Lifestyle
To become the 'Maestro,' Bradley Cooper learned to live the music
Bradley Cooper plays composer Leonard Bernstein in Maestro.
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Jason McDonald/Netflix
Bradley Cooper plays composer Leonard Bernstein in Maestro.
Jason McDonald/Netflix
As a child, actor Bradley Cooper was so fascinated by music conductors that he asked for a baton as a birthday gift. He remembers whirling his arms around in his bedroom — and feeling like a wizard.
“There was something magical about being able to physically move to a rhythm,” he says. “And then, in my imagination, [to] be able to perceive that I was actually harnessing and commanding that music. I mean, it was really like a magic trick, every time.”
Cooper channeled that energy as the co-writer, director and star of Maestro, a film about the internationally famous composer and conductor Leonard Bernstein. Widely considered the first great American conductor, Bernstein led the New York Philharmonic from 1957 to ’69, and also composed classical music, as well as music for Broadway and film.
Cooper says conducting as Bernstein in the film was tricky: “I had no desire to imitate what he was doing, because that would have been a soulless, in my experience, endeavor.” Instead, the actor consulted with conductor Yannick Nézet-Séguin, who helped him find his own rhythm on the podium.
Nézet-Séguin is the artistic and music director of the Philadelphia Orchestra, music director of the Metropolitan Opera Orchestra, and music director and principal conductor of the Orchestre Métropolitain in Montreal. Though he was 15 when Bernstein died, Nézet-Séguin refers to the conductor as, “hands down, always my greatest conducting model.”
“I always felt even when I was a teenager, that this is the way I wanted to express music on the podium, just expressing with all my body and not being shy of showing my emotions on the podium,” Nézet-Séguin says.
For Nézet-Séguin, Bernstein’s influence is both professional and personal. He notes that Bernstein’s sexuality — he was married to a woman but also had relationships with men — helped open doors for others in the classical music field.
“The fact that he lived this and didn’t hide it completely, well, it allowed people like [conductor] Michael Tilson Thomas or like me to now live it fully, have husbands,” Nézet-Séguin says. “This is … one of the many reasons why this film is so important. It’s not so much that it’s about a bisexual or a gay character, but more about how complex it is.”
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Interview highlights
On the centerpiece of the film, the final movement of Mahler’s “Symphony No. 2”
Nézet-Séguin: This, just from a logistics point of view, for a conductor, it’s the most complex. Now, this specific moment also comes at the very end of a very long symphony that’s about 90 minutes long. So you’re almost one hour and a half into blood and sweat and tears of some of the most soulful and profound music that’s ever been written. And as a conductor, you have to keep your mind cool because you need to still direct the traffic … well, but also be completely emotionally involved in the meaning of this music.
Cooper: There’s this incredible video of Lenny conducting this piece in 1973 in Ely Cathedral with the London Symphony Orchestra, which is exactly what we replicated. But I always knew that I wasn’t going to just imitate what he was doing. It was actually finding that middle ground. And Yannick was in particular so supportive of me, as Lenny, finding whatever that mode of conducting is, which was, of course, infused entirely by not only the interpretation of the score, which is what we did in terms of tempo, but also in terms of his gesticulating and all of that. But having it be original because the goal was to conduct in real time this piece and record it.
On the theatricality that Bernstein displayed while conducting
Cooper: Bernstein himself, he was often asked about his antics, as you know, on the podium. And he would always talk about how it was all about his relationship to the orchestra, and to the musicians that he was making music with, and not about him performing for the audience. … At any moment, [he] was always just completely in the music.
Nézet-Séguin: Maybe it’s something that Lenny had been accused of in his lifetime. Because, of course, he was a completely larger than life person and therefore a larger than life conductor. … Well, I can say really, like Bradley just said, that no orchestra in the world would respond to a conductor who would be theatrical in [that] way of performative for an audience. This is something that many people forget. They think that the conductor is so aware of the audience that they do something for them. But then orchestras smell that miles away and they stop looking at the conductor, and then therefore the conductor cannot have a career, or at least not a career in the scope that Bernstein did.
On Bernstein’s signature jumping on the podium while conducting
Cooper: Yeah, there’s wonderful photographs of him levitating above the podium and many recordings of one being able to hear his feet stomping on the podium after having been a foot in the air. So, yeah, that was one of his trademark sonic gifts to his conducting.
Nézet-Séguin: It’s still taught that conducting should be this and that, and in a box, and not too much of this, and not too much of that. And I don’t want here to insult any great conducting teachers around the world. They’re doing amazing work. But sometimes we forget that conducting is about just living the music. And at that moment, that’s what Lenny taught all of us in a way. At that moment, the music is jumping. … It’s almost like the whole world is waking up. So one needs to illustrate that and why not jump, you know? As long as it’s organic.
Cooper and Nézet-Séguin on the set of Maestro.
Jason McDonald/Netflix
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Cooper and Nézet-Séguin on the set of Maestro.
