized. And Brooks earned her first Oscar nomination for the role while playing across from her friend? All the more amazing.
“He is one of the greatest actors of our generation. I think he is working his way to being one of the Denzels and Sidney Poitiers and Sam Jacksons,” Brooks said. “I really believe that. But he’s also forging it in his own way and on his own path. He’s always been a leading man, but I really admire that he’s gone on a course and not rushed the process of it all. Because he’s right where he’s supposed to be.
“I’m just glad that he finally is becoming the person that I’ve always known him to be. Even in school, he was playing MacBeth and I was playing Witch Number 3 — not Lady M! He’s always been a leading man!”
Hawkins’ scenes with Washington felt like an intense, dynamic boxing match you’re watching on Pay Per View. Even though the camera is capturing the most intense blows, your eyes dance all over the screen, not quite sure where to land.
“We had about five weeks of rehearsal, which is so rare, with Joel Cohen with Fran, Denzel, me and Moses before the Brits came in,” Hawkins said. “We were reading all the parts together in this dusty old room on the Warner Brothers lot, and we were … watching them make mistakes, watching Denzel do sh-t that I was like, ‘Huh. Well, that’s an interesting choice!’
“Like you [are] watching a friend make crazy off-the-wall, bold choices, watching these two masters and watching how the sauce gets made gave me the freedom to go, ‘Oh yeah, you can make mistakes, you can take these risks, you can jump out there.’ And that’s why they are who they are,” he added. “That’s why they built the marathon of a career. And that’s how I look at it as a marathon, really, because they’ve been able to play like that.”
And then when it came time to put those words into action … well, you can imagine how surreal this was for Hawkins.
“[Denzel] raises your level of gamesmanship. He pushes you and pushes you in more ways than one. He forces you to dig deep,” Hawkins said. “And I just appreciate that because there’s a lot of people who are just phoning it in. He didn’t have to go as hard as he did and make that. He didn’t even have to do that at this stage in his career or him going back to Broadway and doing Othello.
“The choices that those artists make are sort of emblematic of who they are in their careers,” he said. “And so to be able to do that with those two, it was just like a light bulb kind of went off, and I was like, this is the kind of thing I want to do.”
Paris marathon
inside the race
Words by Cornell Jones
The marathon continues
Hawkins wasn’t very good at basketball.
He grew up playing football because his grandfather was a coach. And he loved the professional football team in Washington. But he wasn’t very good at that sport either.
Hawkins knew he was an artist early on, and so did most everyone around him. Still, he played football for his grandad and discovered there was a component of the sport that he enjoyed: running.
“Running was always an outlet where it really is you against you,” Hawkins said. “There’s something about that freedom of going at your own pace, the freedom of … as long as you put one foot in front of the other, you can’t do any wrong. You just have to keep moving.”
Years later, as Hawkins processes his career and where he finds himself at this time, his love for running pairs nicely with his chosen profession.
Hawkins reverted to that love of running in the summer of 2023 when the labor strikes shut everything down in Hollywood. During the work stoppage, a few of his friends signed up for a marathon. But he didn’t immediately join in. The writers’ strike lasted longer than anyone expected, and eventually Hawkins looked around, shrugged his shoulders, laced up his shoes and attempted a jog.
“I’m not saying I’m going to run it, but I’m not saying I’m not going to run it. I’ll just see where I get to,” he told his buddies, who all signed up for the Seville Marathon in Spain, where they would run to raise money for a charity aimed at ending homelessness.
By the time the marathon rolled around near the start of 2024, the labor strikes had ended and Hollywood was back to work. And Hawkins had signed on to do The Man in My Basement. Because he had fallen in love with running daily, they planned the film’s shooting schedule — which was happening in Wales — around the date of the marathon.
The shoot wrapped on Feb. 16.
He flew to Spain on Feb. 17.
And he ran 26.2 miles on Feb. 18.
He finished that one, limping the final 11 miles because he injured his leg during the race. But Hawkins finished.
