For Greta Lee, Past Lives Was Pure Destiny

For years, Greta Lee has been stealing scenes with her performances in everything from Girls and High Maintenance to Russian Doll and The Morning Show. But it’s her turn as the star of Past Lives, the semi-autobiographical romantic drama from first-time director Celine Song, that has catapulted her to leading lady status. While many of Lee’s previous roles have called on her to flex her comedic chops, Past Lives has proven to be the perfect vehicle for showcasing the Los Angeles native’s dramatic talent—and led to her best actress nominations for both the Golden Globes and the Critics Choice Awards.

How did Past Lives come into your life?

When I got the script for Past Lives, the subject line said something like, “Korean—do you speak it?” I thought, Oh no. I could immediately hear my ancestors shouting at me about how bad my Korean is. But I started reading it, and I really loved the script. I cried a lot, and reading while crying is physiologically challenging. I definitely wanted the role, so I put myself on tape. And I didn’t get the job. Life goes on. And then, a full year later, I got a crazy phone call that was just like, Are you available to meet with the Past Lives director, Celine Song? And I thought, Who?! Because I had blocked the project out of my mind, like a heartbreak. You don’t want to think about the guy who dumped you! I got on Zoom with Celine, and we fell in love that day. She likes to say she’s certain we were married in another lifetime. Yeah, I don’t know if she means that entirely as a compliment.

One of your first jobs in acting was a Broadway show called The 25th Annual Putnam County Spelling Bee. You had to spell and sing every night.

Yes, I also had to play the piano, twirl a baton, and catch it. It’s been years, but I still have nightmares where I have to twirl a baton and catch it.

Is baton twirling your secret skill?

Maybe. I can also get my kids to listen to me by playing something we like to call Orphan Game. I used to love the Boxcar Children series, which is about a family of orphans. One day we tried the concept of: What if you were an orphan? And it works. I don’t know if that says something about how my kids feel about us as parents!

Have your kids ever been inspired by the Boxcar Children for Halloween?

Last year, one of my sons wanted to be a honeydew melon—specifically honeydew, not cantaloupe. He was so serious. I love Halloween. Once, I was Kim Jong Un. I wore a green military jumpsuit and glasses. But it was more about the wig—a little bit of volume and shape.

You’re now based in Los Angeles, but in the movie you are a New York girl through and through.

I lived there for almost two decades, so spiritually, I am a New Yorker, which was essential to Past Lives because it really is a love letter to love and life, and also a love letter to New York fucking City.

What was the first job you booked as an actor?

Law & Order: SVU. I thought I'd won an Oscar when I got this job. I was the roommate of the victim. It was a very popular episode, and I know this because at the time, I was getting residuals from it, but it was also about incest. An interesting episode to share with my parents and family as my first hurrah moment.

Where was your first kiss?

His name was Jimmy, and I was in preschool. It was a real kiss. It was in the classroom, but I was serious. I leaned, and he fell back onto the floor, and that didn't stop me.

Years later, maybe there will be a movie about him.

I think my little brother, James, is named after him.

After the boy you kissed?

Yeah. That's what I'm saying. It was real.

Oh, it was a serious relationship.

I felt love. I mean, it wasn't requited, but I was in a serious relationship as far as I was concerned. I don't think Jimmy realized that, but yeah.

Senior Style Editor: Allia Alliata di Montereale. Senior Fashion Market Editor and Menswear Director: Jenna Wojciechowski. Hair for portfolio by Mustafa Yanaz for Dyson at Art+Commerce; makeup for portfolio by Emi Kaneko for Tom Ford at Bryant Artists; manicures for portfolio by Michelle Saunders for Chanel. Set design by Peter Klein at Frank Reps. Special thanks to Ms. Bebe at Outfitters Wig Shop in Hollywood.

Produced by Connect the Dots; Executive Producer: Wes Olson; Producer: Zack Higginbottom; Production manager: Nicole Morra; Production coordinator: David Cahill; First photography assistant: Trevor Pikhart; Second photography assistant: Jeremy Eric Sinclair; Digital Technician: Brendan Pattengale; Postproduction by Lucas Rios Palazesi at Quickfix; Fashion assistants: Tori López, Tyler VanVranken, Molly Cody, India Reed, John Celaya, Kaamilah Thomas, Emily Cancelosi, Allie Kessler, Juliana Bassi, Karla Garcia, Jacqueline Chen, Cosima Croquet; Production assistants: Mateo Calvo, Aspen Miller, Nico Robledo, Griffin Koerner, Danielle Rouleau, Nicolo Battaglini, Juanes Montoya, Juan Calvo, Lily Cordingley, Nathan Gallie, Cameron Hoge, Jack Fahey, Cole Ewing, Karlie Ofstedahl; Hair assistants: Takao Hayashi, Andres Copeland; Makeup assistants: Amelia Berger, Willie Huang; Manicure assistants: Rachel Messick, Marissa Asprer; Set assistants: Christopher Crash Richard, Winston Willingham; Tailors: Irina Tshartaryan, Elma Click, Gayane Mnatsakanyan at Susie’s Custom Designs, Inc.