Nicole Kidman Covers Harper's Bazaar US October 2021 by Collier Schorr AOC Fashion

American-born, Australian actor and producer Nicole Kidman covers the October 2021 issue of Harper’s Bazaar US. Stella Greenspan chooses a rich collection of fashion and Bulgari jewelry from Balenciaga, Burberry, Dior, Dolce & Gabbana, Max Mara, Prada, The Row, Valentino and more. Collier Schorr [IG] photographs the 5’11” tall actor with creative direction by Laura Genniger./ Hair by Tamas Tuzes

Amanda Fortini speaks trans-Pacific with Kidman on the degree to which prestige TV has fueled a stunning period of reawakening and reinvention in the interview ‘The Golden Age of Nicole Kidman’.

If you’re a Nicole Kidman fan, the interview is 5-stars. Amanda Fortini shares a compendium of Kidman’s current projects and it’s a long list. The exchange probes Kidman’s deep psychological involvement in her characters, a reality that also impacts her family. The actor has spoken previously on this topic, one that is accentuated by a profound empathy that she has for humans generally.

Kidman’s visceral ability to feel her surroundings and people deeply — reading the room intuitively and not in a calculating, rational-mind manner — has placed her in the flow with American television writer and producer David E. Lynch. Kelley is involved in ‘Big little Lies’, ‘The Undoing’ and Hulu’s ‘Nine Perfect Strangers’.

“Her characters in these series are difficult, often inscrutable women who, in less skilled hands, would not be remotely sympathetic: spoiled women, insufferably out-of-touch women, a woman who defends her murderous husband, another who oversteps her guests’ boundaries and, at times, infringes upon their safety,” writes Fortini.

Rereading the interview for the third time, I don’t find throwaway paragraphs. Especially if you are a creative, each segment will speak to you.

“I suppose the artist spirit, a lot of times, is saying, ‘I don’t care what it’s gonna cost me as a human being, because my thrust is deeply artistic,’” Kidman says, pulling her hair down and putting it up again. She tells me that while filming the intense marital altercations in Big Little Lies, she would come home with bruises and have to explain to her young daughters where they came from. “And that’s probably just a massive push-pull in any person who’s a painter, a writer, you know?” she says contemplatively, treating the notion with the gravity it obviously holds for her. “If you’re really dedicated to it over a lifetime, that push-pull will collide with your existence and your connections with your family and all the people in your life. How much will that cost them? How much will it cost you personally? And how important is that artistic contribution?”