{"id":135593,"date":"2026-05-21T12:53:36","date_gmt":"2026-05-21T15:53:36","guid":{"rendered":"https:\/\/ubirataonline.com.br\/lakeith-stanfield-on-i-love-boosters\/"},"modified":"2026-05-21T12:53:39","modified_gmt":"2026-05-21T15:53:39","slug":"lakeith-stanfield-on-i-love-boosters","status":"publish","type":"post","link":"https:\/\/ubirataonline.com.br\/en\/lakeith-stanfield-on-i-love-boosters\/","title":{"rendered":"LaKeith Stanfield on \u2018I Love Boosters\u2019"},"content":{"rendered":"

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I first met LaKeith Stanfield in 2018, when I was enlisted to write a short profile of him for AmericanVogue. <\/em>After making a name for himself as a laconic scene-stealer in films such as Short Term 12<\/em>, Get Out<\/em>, and as a central player in Donald Glover\u2019s critically beloved television series Atlanta<\/em>, the 26-year-old had finally been given a starring role. The film was Sorry to Bother You, <\/em>a radical black comedy from musician turned writer-director Boots Riley, and it had taken that year\u2019s Sundance Film Festival by storm. Familiar, by then, with both Hollywood\u2019s machinations and their deleterious effects on a young actor\u2019s developing brain, I remember hoping, as I waited on an unprepossessing Brooklyn street to meet him, that the star on the rise wouldn\u2019t be too enraptured by his own ego (or too handled by his team of publicists and managers) to be a good interview. <\/p>\n

Then Stanfield appeared, loping down the street, unfettered by any representative. He invited me into his nearby rental apartment, and proceeded, in the generous manner of a university student having a deep-and-meaningful, to unfurl his thoughts and feelings in his living room: about art and his pursuit of it; his early beginnings in rural California as a young person who felt like energy was just bursting out of his skin (\u201clike I was much more than what was confined in this body\u201d); his take on the then unprecedented times we were living through (unfortunately, these have since become a precedent). He was what you would call \u201ca good hang\u201d: curious and open in conversation, seemingly unaffected by the buzz around his career. He was both interesting and interested, if not always particularly easy to follow. Most important for my purposes, he was not a total jerk, or even a partial one.<\/p>\n

So when Esquire <\/em>asked if I wanted to talk to him now, on the cusp of his reunion with Riley for the director\u2019s much-anticipated second film, I Love Boosters<\/em>, I wondered: eight years, countless achievements (a burgeoning music career, one Oscar nomination) and life developments (including three kids and a marriage, to the mother of the third, model Kasmere Trice in 2023), was that still true?<\/p>\n

Short answer? Yes. <\/p>\n

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\n
\n

Esquire<\/span><\/figcaption><\/p>\n<\/div>\n<\/div>\n<\/section>\n

In January, Stanfield arrived on Esquire<\/em>\u2019s Los Angeles set \u2013 a peculiarly small, largely abandoned residential development with a view of an oil refinery in the city\u2019s southwesternmost tip \u2013 much like he had on that Brooklyn street corner: solo. No publicist, no manager, no entourage. This is so unusual in this context that at first some of the team mistook him for an interloper. (\u201cI was like, wait, is that him<\/em>?\u201d one crew member told me.) Stanfield, known for his adventurous personal style, was game for the clothes: when I arrived, he was being photographed in a bus-stop shelter wearing oversized floral print shorts, brandishing a pair of ski poles like a pair of swords. <\/p>\n

\u201cLaKeith has an energy that feels both spontaneous and composed,\u201d Jonathan Anderson, creative director of Dior, wrote in an email to me. \u201cHe\u2019s an actor\u2019s actor, with a remarkable range, bringing something unexpected and magical to every role.\u201d Later, as the sun set, Stanfield held up an enormous clock in the gloaming, Alice\u2019s white rabbit style, for the final shot. <\/p>\n

\n

\u201cIn every character, you find parts of you,\u201d Stanfield tells me as we sit down near the complex\u2019s empty outdoor swimming pool as the team pack up. \u201cYou\u2019re either unlocking and bringing to the surface parts of you that maybe lie dormant, or you\u2019re stretching parts of you to come to understand another point of view\u2026 there isn\u2019t anything that isn\u2019t you.\u201d <\/p>\n

\n

Stanfield seems uncalcified by the intervening years since our first interview. He tells me he isn\u2019t sure he\u2019d be alive if he hadn\u2019t been able to act. \u201cI wanted to perform and I knew I was going to somehow. I had no doubt. And I think that you can\u2019t<\/em> really have doubt. I think you\u2019ve got to know that there\u2019s no other option.\u201d You need ambition, he says, the kind that\u2019s bordering on delusion. \u201cLike, I\u2019ve got to run through that door. I\u2019ve just got to get through it. And I know that I will. I know that I already have it.\u201d <\/p>\n

