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Played by Driver, Maurizio is spurred on by his wife to become everything he resented. Leto plays Paolo, the son of Rodolfo’s brother Aldo (Al Pacino), who fancies himself a fashion designer and potential successor but whose ideas and manner embarrasses the family. Jared Leto loves a good transformation, as exhibited by his latest performance in Ridley Scott’s “House of Gucci” — where he’s unrecognizable under layers of prosthetics as Paolo, the black sheep of the fashion family. The Oscar-winning actor (who won an Academy Award in 2014 for “Dallas Buyers Club”) is a fan of “dancing on the edge” as he’s building a character. “Let’s try and fail here,” Leto tells himself before shooting a scene.
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I bow in the presence of genius.” It was so touching to hear that from Al Pacino, one of the greats. I thought, If he can look at me and see and believe in that character, then we’re off to the races. He’s the kindest, most gentle, generous actor maybe I’ve ever worked with.
Casting
"It changes the way you walk, the way you talk, the way you move," says Leto, who also channeled close personal experiences with people who died from AIDS into Rayon's nurturing persona. "I felt it was my duty to do whatever I could to add as much truth to the role as humanly possible." "I immediately saw [Paolo] as a dreamer, the black sheep of his family, someone never really heard," Leto says. He felt an "immediate connection" with Gucci, who was hired (and fired) by both his father and uncle. His tale becomes entangled within an even more complicated narrative of a family plagued by bitter infighting, as his cousin Maurizio (Adam Driver) is ultimately murdered by an assassin contracted by Maurizio's ex-wife, Patrizia Reggiani (Lady Gaga). When Leto transforms himself for a film, the performance doesn't always end when the camera stops rolling.
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A former art student reared on sculpture, he sees the act of chiseling his looks as a vital tool, even if the changes aren't immediately noticeable—like his 2021 turn as a suspected murderer opposite Denzel Washington in The Little Things. Leto confirms that he made tweaks to the character's physicality—everything from his eye color to his teeth to the shape of his nose—though he's careful not to reveal any specifics. Despite the grim tone, Leto listened to his gut and amplified "a lot of humor" while playing the heavily accented, purple-suit-wearing dandy. Working with Oscar-winning costumer Janty Yates, Leto advocated for Paolo's wardrobe to "celebrate color" via extreme patterns and fabrics from Naples; he also underwent hours of makeup and prosthetic work each day. He became so invested in the production that he had to fight back tears the moment Scott wrapped Leto on his final day. "Only in Paris do you get chestnuts falling from the sky."
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Covering his face in prosthetics still prompts fear in Leto, who had a claustrophobic experience while making a mold for his character's badly bruised face at the end of 1999's Fight Club. Yet, Gucci was enticing enough for the actor to go bold. LETO When you play a real person, it’s important to do your due diligence, to bring to life an impression of that person with as much dignity and grace as you can muster. Paolo Gucci was a public person, and it was important to have a representation of him — it’s never going to be Paulo Gucci.
An eccentric rich person that is a little off is, frankly, the most believable part of the story, though that could be why those close to Paolo Gucci take offense to the portrayal. Paolo Gucci is extra, Jared Leto’s performance is extra and, yes, his insistence on method acting would be described by some as extra. Say what you will about Leto’s methods, but his performance is great because it compensates for the many subdued performances we see in House of Gucci.
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LETO I watched Border, and you could tell there was the work of a master craftsman there — there’s a genius at work. Then I started asking around town, and everyone had wonderful things to say about Göran. If you got to look at every tiny liver spot, every bit of sun damage, every flake of skin, every mole that was put on the face, it’s quite astounding. If [Göran had] made it two-dimensional, he’d be painting an image every day, over and over again.
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But in the same way that I would look at articles and talk to friends and family and do research, the same thing is happening externally as well as internally. You go on a journey, and you become a detective. You’re looking at someone’s earlobes, at their hairline, where he may be losing hair or when his hair went gray. You become an author, in a sense, and you try to write the best story that you can.
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Much of this is not documented in the movie which is based on Sara Gay Forden’s book about Patrizia Reggiani’s (Lady Gaga) murder of ex-husband and fashion scion Maurizio Gucci (Adam Driver). Shortly before his death, Paolo declared bankruptcy with debts around $90M. As the movie portrays, the son was integral in turning in sensitive information which implicated Aldo, leading to his papa’s arrest in 1986.
Maybe I probably shouldn’t, but until you prove to me that I shouldn’t, I’m going to give it a shot. In Variety‘s Up Next, we asked four Oscar winners to pick the one person who represents the future of Hollywood. In one scene in House of Gucci, he let me have it, and I’ll tell you, it’s ferocious.
You don't know if you start hearing that stuff as a kid and then you take on the attributes. Some of the stereotypical attributes and characteristics are true. I'm very committed, very focused, but so are lots of people.
Leto gained 67 pounds to play Mark David Chapman, the man who shot John Lennon, in 2008's Chapter 27. What were the conversations you had about Jared’s comfort when he wore the prosthetics? I’m sure part of the process is making something that doesn’t impede an actor’s performance. We had pictures of Paolo that we used as a guide. But it took me a long time to understand that Jared didn’t want to be recognizable.
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