I wanted the last scene to have a real contrast. It’s a few years later, but I also really wanted to show that Maggie had broken away from Alma’s spell, and she was coming into her own. We don’t know if she’s coming into her own or if she’s imitating someone else in her present life. But in any case, it really needed to be a big difference. So she’s wearing everything I said that I would not put in the rest of the film. So she’s wearing a dress, it’s printed, she’s wearing jewelry, feminine hair, and she looks beautiful. She always looks beautiful.

It’s interesting that you mentioned jeans, because Andrew Garfield’s character wears denim on denim. He’s literally wearing a shirt with a blue collar, but he’s trying to emulate this New England style, but can’t really get there fully.

He’s a young Harrison Ford: sexy, scruffy. He’s quite different from the other characters. He’s someone I imagine coming to where he is thanks to his good looks, and he knows it. I wanted to have this kind of confidence in him. That’s a similar confidence to Alma, but it’s just a completely different style.

He comes from a different background from Alma and her husband, and that’s quite obvious in the wardrobe, but he also has that kind of “I’m too sexy to try” type of thing. Even at dinner, he’ll wear the same thing he’s wearing during every other scene, but he just has a blazer on top of it, and his feet up on the couch.

Yeah, everything’s very loose and very lived in.

Yeah, exactly. He definitely wears the most worn-out pieces and vintage, and there’s a vintage Ralph Lauren in there and stuff like that.

I can’t remember if he’s the only character who wears jeans in the film. Is he?

Everybody’s wearing jeans! Alma wears white jeans, but she also wears blue jeans. Frederick [Michael Stuhlbarg], Julia Roberts’ husband, is the only one who is always in suits, Japanese suits. He’s always wearing these Japanese brands that I really like for menswear, like Comoli. His shirts are from Comme des Garçons, and the inspiration behind them was like Philip Glass and David Lynch and how they wear these button-up shirts with no ties, but the suits all have these beautiful Japanese fabrics from Japanese brands, which have a really nice look within the photography, and how they reflect and absorb light. He’s a cozy character. Everyone else is quite constrained.

I love to see Michael Stuhlbarg in anything. You worked with him on Call Me By Your Name.

Many times I worked with him, even on Bones and All. In Bones and All, he’s like, shirtless with overalls, and drunk and dirty in mud, and then Call Me by Your Name, he’s this very European dad. I’m sure that in Call Me By Your Name, there’s a lot of my own dad’s references in there, polo shirts and khakis and things. He’s very different here, and I love the idea of working with the same actors more than once, and I feel like playing dress up with them. It’s funny. I’ve worked with Michael three times. I worked with Chloë Sevigny three times, with Timothée [Chalamet] three times, and every time they look so different, and I get a kick out of seeing them in such different looks and how they can be changed into a character.