Jennifer Lawrence is the cover star of the Holiday issue of Vanity Fair magazine. The issue brings a new interview and photoshoot.
Cover Story: Jennifer Lawrence, Star without a Script
The bar of the Plaza Athénée, an elegant Upper East Side hotel, is empty save for an elderly French couple sipping Bordeaux at two P.M. when in bursts a tall blonde crackling with energy. It is Jennifer Lawrence, wearing a black cashmere sweater, jeans ripped at the knee, and black boots, her platinum hair chopped into a chic bob. Delicate gold jewelry circles her wrists, neck, and fingers, and her most pronounced accessory, a security team, looms nearby.
She orders tea and explains, “I am playing a ballerina in my next movie, so my first step is not drinking alcohol for every meal of the day. Obviously I’m still drinking every day,” she adds, in the same engaging, infectious manner America has come to love.
While most millennials are navigating student debt and entry-level employment, Lawrence, who turned 26 in August, hasn’t so much achieved the Hollywood dream as crushed and re-invented it by blazing an unprecedented career trajectory. In the past five years, she has won an Oscar (in 2013, for Silver Linings Playbook), earned three additional nominations (for Winter’s Bone, American Hustle, and Joy), collected three Golden Globes, gone full superhero in the $4-billion-grossing X-Men series, and fronted the nearly $3-billion-grossing Hunger Games franchise. With her next film, Passengers, Sony’s science-fiction romance, opening December 21, Lawrence has joined Julia Roberts in an elite league of actresses who have commanded $20 million for a movie. (Lawrence will also reportedly receive 30 percent of the film’s profits after it breaks even.) While Roberts reached this paycheck peak when she was 32 (for Erin Brockovich), Lawrence has already done so, a mere six years after skyrocketing out of obscurity. (For additional perspective, Passengers marks Lawrence’s 20th film, while Meryl Streep did not appear on-screen in a feature film until she was 28.)
With her franchises behind her, Lawrence has lined up a flurry of roles to fill the next chapter of her career: the aforementioned Russian ballerina (turned spy) in Red Sparrow, directed by The Hunger Games filmmaker Francis Lawrence; war photographer Lynsey Addario in It’s What I Do, directed by Steven Spielberg; and Elizabeth Holmes, the controversial founder of the scandal-plagued Silicon Valley health-technology company Theranos, in Bad Blood, written and directed by Adam McKay. She also has a role in Mother, a home-invasion horror movie directed by Darren Aronofsky, which was shot last summer in Montreal. “I don’t like waking up with nothing to do or going to sleep without accomplishing anything,” Lawrence says. “That really depresses me.”