
Gabriel Labelle is not playing a young Steven Spielberg in The Fabelmans, but Sammy Fabelman is pretty close. He moves to Arizona with his family in the late 1950s, falls in love with making home videos, and observes the collapse of his parents’ matrriage—all events that happened to Spielberg, who directed and co-wrote the film. But LaBelle’s performance isn’t an imitation, not exactly. He emulates Spielberg’s stiffened posture but doesn’t try to match the current depth of his voice or speak in run-on sentences, in part because the director told him not to. He wears green contact lenses but has a rounder face. He evokes some core of one of Hollywood’s most famous auteurs while also inventing a particular character meant to serve this film's particular fiction. LaBelle draws a triangle with his hands as he explains it. There’s Spielberg, himself, and then Sammy somewhere in between.
The key to becoming sorta Spielberg, LaBelle tells me on the patio of a coffee shop in his neighborhood of West Hollywood, lies in his smile. He presses down the front of his lip and pulls up the sides of his cheeks to show me just how. This muscle doesn’t go up,” he says, the top of his lip covering his teeth. It’s an enthusiastic, slightly dorky grin that you might not have clocked on the director's face, but once you see it, things immediately align. It helped me transform into this character,” he says. It adds his essence.”
This story is from the October 24 - November 6, 2022 edition of New York magazine.
Subscribe to Magzter GOLD to access thousands of curated premium stories, and 8,000+ magazines and newspapers.
Already a subscriber? Sign in
This story is from the October 24 - November 6, 2022 edition of New York magazine.
Subscribe to Magzter GOLD to access thousands of curated premium stories, and 8,000+ magazines and newspapers.
Already a subscriber? Sign in

A Tribeca Loft Full of Mood and Mystery
"Everything changes in this house," says its owner, Grimanesa Amorós.

On With Kara Swisher: Sam Altman
OpenAI's co-founder has become the public face of the AI revolution, alternately evangelical and circumspect about the force he has helped unleash on the world. Following the unveiling of OpenAI's GPT-4, Altman spoke with Swisher about what makes him \"super-nervous.\"

Knives Out The war for Waystar comes to a showstopping end.
SUCCESSION'S FOURTH and final season is a shining example of the best qualities of long-form storytelling and of narrative TV in particular.

This Is America, Still The Atlantic and Vann R. Newkirk II untangle more half-told Black history.
IT CAN BE SAID THAT the struggle over Dr. Martin Luther King Jr.'s legacy has been largely settled for a long time to the detriment of history.

Dreams of Californication Miley hopped off the plane at LAX and never looked back. Her new album seals it.
IN THE PAST DECADE ON THE RUN from her own perception, Miley Cyrus shape-shifted her way through fantastic achievements and exacting dilemmas, going to great lengths to express that she knew how to party back when everyone had her pegged as the squeaky-clean Disney kid.

The Opera Ghost
The Phantom of the Opera was Andrew Lloyd Webber's manifesto for what musical theater should be and, ultimately, what it would become: a shrine to the power of song.

The Fall Out Boys Are Back in Town
The band's new album returns to where it all started 20 years ago.

Nan Goldin's Happy Ending
The demimonde photographer has long considered herself a filmmaker. What happened when a movie was made about her?

One Drink, Five Alarms
A cocktail that mixes coffee, rum, and a spray of flame.

Obsessed With Her
In Swarm, Dominique Fishback plays a serial-killing superfan who really just wants one thing: to be loved.