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Aya Hawke doesn’t have an official workplace, but she has found a suitable spot three blocks away from her apartment. On a beautiful winter day in New York’s West Village, the actress and musician is seated in a cozy corner of a charming restaurant with a trendy menu and a rustic atmosphere. The place gives off an air of effortless cool, but Hawke strikes me as more of a thrift store enthusiast than someone who indulges in quiet luxury. Her hair is styled in braids and she wears a few delicate necklaces that she casually fiddles with while talking. She mentions that her loose navy sweater was hand-knitted by her mother. “I’m not someone who tries to be fancy,” she remarks, tugging at her top. “What you see is the real me.”
Hawke’s success as an actor can be attributed to her carefully selected roles, confident performances, and preference for acclaimed filmmakers favored by her parents, Uma Thurman and Ethan Hawke. The phrase “Oh, Maya Hawke is in this?” has become a popular meme due to her memorable appearances as a quick-footed follower of Charles Manson in Quentin Tarantino’s Once Upon a Time … in Hollywood, a quirky dance instructor in Wes Anderson’s Asteroid City, and as Leonard Bernstein’s daughter in Bradley Cooper’s Maestro. Additionally, her breakthrough role in Netflix’s wildly popular show Stranger Things should not be overlooked.
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Hawke is currently eager to discuss a topic that is very important to her: her career as an indie folk artist with a sardonic yet emotional style. Her two highly acclaimed albums, Blush and Moss, were heavily influenced by her admiration for musicians such as Fiona Apple, Leonard Cohen, and Bright Eyes. Her newest album, Chaos Angel, is set to be released in May and is her strongest work yet. It showcases her exceptional storytelling skills while incorporating elements of electronic music, powerful guitars, and reverberating effects. Hawke shares with a smile, “Usually, during the period between creating and releasing an album, I start to dislike it. But this is the first time that hasn’t happened to me.”
Today, the thought of angels has been on her mind. This morning, 25-year-old Hawke was seen walking around the streets of New York with wings made of feathers for a photoshoot inspired by the late Peter Lindbergh. She excitedly shows a photo of the inspiration on her phone, expressing her love for it. Interestingly, her first professional photoshoot was also with Lindbergh. She explains that her mother was working with him and she needed a headshot for an audition in 2014, but the film never came to fruition. Her mother allowed her to join the shoot and get a photo taken with Lindbergh.
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It is highly unlikely for most of us to have the opportunity for a photoshoot with one of the world’s most renowned fashion photographers, but Hawke seems unfazed by her privilege. She appears comfortable with her unique life and the benefits that come with it. When I mention how openly she speaks about her parents, she responds with a dismissive eye roll, stating, “Well, they’re my family.” (Not all offspring exhibit the same casual attitude: when asked about being mentioned in New York magazine’s Nepo Baby cover by Rolling Stone last year, Dear Evan Hansen star Ben Platt’s team ended the interview.)
Ethan Hawke recently addressed the issue of nepotism on the Today show, stating that it has been a part of human history. He also referenced the saying “the apple doesn’t fall far from the tree” to illustrate his point. Maya, on the other hand, has a diplomatic stance on the debate. She expresses disappointment when it becomes the focus of headlines, but believes that eventually it will no longer be a prominent issue. She copes with the frustration by acknowledging that she has not yet earned the right to not be affected by it.
Hawke plays the lead role in Wildcat, a biographical film about author Flannery O’Connor that was directed by her father. She mentions that she had been conceptualizing the project for a significant amount of time. While the reviews have been varied, she does not seem to want to dismiss the film. Instead, she delves into its depiction of racism in some of O’Connor’s writing, offering a lengthy and sincere apology for her complex and somewhat erratic reaction.
“I have a deep passion for this work and I am incredibly thankful for the opportunity to pursue it,” she expresses. “I can choose to believe that I have become an artist despite being adopted. However, I am truly grateful for the environment I was raised in, particularly the thriving theatre scene in New York City. It exposed me to amazing plays, backstage experiences, and talented directors who inspired me to become who I am today.”
She recalls how her childhood was centered around poetry and frequent discussions about the essence of creating art. Recently, her father called her to discuss the philosophy behind art and life. Their conversation delved into the dilemma of receiving praise for works that may not be one’s personal favorite, while one’s favorite works may not receive as much recognition. She ponders on the struggle of not succumbing to the temptation of creating solely for popularity and staying authentic to oneself.
