“Don’t Worry Darling” was in the spotlight from the start. And that was long before Harry Styles got involved.
It was a film that everyone wanted to make — some 18 studios and streaming services courted a chance to work with her on her second film as a director: A mid-century psychological thriller about a housewife, Alice (Florence Pugh), who begins to question her picture-perfect life and the mysterious company her husband Jack (Styles) works for.
But it hasn’t stopped making headlines in two years, from Shia LaBeouf’s abrupt departure (he was replaced by Styles) to the paparazzi-fueled intrigue surrounding Wilde and Styles’ off-camera relationship. Then there was the bizarre moment earlier this year when Wilde was served custody papers by ex Jason Sudeikis, with whom she shares two children, in the middle of a presentation to thousands of exhibitors in Las Vegas.
Even last week, LaBeouf, who faces court next year over abuse allegations by Hi Ex, FKA Twigs, decided to challenge two-year-old narratives that he was fired. He gave emails and texts to entertainment industry Variety to prove his case that he had quit. The result is buzz that can’t be bought, but also incessant tabloids and TikTok gossip – all for a movie that’s not even out yet.
But soon the conversation will return to the film itself: Don’t Worry Darling will have a glamorous debut at the Venice International Film Festival on September 5 before hitting theaters nationwide on September 23. Also, Wilde doesn’t care about what brings people to the theater — as long as they go.
Wilde recently spoke to The Associated Press about her vision, her disagreement with the jury and why Alice is the heroine we need now. The comments have been edited for clarity and brevity.
AP: What were some of the big ideas you wanted to explore?
WILDE: I wanted to do what (writer) Katie (Silberman) and I always describe as a Trojan horse movie: something that’s nice and fun on the outside, but once you crawl inside, it’s actually much more complex and possibly real interesting challenging. I also really understood that this would be an opportunity for an actress to really move. It was a heroine I wanted to see on screen. I wanted to create a character with an actress that would represent the kind of woman that I think our society needs.
AP: You originally wanted to play the role of Alice. Were you happy with that decision to step down and take a supporting role?
WILD: Oh yes. No part of me would want it any other way. I think what Florence did with this role is uniquely brilliant. This character is a heroine for eternity. And she as an actress is that rare combination of the dramatically adept, the comedically brilliant, and an action hero who can walk like Tom Cruise. What actress can pull off stunts and perform incredible emotional acrobatics so effortlessly with an accent that isn’t even hers? Like, come on. It’s like juggling upside down on the wing of an airplane.
AP: You’ve talked about some of your stylistic influences, from Slim Aarons’ photography to Adrian Lyne’s erotic thrillers. What were some other touchstones?
WILDE: I’m a big fan of 1950’s iconography and a lot of art, architecture, cars, music. This was an opportunity to just really play in this world. The architectural influence of (Richard) Neutra can be found throughout the film. (Cameraman) Matty Libatique and I were really inspired by Alex Prager and her photography and the idea of creating fear through the design and this artificial world that would be incredibly tempting until you look very close.
And I’m always making endless playlists and watchlists and reading lists. It was a really fun compilation of material. People said: what kind of movie is this? You want me to watch Requiem for a Dream and The Truman Show and Gentlemen Prefer Blondes and you want me to read The Feminine Mystique but also Jordan Peterson?
AP: Booksmart was very open about female sexuality and Don’t Worry Darling is already provoking controversy over some of the sex acts shown in the trailer. Was that a struggle to even include that?
WILD: Oh yes. Some things had to be taken out of the caravan. The MPA hit me and the trailer hard at the last second and I had to trim some shots which I was annoyed about because I thought they took it one step further. But of course we still live in a truly puritanical society. I think the lack of eroticism in American film is something new. Then when it comes to female pleasure, unless you’re talking about queer cinema, we just don’t see it very often. You know, it’s interesting because in a lot of queer movies, the female characters are allowed to have more fun. Audiences aren’t as puritanical as companies think they are. And yet people get upset. I mean, people are already mad at me for that. I think it’s a testament to the film. We want to provoke. The idea isn’t to make you feel safe.
AP: This is also a movie that grabbed the spotlight from the start, which caused both buzz and gossip. What was it like for you as a filmmaker?
WILDE: Every filmmaker longs for people to see their film. That’s all you want is for people to see it. If, for whatever reason, people get excited about a movie, hope it gets them at the door. Whether you’re a 1950’s car fanatic and that’s what will bring you to this film, or you’re just going because you’re a fan of our incredible cast, all I care about is that you get the chance have to see it and I hope that people will then have the instinct to share it. What I really hope is that people see it again. I think it’s a real second watch movie. There are a lot of Easter eggs in there.
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Follow AP film writer Lindsey Bahr on Twitter: www.twitter.com/ldbahr