She stretches out her hand, her fingers long and slender as a pianist’s. “He proposed to me in Yellowstone,” she says. In April, during a 10-day RV trip across the American West, her boyfriend, Mark Foster, the 35-year-old lead singer of the indie pop band Foster the People, asked her to marry him. On her ring finger is a four-carat diamond set atop a band of tiny ones. She is wearing a white linen button-down blouse, denim shorts and wedge sandals. We meet on a rainy late-June day at Ponce City Market, an open-air shopping mall in Atlanta, Georgia, where Julia is filming the third season of Ozark, a gritty and cerebral show about family, socio-economic class and the Midwest. Kitty Green, the director of the forthcoming The Assistant, in which Julia stars as an employee of Harvey Weinstein, says, “When we were casting, we were looking for a lead who was not only an extraordinary talent but who also had a unique look that could cut through the drab fluorescent office lighting.” There’s a gap between her two front teeth. Her lips are thin (so rare, so retro) and usually emphasised by lipstick in man-eating red. At five feet four, she has a delicate frame but is not muscular. “She doesn’t look like anyone else.” Julia also doesn’t look like other twenty-something actresses.
“She’s unique,” says Lily Tomlin, Julia’s co-star in the independent film Grandma. She’s some hard-to-pinpoint mix of Jean Harlow, Marlene Dietrich and Marilyn Monroe, and like all of those women, she has a look that is distinctly her own.
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With her almond-shaped navy-blue eyes, dimples, and blond curls that frame her face like a golden aura, Julia might have emerged from a classic movie herself.
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“And then when I was 12,” she says, “Netflix started with the DVDs that they would send to you, and I remember watching Taxi Driver for the first time on my laptop in bed.” Julia watched – and loved – All About Eve when she was just nine years old. “I used to watch with my parents, who were big movie fans,” says Julia, who is 25 and has starred in a spate of indie films but is best known for her ingenious turn as Ruth Langmore, the teenage matriarch of a family of petty criminals in Ozark, Netflix’s hit drama. And if anybody should or could do it, it would be Madonna.As a child growing up in Riverdale, New York, Julia Garner, the second daughter of creative, cultured parents, watched a lot of classic movies. However, film is still a relatively new medium, so this should have been expected to transpire at some point. Nobody has yet made a multi-million-dollar movie so transparently about themselves. It is a project that will turn a lot of heads and raise a lot of questions about a self-written and directed biopic and not only the conventionality but ethics of laying your own story bare for the world.
The tone of Madonna's biopic is not known, but it can be expected to be an intense deep dive into the singer's personal world. Weird: The Al Yankovic Story was also aided by active involvement from its real-life subject, though Al Yankovic has made the biopic about his alter ego rather than himself. Evan Rachel Wood was cast to play Madonna in Weird Al's upcoming movie - Weird: The Al Yankovic Story - and it is not believed she had to undergo anything like the audition process Madonna herself rigged for her own film to get the part. Incidentally, the Weird Al Yankovic movie starring Daniel Radcliff that will be released on Roku later this year has something to keep us informed about Madonna's latest, potentially most massive endeavor.
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