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Glen Powell is still catching his breath when he comes to the phone Sunday, just hours before he’ll hit the red carpet at the Golden Globes. He’s nominated for the first time in the Lead Actor category for Hit Man, a movie he co-wrote and another piece of evidence that Powell knows more about refreshing the rom-com genre than 99% of Hollywood. I wonder if nerves are setting in before the big night, causing the minor panting, but he assures me he’s feeling pretty chill about the whole thing. The cause of the shortness of breath is that even though it’s still only Sunday morning in Los Angeles, Powell and his family have already started getting ready for the night in true action-hero style. Just three minutes before our call, Powell says, he emerged from the plunge pool with his sister after a session in the sauna. They were at the gym before that, and the whole Powell family already ran hills together, too. “I was like, shivering at the beginning of the call,” he relays in his friendly Texan-twinged accent.
Powell knows the most important parts of looking great in a tuxedo are done outside the stylist’s quarters and hair-and-makeup chair. Actually, the process of getting into the tuxedo and onto the red carpet starts many years earlier. Powell began writing Hit Man at the start of the pandemic. He realized it was a moment “you either downshift or you throttle up, and I decided to throttle up,” Powell says. When the actor found a decades-old Texas Monthly article about Gary Johnson, the police investigator he would base the story around, he started crafting the script while everyone else was learning to knead sourdough.
His initiative paid off; Hit Man eventually became Powell’s second collaboration with Richard Linklater (who cowrote and directed) and earned him a Best Actor nomination at the Globes. It’s a neat summation of his time in Hollywood. It’s clear he and his action-chasing Twisters character have more in common than a love for cowboy hats. “This town [Los Angeles] was never going to give me anything,” he says. “I was very frustrated immediately and realized, ‘Okay, I can’t wait for the phone to ring I’m going to have to either pick it up and dial myself, or I’m just going to have to create this thing myself.’ I didn’t wait for things to happen, I always woke up and made them happen.”
The actor’s still “trying to do a better job of reaching out to people and raising my hand on things,” he says, and he’s got his sights set high. He lists out directors he dreams of working with: Steven Spielberg; Ed Berger, who just made awards-season favorite Conclave; Dune’s Denis Villeneuve; and Taika Waititi.
To get to and look great on the red carpet, it takes running up hills—both metaphorical and literal ones—but an awesome tuxedo doesn’t hurt, either. Powell’s enlisted an old friend in Armani for Sunday’s Golden Globes. The designer has supported the actor long before he became Hollywood’s friendliest hunk. “They let me borrow some tuxes and clothes and things like that to at least look the part [for the premieres of Everybody Wants Some!! and Scream Queens].” Powell’s not necessarily trying to pay back that loyalty as much as embrace the full-circle moment of wearing the brand that helped him get started now that he’s a Globe nominee; the fact that Armani softly-tailored ‘90s-tinged suits continue to rate red-hot on the hype scale doesn’t hurt. “Armani is just having a really cool moment,” Powell says.
Powell’s Armani embraces the funkier side of tailoring that’s driven much of its recent appeal. “Sometimes it’s fun to wear just a classic tuxedo,” he says, “but then there’s something to saying, ‘No, I don’t think I need a tie—let’s just do a chain and show a little chest hair and hit the dance floor with a different level of swagger.’” When Powell hits the red carpet Sunday night, the chain, from David Yurman, is visible, but the chest hair is still buttoned up.
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