Chaos Angel is infused with a strong sense of individuality, blending 70s folk rock with modern elements such as vocodered sea shanties, bold brass accents, and occasional beat changes that evoke the feeling of being submerged underwater. The album was produced by Christian Lee Hutson, a frequent collaborator of Phoebe Bridgers and also Hawke’s boyfriend. However, Hawke clarifies that they did not get together while working on the record. She notes that it’s not a secret, but finds it strange how in today’s pop culture, people feel the need to publicly share details about their relationship after only dating for a short period of time.
Chaos Angel’s unique blend of sounds is brought to life by the performer’s talent for embodying various personas. During the recording process, Hawke experimented with different characters, including a “whispery depressive” and a “pop maniac.” One track, titled “Okay,” delves into the topic of codependency and is influenced by the film “A Woman Under the Influence” by Cassavetes. Other times, Hawke’s ethereal and confident voice stands on its own, as shown in the opening track “Black Ice,” reminiscent of the heartfelt tones of singer-songwriters like Linda Perhacs and Kath Bloom. Hawke is thrilled to discuss her new music, stating, “I have never been more excited about releasing an album in my life.” She firmly believes that as a creative, it is important to have a specific audience in mind rather than trying to appeal to everyone, as this can result in mediocre art.
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As a child in New York, Hawke split her time between her parents’ homes after their separation when she was five years old. While her mother enjoyed pop music on the radio while driving, her father’s CD collection was filled with Willie Nelson, Wilco, and Patti Smith. It was not unusual for her and her father to spend late nights writing poetry, painting, and playing guitar together. However, she was still a child growing up in the early 2000s. At the age of nine, she attended her first concert, which was a combination of Hannah Montana and Miley Cyrus performances. Hawke remembers that Cyrus wore a blonde wig for half of the show and performed without it for the other half.
Art served as a means of escape for Hawke. She had experienced her own personal struggles in academia and dealt with dyslexia, causing her to change schools frequently. Eventually, she attended Saint Ann’s, a private school in Brooklyn with a focus on art. Although she enjoyed her time there, she felt intimidated by the idea of applying to prestigious Ivy League universities. She did apply to Vassar, a highly selective university, but was deeply affected by its rejection. This rejection triggered feelings of inadequacy and insecurity, as if she was not intelligent enough.
When her younger brother Levon was accepted into Brown University, Hawke decided to join him for a semester. She attended parties, drank alcohol, sneaked into classes on philosophy and the history of Hinduism, and felt like she was finally getting to experience a part of her youth that had been put on hold due to her acting career. However, their reckless behavior during this time almost led to a disaster. While spending a weekend at Thurman’s house in upstate New York, they accidentally came across hot coals that had been carelessly dumped in dry leaves. “The fire was getting dangerously close to our mother’s old wooden farmhouse,” recalls Hawke. “It could have easily gone up in flames. And to top it off, we may or may not have been under the influence of hallucinogenic mushrooms.” This experience inspired Chaos Angel’s lead single, Missing Out, in which Hawke hauntingly sings: “I was abandoned like smoldering coals in leaves / And I ignited in the winter’s breeze.”
Her colleagues from the show Stranger Things have become like classmates to her, and some have even become close friends. She has attended a performance by Charlie Heaton, and she considers Sadie Sink to be a close friend. She has also seen Finn Wolfhard play live with his band Calpurnia. In the show, she portrays the character Robin Buckley, who is well-liked and sometimes sassy. Robin is a gay teenager who has to balance her job as an ice cream server at the mall with fighting supernatural enemies. She is looking forward to the show’s final season and the end of her high school role. She will miss it, but she is also excited to move on from playing a high schooler and embrace her own womanhood.
As Hawke looks ahead to the next chapter, she reflects on the message she wants her work to send. While we finish our meal, she recalls her recent discussion with her father about the pursuit of external validation and whether it holds true value. She is momentarily amazed that she is able to have such deep conversations about these topics. “It’s incredible to be able to talk about the essence of being an artist and the duality of the good and bad wolf,” she says with a smile. “I feel grateful for these opportunities.”
On May 31st, Chaos Angel will be released by Mom+Pop Records.
Source: theguardian.com
