The Beginner’s Guide To Mushroom Hunting


Gone shroomin’

A group of friends and I battled thorn bushes, our bare arms weed-whacked in the woods behind the farm we work on in Italy. We hunted for porcini in a forest filled with the kind of pricker bushes that warn wanderers to turn around before they stumble upon an evil witch. “Holy fuck, fuck yes!” someone exclaimed. We all turned alert toward the voice. “So many chanterelles!” We galloped to our friend, who is now half woman-half blackberry bush. A village of orange-roofed mushrooms were nestled under a bed of thorns, but she dove in without hesitation because the adrenaline of discovering food in the forest negates pain—especially when they're chanterelles.

While you’re out in the woods this fall, you may be distracted by the leaves above, but choose to glance down at the path below, and you’ll get to play hide-and-seek with forest fungi. Treasures lay beneath the foliage.

There is no pirate map that will lead you to the chanterelles. And you won’t find an X that marks the spot of porcini. Mushroom-hunting requires knowledge, research, and the love of uncovering things.

It may seem overwhelming to start because woods are big and certain mushrooms only like particular trees, but we know a fungi goddess from Mill Valley, California, who can break down the beginnings of fungi foraging. Read on, and you too can jump into thorn bushes to experience the liberation of shopping at the greatest natural market in the world: the woods.

Olivia Miller, mycology enthusiast and our guide, spots a white-capped mushroom peeking from a pile of leaves half a football field away. As if pushed by a powerful gust of wind, she takes off galloping sideways on a steep slope to what she calls a “fairy circle.” This enchanting term is what happens when the underground epicenter of fungus roots and grows out into a perfect circle where mushrooms fruit at the edge. The specimen wasn’t anything to eat, but the magic of nature was something to marvel at.

The cool thing about getting into mushroom hunting is that you don’t only have to be hungry. Miller mentions a multitude of avenues that lead to hunting, from a scientific and naturalist standpoint to medicinal interests and nutrition. And because “mushrooms are adorable.”

Step one, Miller instructs, “is to pick everything.” The reality is that you won’t exit the woods with a porcini that’ll rake in dolla, dolla billz. “Mushrooms are little sneaky bastards,” she says. Go into the woods picking everything that interests you. This leads seamlessly into step two: educate yourself. Before shoving anything in your mouth (tip: don’t), Miller recommends acquiring Mushrooms Demystified by David Arora, which is regarded as a hunting bible and harbors an “incredible key” inside that will help with identification and family classification. Grab those mushrooms you just picked and key them out. Figure out what you’re handling; this will familiarize you with the multitudes of genus and species.

Set out with a friend who has hunted before or look for your local mycological club and attend a meeting. You’ll learn how to identify trees and differentiate soils, which, Miller notes, is key in tracking where fungi might be off being their little sneaky selves.

Okay, this is tricky to lock down because every region has a different eco-system. But don’t worry because Miller has bi-coastal foraging experience in both northern California and upstate New York. The East Coast is treated to reishi and chaga mushrooms during spring and summer, while the West Coast enjoys an extended hunting season through fall and winter.

Mushrooms like rain. Miller’s hunting forecast is, “after it rains two inches, wait two weeks.” Mushrooms don’t just pop up the day after it rains. They need time to grow and sprout. You’ll get the most mushrooms at the right time of year, with the right amount of precipitation.

Some mushrooms are keen to specific trees. An oyster mushroom, for example, loves some good decomposing wood. Your guidebook, or friend, or club you joined will be crucial in helping you assess your local environment which will clue you into where the mushrooms are hiding.

The peaceful plus of mushroom foraging is that no weapons are necessary. Competitive hunters may sport camouflage to keep their trekking as disguised as possible, but you can wear neon orange if you’d like. You’ll want a basket, like these fair-trade ones from Fungi Perfecti, or a paper sandwich bag to tote your harvest in. Also a genius organizer, Miller suggests getting a bead storage container to keep different varieties separate for later identification.