Jason McDonald/Netflix
On conducting with an open mouth
Nézet-Séguin: I cannot imagine conducting [with my] mouth closed, especially not when there’s a chorus. I mean, conductors, we don’t sing. … Lenny did that a lot and I think we all do it, because it’s kind of breathing. … It’s letting even more the sound feeling open, when we let our mouth open. … The arms are open, the heart is open, and therefore the mouth is just opening up — all that’s possible for one of the greatest climactic moments in the music.
Cooper: I did notice that I opened my mouth a lot, just conducting to a recording of anything. And thank goodness Lenny did that. In the video from 1973, as I recall, he’s only opening his mouth when he’s actually saying the words of Mahler’s “Resurrection” that the chorus is saying. … What’s in the movie is the last take. The way it went down is I really messed up the whole first day, because I had entered into it with fear and 99% of the movie I went into fearlessly. But I had set up all of these cameras really thinking that deep down I wasn’t going to be able to conduct it and I’d have to edit, create a scene out of in the editing room. And so I went into it already fearful. And obviously when you do that, you can be struck by fear and then not be able to succeed. And so I was behind tempo. I forgot to cue people and I messed up. And then the second day, which we weren’t even supposed to shoot that scene, I brought in the techno crane, which is a manner of filming from outside into the hall, and I created one single shot, which is what it always should have been. So because I really let loose that last take and I did an audible prayer in front of everybody to Lenny, thanking him and thanking them, and we did it one more time. And I really allowed myself true abandon and that’s why my mouth was open. And that’s sort of more than I would have liked – but it was so pure and real that I thought, “No this is it. This is it. And it is 100% authentic.”
Lauren Krenzel and Thea Challoner produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the web.
Lifestyle
‘Wait Wait’ for December 13, 2025: With Not My Job guest Lucy Dacus
Lucy Dacus performs at Spotlight: Lucy Dacus at GRAMMY Museum L.A. Live on October 08, 2025 in Los Angeles, California. (Photo by Rebecca Sapp/Getty Images for The Recording Academy)
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This week’s show was recorded in Chicago with host Peter Sagal, guest judge and scorekeeper Alzo Slade, Not My Job guest Lucy Dacus and panelists Adam Burke, Helen Hong, and Tom Bodett. Click the audio link above to hear the whole show.
Who’s Alzo This Time
Mega Media Merger; Cars, They’re Just Like Us; The Swag Gap
Panel Questions
An Hourly Marriage
Bluff The Listener
Our panelists tell three stories about a new TV show making headlines, only one of which is true.
Not My Job: Lucy Dacus answers our questions about boy geniuses
Singer-songwriter Lucy Dacus, one third of the supergroup boygenius, plays our game called, “boygenius, meet Boy Geniuses” Three questions about child prodigies.
Panel Questions
Bedroom Rules; Japan Solves its Bear Problem
Limericks
Alzo Slade reads three news-related limericks: NHL Superlatives; Terrible Mouthwash; The Most Holy and Most Stylish
Lightning Fill In The Blank
All the news we couldn’t fit anywhere else
Predictions
Our panelists predict what will be the next big merger in the news.
Lifestyle
L.A. Affairs: I had casually known her for 5 years. Was I finally ready to make a move?
In Fairfax, nestled on Beverly Boulevard near Pan Pacific Park, I ran a modest yet beloved pan-Asian restaurant called Buddha’s Belly. More than a place to eat, it was a gathering spot where our team and loyal regulars created an atmosphere of warmth and community. Every day, we exchanged stories about our guests, the generous, the quirky and the kind souls whose smiles lit up our little corner of L.A.
For five years, one regular stood out. The Buddha’s Belly team referred to her as “Aloha.” She had a familiar and beautiful face and she adored our shao bing finger sandwiches and pad Thai. During those five years, all I ever said to her was: “How’s your pad Thai?,” “Nice to see you” and “Thanks for coming in!” Her friendly smile and presence were the highlights of our routine interactions.
Then one hectic afternoon changed everything. Rushing to a meeting and about to leap into my car, I caught a glimpse of Lynda sitting at Table 64, smiling at me through our bamboo-lined patio (a.k.a. “bamboo forest”). I went over to say a quick hi.
“How’s your pad Thai?” I asked, and then I was off.
A couple blocks from the restaurant, I was struck by the feeling that our brief encounter was different this time. There was a spark — a look in her eye. So I did something out of character: I called the manager on duty and asked him to go to Table 64, Seat 3, and ask for her number.
The next day, I found a business card on my desk with Lynda’s cell number. It was on! That small gesture signaled the start of something extraordinary.
Eager to seize the moment, I called and invited her out for a date that same weekend. However, it was her birthday month, and that meant her calendar was booked solid for the next three to four weekends. Not wanting to let time slip away, I proposed an unconventional plan: to join me and an octogenarian friend at our annual opening night at the Hollywood Bowl. Little did I know this would turn out to be equal parts amazing and mortifying. My friend was so excited — she had no filter.
Shortly after picking up our dinner at Joan’s on Third, my friend started asking Lynda questions, first light questions like “Where are you from?” and “What do you do?” Then once seated at the Bowl, her questions continued. But now they were more pointed questions: “Have you ever been married?” and “Do you have kids?”