He could see it \u2013 even in those early years when he was trying desperately to break into acting, couch surfing and at one point living in his car, he could picture everything. \u201cI was like, I\u2019m going to have a house. I\u2019m going to have a wife. I\u2019m going to have dogs. It\u2019s going to be all those things. And for some reason I believed it.\u201d <\/p>\n

\n
\n
\"person<\/p>\n
MICAIAH CARTER<\/span><\/figcaption>

Jacket, \u00a37,500; shirt, \u00a31,100; both Dior<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n

Stanfield is currently three days into a personal-improvement regimen called 75 Hard. The programme consists of 75 days of five non-negotiable daily rules: follow a strict diet, complete two 45-minute workouts (one outside), drink a gallon of water, read 10 pages of nonfiction, and take a progress picture. He\u2019s made some adjustments, he says, like adding in an additional 10 pages of fiction per day. It is less about the physical results for him than it is about discipline, he adds. He\u2019s been inspired by the new year and its rush of resolutions: he believes in the stars and their cycles, that timing matters. He is a Leo, and says he recognises in himself many of that star sign\u2019s traits. (\u201cThat totally tracks: confident, creative, charismatic\u2026 basically always on stage,\u201d an astrologer friend tells me later.) <\/p>\n

Now that Stanfield has gotten with his programme, he isn\u2019t finding himself reaching for his phone until a few hours into the day: instead of being inundated with the cortisol-spiking news cycle, he has time alone with his own thoughts in the morning. \u201cNegativity seems to win,\u201d in terms of what sticks in the mind, he says. \u201cYou\u2019ve got to make a conscious effort to save your own grace, save your peace: take a piece of you, put it in a safe, and then don\u2019t let it be touched by the influx of information that we\u2019re getting.\u201d He turns to thank the production assistant who returns his beaded crystal bracelets, an exterior effort at this same protection from bad energy. The actor looks up with a shrug as he slides on one made of evil eye beads. \u201cI\u2019m trying to put more good in so more good can come out.\u201d <\/p>\n

\n
\n
\"person<\/p>\n
MICAIAH CARTER<\/span><\/figcaption>

Shirt, \u00a35,900; trousers, \u00a3980; mules, \u00a3850, all Dior<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n

Good that\u2019s newly come out: I Love Boosters<\/em>. Boots Riley\u2019s sophomore effort is a radical romp and a total blast. It stars Keke Palmer, Taylour Paige and Naomi Ackie as shoplifters reselling the stolen goods in a psychedelic\/sci-fi take on contemporary Oakland, with Demi Moore as a fashion designer turned craven capitalist foil. Stanfield\u2019s role \u2013 an otherworldly romantic interest for Palmer, and yes, I\u2019m being intentionally vague here \u2013 is far smaller than his central role in Sorry to Bother You,<\/em> but it is definitely one that people will be talking about when they leave the cinema. \u201cI can promise you\u2019ve never seen anything like it before,\u201d Stanfield tells me. (Without spoiling anything, and I must insist you stay unspoiled if you can, I can confirm that has<\/em> to be true.) <\/p>\n

I called Riley to ask what it was like to work with Stanfield again. \u201cI\u2019m going to have him in everything I ever do as long as he\u2019ll have me,\u201d the director told me. This is partly because he likes him so much, but mostly because he\u2019s just so good<\/em>. \u201cI think a lot of actors stop themselves and think about the character as someone other than himself,\u201d Riley said. \u201cWhat\u2019s so good about LaKeith is he is just feeling the thing and doing the thing and not thinking about whether he looks like<\/em> he\u2019s feeling the thing. He just feels it.\u201d <\/p>\n

There\u2019s no judgement, no hesitation, no walls between him and whomever he\u2019s embodying, even if that someone is a jealous contemporary of Jesus (The Book of Clarence<\/em>), or an FBI informant snitching on the Black Panthers (Judas and the Black Messiah<\/em>), or a telemarketer that capitalism turns into a horse-person (Sorry to Bother You<\/em>). Stanfield is right there in the humanity of the role, the \u201cwhat would I do if this was me?\u201d Because in his mind, it could\u2019ve been. <\/p>\n

\n
\n
\"a<\/p>\n
MICAIAH CARTER<\/span><\/figcaption>

Top, \u00a31,050; jeans, \u00a3950; tie, \u00a3220; belt, \u00a3440;mules, \u00a31,150, all Dior<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n

Sometimes he\u2019ll spend all this time studiously preparing for a part, Stanfield told me, trying to nail down the character\u2019s physicality, making playlists and journalling, and then he\u2019ll see someone\u2019s posture on a passing bus, or hear a stranger\u2019s laugh, and boom: that\u2019s it. \u201cSome of it, there\u2019s a method to the madness and some of it, there\u2019s not,\u201d he says. So it\u2019s like\u2026 magic? \u201cYeah. So I guess it\u2019s like methodical magic. Or magical method. Either or.\u201d <\/p>\n