Earlier this spring, he ran the Paris Marathon while filming the Nolan film. It was the second full marathon he’d run and he learned a few things in the time between the two races.
And next year, he’ll run in Tokyo.
“The thing about running is that you literally can’t get ahead of yourself,” Hawkins explained. “And when you’re acting, you disappear. There is that thing for actors: They say 98-99% of the time you run on technique. It’s doing what you know. But there’s that 1% of the time that you disappear, and it’s so elusive, you’re constantly trying to chase that thing. And when you’re running, that runner’s high is a very real thing.
“And you might be doing a five-mile run, you might be doing a 15-mile-long run, but for one mile in there, two miles if you’re lucky, maybe a quarter of a mile, your brain just goes somewhere else and you disappear and you’re in the flow. And when you find that thing as an actor, it’s gold. You can’t talk. It’s that mystery thing that we all chase, but the only way you can access it is if you’re prepared. If your instrument is prepared, your body is ready for it.”
Hawkins’ instrument is ready. And his process, requiring patience and integrity, has been the tonic for the long game.
It’s why he has that endurance now.
“Corey has gotten so much critical acclaim. However, I don’t even think he’s touched the recognition that is to come because I’ve seen him in the theater, I’ve seen him on the small screen, I’ve seen him on the big screen,” said actor Gail Bean, who recently appeared alongside Hawkins in Netflix’s The Piano Lesson. “And he has so much more in his instrument to give that people haven’t even seen yet.
“I think it’s important that he remains patient and stays the course, because honestly, we haven’t seen all that he has to offer,” Bean continued. “He’s not selfish in his art. Whether it is something like Dr. Dre in Straight Outta Compton, whether it is Top Dog/Underdog, whether It’s The Piano Lesson, he will unselfishly give and bear it all. And I think the best is yet to come.”
Hawkins isn’t running this race solo. He has a crowd of people — those who he acts alongside and those who consume his art — cheering him on, waiting for him to cross the finish line and collect his prize.
And he’s aware.
“I just got this community — people who are just running alongside me. I look to my right and my left, and I’m like, ‘Oh, we’re doing this as a community,'” he said, pausing to process the nugget he just dropped.
Hawkins picks back up: “But I also recognize the responsibility of what I have and,” he said, pausing slightly and confidently, “the talent.”
Because that’s there, too. A whole lot of it.
Watch the film, The Man in My Basement, on Hulu starting Sept. 26.
crew credits
Jason Aidoo, VP and Head of Andscape.
Andscape editorial team: Dwayne Bray, Britni Danielle, Anna Gramling, John “Gotty” King, Harry Pickett, Sabrina Clarke.
Andscape social and video team: Cornell Jones, Brandon Meyer, Josh Miller, Maurice Curry.
ESPN: Rob Bentley, Jason Black, Rob Booth, Jessi Dodge, Heather Donahue, Mark Medaglia, Aspen Rogers, Tony Spinelli, Beth Stojkov, Jeremiah Swartz, Erik Threet.
Developed by Fueled. Illustrations by Yay Abe. Props by Sarah Webster. BTS video by Seth Grant. BTS Photo by Tony Spinelli. Additional Hair by Jess Butanowicz/Distinct Artistry and Makeup by Jen Provost/Distinct Artistry. Additional studio work by Xander Taylor/4Wall. Paris video by Holari Gravier and Jean-Baptiste Charles. Additional imagery from Getty, Everett, “The Man in My Basement.”
Looks
Sweater outfit: Jacket and pants by Lafaurie. Sweater by Golden Goose. Shoes by Tods. Glasses by Ilesteva. Jewelry by David Yurman.
Workout outfit: Clothing by Jordan. Shoes by Nike. Glasses by Carrera.
Flannel Outfit: Jacket by Billy Reid. Flannel, T-Shirt and Jeans by Levi. Shoes by Converse.
Orange Suit: Tracksuit and tank by Nike. Shoes Jordan by Nike. Glasses by Carrera. Watch by Zenith.
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