Filmmaker Gregg Araki and actor Olivia Wilde first met at the famous Chateau Marmont hotel before starting work on “I Want Your Sex” (released July 31). Araki quickly started playfully mocking the hotel’s over-the-top vibe, and Wilde soon joined in the laughter, feeling comfortable despite the setting.
Olivia Wilde remembers that Gregg was so down-to-earth and unlike anyone else in Hollywood, that even something as simple as getting coffee together was funny and noteworthy.
I have to admit, there was a bit of a buzz around the set during filming, but for Olivia Wilde, it actually solidified her dream of working with Gregg Araki. And honestly, his return with “I Want Your Sex” – after twelve years! – is exactly what cinema needed. It’s bold and feels incredibly fresh. The recent Criterion release of his ‘Teen Apocalypse Trilogy’ has been huge too; it’s introduced a whole new audience to Araki’s distinctive style. We’re talking visually striking films, playfully edgy, full of pop culture references… they were groundbreaking in the 90s New Queer Cinema movement and still feel relevant today.
I truly believe Araki is one-of-a-kind. As Wilde put it, he’s completely authentic – there’s not a hint of ‘Hollywood’ about him, and that’s what makes him so special.
Except, of course, that he has long lived in Hollywood itself. Born to a Japanese American family in Los Angeles, Araki grew up mostly in Santa Barbara and returned to L.A. to attend graduate film school at USC and has lived here ever since. All 12 of his feature films, including those not set in Los Angeles, have been shot here. He recently told his manager he doesn’t want to take any TV directing jobs that require him to be out of town.
“One of the things I’ve always loved about L.A. is it’s very surreal and kind of cartoon-like,” says Araki, a remarkably youthful 66, during a recent interview one afternoon inside the empty theater at Brain Dead Studios on Fairfax before a photo shoot. “The collision between fantasy and reality — the land of dreams and Tinseltown and all that. But then there’s also that seedier side. It’s just totally unique in that way.”
With a shrunken, purple T-shirt of his beloved band My Bloody Valentine wrapped around his slim frame and a signature sweep of black hair with only a slightly graying mustache to belie his age, Araki has a joyful, curious, up-for-anything air people half his years would die for. The tensions of keeping the industry of Hollywood at arm’s length while warmly embracing all the contradictions of the city of Los Angeles have long animated him.
“I’ve never been in a city that feels like L.A., that has the vibe of L.A., that has the visual splendor and squalor,” he says. “David Lynch has obviously been a huge influence on me. And he was similar in his vision of the surreal, the dreamlike, the strange, the ugly and the beautiful, all kind of mashed together.”
Araki recently learned his 1993 film, “Totally Fed Up,” which calls Los Angeles “the alienation capital of the world,” was included on The Times’ list of the 101 best movies about L.A., ranking at number 79. His mother told him the news.
“She saved it for me,” he says with a warm laugh. “She’s excited.”
Movies
The 101 best Los Angeles movies, ranked
We’ve compiled a list of 101 fantastic movies that capture the spirit of Los Angeles. It’s a diverse collection, featuring classics like “Chinatown,” beloved comedies such as “Clueless,” and modern favorites including “Blade Runner,” “Mulholland Drive,” “Heat,” “Pulp Fiction,” “The Big Lebowski,” and “La La Land.”
Araki believes he’s been lucky to experience key moments in cultural history. He came up during the exciting early L.A. punk scene, catching bands like X at famous venues. He also started making films at a time when innovative, low-budget movies by directors such as Jim Jarmusch, Wayne Wang, and Spike Lee were gaining attention. Like Richard Linklater and Todd Haynes, Araki developed a strong connection with the Sundance Film Festival as the independent film scene exploded in the 1990s.
The film “I Want Your Sex,” shown at Sundance earlier this year, stars Mia Wilde as Erika Tracy, a Los Angeles artist whose provocative work becomes increasingly cynical and daring as her popularity declines. Cooper Hoffman (“Licorice Pizza”) plays Elliot, a college graduate who begins a complicated sexual relationship with his boss, made tense by the significant difference in their power.
Araki says he created the film hoping to connect with younger viewers and encourage them to think critically, challenging the passive mindset he sees common in today’s digital world.
He explains that people are hesitant to step outside their comfort zones, avoid risks, and shy away from challenging situations.
Araki credits his willingness to step outside his comfort zone with shaping who he is today. He recalls being a teenager, around 19 or 20, and sneaking into gay bars using a fake ID, driven by youthful curiosity, sexual exploration, and confusion. He specifically infused these experiences into the character of Cooper, seeing a lot of his younger self reflected in him.