\u201cLaKeith understands a thing that is key: that you can never know it all, you can never figure it out, even within one room, you can constantly learn millions of things about what\u2019s around you,\u201d Riley told me. \u201cThat openness, that curiosity, that excitement about life, even if that excitement means being sad for something, that\u2019s what audiences connect to.\u201d <\/p>\n

This openness to the random quirks and vicissitudes of the universe has also made room for another manner of expression: music. Stanfield writes songs as a way of working through his emotions and is rarely far from his guitar. (It was with him on Esquire<\/em>\u2019s set, in case he had time to noodle.) He put out an album, Do Better<\/em>, in 2022, as Htiekal (LaKeith backwards), and in 2025, he signed with Def Jam and released a single, \u201cFast Life\u201d with Kid Cudi. \u201cI\u2019ve just always loved words,\u201d Stanfield tells me. \u201cNow I can find a way to put them into something that says maybe what I can\u2019t always say.\u201d<\/p>\n

I called Kid Cudi to ask if he was surprised when he learned that Stanfield wanted to make music with him. \u201cYeah, I was surprised,\u201d Cudi says, laughing. \u201cI was like, \u2018What the fuck?\u2019 When they first told me, I was like, LaKeith Stanfield, the actor<\/em>?\u201d Cudi prepared himself for the worst, he says, reasoning that if Stanfield\u2019s track sucked, he would just ghost. \u201cBecause a lot of people do ask me to hear that shit, and it don\u2019t be hitting. And when I heard it, I was like, fuck. I heard the freedom in him as an artist that a lot of people do not have. He was just focused on making some dope shit.\u201d<\/p>\n

\n
\n
\"a<\/p>\n
MICAIAH CARTER<\/span><\/figcaption>

Jacket, \u00a32,800; shirt, \u00a3790; jeans, \u00a3950; belt, \u00a3440, all Dior<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n

They connected on past struggles, says Cudi (both have said that they became sober from alcohol in recent years), and found their journeys very similar. \u201cI mean, the best actors are people who have been through shit, right?\u201d Cudi tells me. \u201cHe\u2019s lived a life. And he stayed grounded throughout this whole ordeal with becoming famous and being in the limelight. That\u2019s half the battle. A lot of people lose themselves.\u201d<\/p>\n

In person, Stanfield speaks typically obscurely about those challenges (at one point referring to \u201cthe microcosm of the macro, or the macro of the micro,\u201d and I\u2019ve reviewed the transcript so many times but I\u2019m still not sure what he was getting at). In a culture that expects unlimited access and transparency from celebrities, he is clearly invested in protecting his and his family\u2019s privacy. <\/p>\n

It\u2019s in his lyrics that he feels far more accessible. \u201cIt can feel cathartic,\u201d he says of making music. \u201cThe process of doing it, the process of sharing, it always feels good. In the midst and leading up, you\u2019re like, \u2018Oh, I don\u2019t know, but then after the fact, you always feel a little bit better, that now you\u2019ve gotten it out.\u2019\u201d (From 2023\u2019s \u201cDo Better\u201d: \u201cFuck the world, I can\u2019t help nobody else\/ lift a hand, nail in palm, I can\u2019t even help myself\/ staring at the ceiling\/ I got a bad feeling\/ it\u2019s another dead day\/ wish these walls would waste away.\u201d) <\/p>\n

Stanfield wants to keep appearing in movies that make people think and feel, but he wants other things, too: to direct, and to star in an action film with big, choreographed fight scenes, and to keep making music; but also, he wants to leave things a little better than he found them. \u201cWhat can I do to put something good into the world?\u201d he asks, sounding like he actually wants to hear the answer. \u201cBecause I think entertainment\u2019s fine, but I think if you can, say something. Say something that\u2019s worth something.\u201d<\/p>\n

\u201cI Love Boosters\u201d is in cinemas on 22 May<\/em><\/p>\n

\n

Photographs by Micaiah Carter<\/em><\/strong><\/p>\n

Styling by Zak Maoui<\/em><\/strong><\/p>\n

Grooming by Tayari Edwards<\/em><\/strong><\/p>\n

Stylist assistant: Nadiya Mazurczak<\/em><\/strong><\/p>\n

Tailor: Hasmik Kourinian <\/em><\/strong><\/p>\n

Production designer: Renna Pilar<\/em><\/strong><\/p>\n

Production by Petty Cash Productions<\/em><\/strong><\/p>\n<\/div>\n

Source link <\/a>
\nSee more: https:\/\/theglobaltrack.com\/
\nhttps:\/\/corinthiames.com.br\/<\/p>","protected":false},"excerpt":{"rendered":"

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