Amazingly, Lynda didn’t flinch, and her honesty, unfiltered yet graceful, was refreshing and alluring. She had been through life’s fires and knew that when it’s a fit, it should not be based on any false pretense. Although I did manage to get a few questions in that evening, I still chuckle at the memory of myself, sitting back, legs extended with a note pad in hand taking notes!
After dropping her off, she didn’t know if she would hear from me, as she didn’t know anything about me. But I didn’t wait three days to contact Lynda. I called her the next day to make plans to see her again. With it still being her birthday month, I asked her to join me that night for a surf film at the Ford with my best buddy. She said yes, and there we were on another chaperoned date.
By our third date, we were finally alone. We ventured to an underground gem affectionately dubbed the “Blade Runner” restaurant. Hidden on Pico Boulevard behind no obvious sign and characterized by hood-free mesquite grills and stacked wine crates, the place exuded a secret charm. Sharing a bottle of wine with the owner, our conversation deepened, and the electricity between Lynda and me became undeniable.
Our story took another turn when I was opening a new bar named Copa d’Oro (or Cup of Gold) in Santa Monica that was similar to a bar down the street called Bar Copa. The owner of Bar Copa invited me to discuss whether the concept was going to be too like his own. While we waited in the packed room, I instinctively put my hand around the small of Lynda’s back to steady us from the ebb and flow of the crowd of people around us. The intensity of our closeness and the energy between us was palpable, and we soon found ourselves at a quieter bar called Schatzi on Main where we had our first kiss.
Our courtship continued, and it would be defined by ease and grace. There were no mind games or calculations. One of us would ask whether the other was free, and it was an easy yes. Our desire was to be together.
I fondly remember being at a Fatburger not far from where Lynda lived, and I phoned her to ask if she wanted to sit with me as I scarfed down a Double Kingburger with chili and egg (yum!), and she said yes. By the time she arrived, I was halfway through eating the sandwich. But I was practicing a new way of eating a sloppy burger that my brother taught me. Why bother to continuously wipe your mouth when you’re only going to mess it up with the next bite? To save time and energy, wipe your mouth once at the end.
I was practicing this new technique with a smear of sauce on my face, and it didn’t faze her one bit. I could only imagine what her internal monologue was!
After six months of effortless companionship, I asked Lynda to move in, and a year later, while at Zephyr’s Bench, a serene and cherished hiking spot in the Santa Monica Mountains behind Bel-Air, I asked her to marry me.
Now, more than 17 years later, with two beautiful boys and our pandemic dog in tow, I can say I found my own aloha right here in the vibrant chaos of Los Angeles.
The author lives in Santa Monica with his wife and two children. They go to the Hollywood Bowl every chance they can. He’s also aspiring to make it into the Guinness World Records book.
L.A. Affairs chronicles the search for romantic love in all its glorious expressions in the L.A. area, and we want to hear your true story. We pay $400 for a published essay. Email LAAffairs@latimes.com. You can find submission guidelines here. You can find past columns here.
Lifestyle
‘The Mask’ and ‘Pulp Fiction’ actor Peter Greene dies at 60
Actor Peter Greene at a press conference in New York City in 2010.
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Actor Peter Greene, known for playing villains in movies including Pulp Fiction and The Mask, has died. Greene was found dead in his apartment in New York City on Friday, his manager and friend, Gregg Edwards, told NPR. The cause of death was not immediately provided. He was 60 years old.
The tall, angular character actor’s most famous bad guy roles were in slapstick and gritty comedies. He brought a hammy quality to his turn as Dorian Tyrell, Jim Carrey’s nemesis in the 1994 superhero movie The Mask, and, that same year, played a ruthless security guard with evil elan in the gangster movie Pulp Fiction.
“Peter was one of the most brilliant character actors on the planet,” Edwards said.
He went on to work steadily, earning dozens of credits in movies and on TV, such as the features Judgment Night, Blue Streak and Training Day, a 2001 episode of Law & Order, and, in 2023, an episode of The Continental, the John Wick prequel series.
At the time of his death, the actor was planning to co-narrate the in-progress documentary From the American People: The Withdrawal of USAID, alongside Jason Alexander and Kathleen Turner. “He was passionate about this project,” Edwards said.
Greene was also scheduled to begin shooting Mickey Rourke’s upcoming thriller Mascots next year.
Rourke posted a close-up portrait of Greene on his Instagram account Friday night accompanied by a prayer emoji, but no words. NPR has reached out to the actor’s representatives for further comment.
Peter Greene was born in New Jersey in 1965. He started pursuing acting in his 20s, and landed his first film role in Laws of Gravity alongside Edie Falco in 1992.
The actor battled drug addiction through much of his adult life. But according to Edwards, Greene had been sober for at least a couple of years.
Edwards added that Greene had a tendency to fall for conspiracy theories. “He had interesting opinions and we differed a lot on many things,” said Edwards. “But he was loyal to a fault and was like a brother to me.”
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