Araki notes that Wilde’s artist character is also heavily inspired by himself, and some of the character’s most shocking lines are actually things Araki has said in previous interviews.
Wilde drew inspiration from Madonna’s iconic style in “Truth or Dare” and the work of photographer Nadia Lee Cohen for both her appearance and performance in “I Want Your Sex.” She filmed it before working on her own project, “The Invite.” Her performance is notable for its bold and uninhibited exploration of nudity and sexuality, showcased through strikingly revealing clothing.
Wilde was also inspired by Araki’s strong character – his commitment to his artistic vision, which distinguishes him from filmmakers who initially gained respect for independent work but later focused solely on commercial projects.
She explains that most people gradually give in to wanting more – bigger homes, fancier pools, and so on – but occasionally, someone like Gregg Araki resists that pressure to conform. She wonders why he would change now.
The film includes several cameos by actors who have frequently worked with director Gregg Araki. These include Darcy Marta (from his earlier films “Three Bewildered People in the Night” and “The Living End”), Nathan Bexton (“Nowhere”), and Michael Hitchcock (“Smiley Face”). The appearance of James Duval, a veteran of six Araki projects – often as a stand-in for the director himself – is particularly exciting for fans.
Duval notes that a common thread runs through all of Gregg Araki’s films: the universal human desire for connection and self-discovery. Speaking from Los Angeles, she explains that his characters, whether from ‘The Doom Generation’ or his latest work, are always striving to break free from expectations, reject labels, and simply be themselves.
James Duval, now 53, first encountered director Greg Araki when he was a teenager. He believes Araki inspired him to become a professional actor, leading to roles in films like “Independence Day” and “Donnie Darko.”
Despite not directing a feature film since the 2014 drama “White Bird in Snow,” Gregg Araki was consistently working. He first received the script for “I Want Your Sex” about twelve years ago from Karley Sciortino, who previously wrote about sex for Vogue. Over the years it took to develop and produce the film, Araki and Sciortino also collaborated on the 2019 psychedelic comedy series “Now Apocalypse” for Starz, with Steven Soderbergh as an executive producer. Both Araki and Sciortino are credited as the final scriptwriters.
Araki emphasizes he hasn’t taken a real break from working, explaining that it’s a constant effort to get projects off the ground – something fellow independent filmmakers like Gus Van Sant would understand. He notes that the film industry is particularly challenging right now, making things even more difficult.
The movie features several scenes with Wilde and Cooper sharing close, often funny moments. They frequently debate how different generations view sex and relationships. Erika criticizes outdated negative attitudes about sex, while Elliot expresses concern that his generation hasn’t had a healthy upbringing because of a lack of clear boundaries.
Araki describes the film as deliberately upbeat, fun, sexy, and short – clocking in at just 90 minutes. His main goal isn’t to tell people what to think, but to spark discussion. He wants audiences to leave the theater and talk about it with their friends, however they feel, even if that means acknowledging or rejecting its more provocative themes. Ultimately, he encourages open communication around the film’s ideas.
Araki openly embraces his identity as a gay man, though he previously had a highly publicized relationship with a woman. He’s consistently portrayed sexuality in a broad and flexible way, resisting simple categorization.
He explains that his films have always explored the full range of human sexuality, and he used to shy away from defining himself or his work. However, he now believes there are times when directness is necessary. Instead of getting caught up in complicated discussions about sexuality, he feels it’s important to be able to simply state, ‘I’m gay,’ because some conversations don’t allow for nuance or ambiguity.
That comes to accepting the legacy of his own films as well.
He expresses gratitude for the significant influence of the Queer New Wave movement and his role in it. He also emphasizes the importance of seeing yourself reflected in media, especially for young people growing up in less accepting areas. He adds that with age comes self-acceptance and a greater sense of peace – life feels less like a constant battle.
Although “I Want Your Sex” depicts a man and a woman in a relationship, Araki views it as a queer film because their connection isn’t traditional. This unconventional approach also explains why he’s often been difficult to categorize as a filmmaker.
He attributes his creative drive to a rebellious spirit, saying the punk rock movement was incredibly formative for him, especially as a young artist exploring his identity and sexuality. It showed him that he didn’t have to fit into any specific category—racial, sexual, or otherwise—and could forge his own unique path, which he finds far more fulfilling than conforming to expectations.
Araki used to be a regular at nightclubs, but now he prefers staying home with his partner of fourteen years and their two dogs. He’s keeping his future plans private, but continues to work diligently on new projects. Despite growing older, he still has a playful spirit and a positive attitude, and shows no signs of slowing down or retiring.
“It’s never easy,” he says with a hard-won wisdom. “But it’s never been easy.”
2026-07-24 20:33