You’ll find both edible and toxic mushrooms on your hunt. Don’t pop anything into your mouth. But feel free to pick everything that piques interest. “You can handle anything—smell it, hold it,” Miller encourages. “Even picking non-edibles expands your knowledge of what an edible is.” You’ll learn family names and get a clue into the characteristics of what is best to admire from a scientific standpoint and what is safe to chop into a stir-fry.

Picking mushrooms—even ones you won’t eat—is not a waste. In Italy, the law says to collect mushrooms in a basket with holes so that the mushroom's spores can spread as you continue to trek. So pluck and educate yourself.

You can get closer to identification by looking underneath the mushroom’s cap. You’ll find gills, pores, teeth, or veins. These characteristics will help determine what exactly is growing around you and if you can or can’t consume it.

Always triple-check with trusted resources and your specific club before eating a mushroom you presume is edible. With that said, there are what Miller calls “foolproof mushrooms”:

Chicken of the woods has a bright orange flesh and is found at the trunks of trees. Miller swears it makes one hell of a chicken taco because when cooked, “it literally tastes like white meat.” But beware, while it’s safe to consume on the East Coast, it’s toxic on the West Coast due to its growing habit on eucalyptus trees.
Reishi mushrooms carry medicinal properties that can be utilized as a line of defense against germs hating on the immune system.
Morels are common in California and popular to cook with. On the West Coast, Miller notes that these guys “grow in old forest fire zones” and are known as “burn morels.” Beware the false morel, an evil twin that is potentially deadly.
Oyster mushrooms like to grow on and around decomposed wood.
Chanterelles have a faux gill, meaning the underside of their cap looks more like veins. While these are safe, they also have an evil twin called the “Jack-O-Lantern.”

Don’t be overwhelmed by all the posers. Our mushroom goddess eases fear by instilling confidence in our eventual identification skills. “It’s similar to looking at a grape vine versus ivy,” Miller says, “you learn what it's supposed to look like.”

Porcini grow under pine needles, providing the thrill of getting on your knees and patting around the earth for mounds called “mushrumps.”
Matsutake mushrooms carry a hint of cinnamon, “but also dirty socks,” Miller notes. Regardless of hints of laundry, she promises they’re great in Asian stir-fry.

Even if these seem obvious, I’ll tell you a second time and then a third time: TRIPLE-check to make sure you’re positive before eating anything. Get yourself an official and ultra-reliable guide.

You can have your toxicity in varying degrees. “First,” Miller clarifies, “you can just be allergic to mushrooms.” So, basically, even if you have a confirmed chanterelle, your stomach may be sensitive to it and therefore gastronomically reject it while other people can easily digest it.

From there, poison can range from upset stomachs to, you know, death. So don’t fuck around with mushrooms.

Let’s get Latin for a second. In the Amanita genus, there are a number of poisonous mushrooms. Amanita phalloides, or the “Death Cap,” is white with a domed cap and is a killer. Amanita muscaria, or “Fly Agaric,” is your classic fairytale mushroom—red with enchanting white dots. Draw a picture of it, but do not eat it. It can make you sick and possibly lead to death.

Put down the orange or red boletes that stain blue. You’ll find the underside of the cap to have many pores that combine to resemble a sponge. Refrain from sinking your teeth into it even though it looks inviting.

Now that you’ve TRIPLED-checked your mushrooms are edible (right?!), it’s time to finally enjoy them.

Keep your haul in a paper bag in the fridge because while “you don’t want them to sweat,” keeping them this way allows them to “stay moist while also allowing them to breathe.” You know they’ve gone bad when they’re slimy and stinky. If they smell close to the aroma of when you picked them, they’re still good. But it’s ideal to pick and cook immediately.

Don’t eat them raw! “Mushrooms contain chitin, which is what bug shells are made out of,” Miller says. So they’re basically more easily digested when cooked.

If you find yourself with more mushrooms than you have people invited to dinner, you can purchase a dehydrator to keep mushrooms longer. And learn for next time that you shouldn’t pick more mushrooms than you have the patience to clean. They’ll grow back after it rains two inches. Leave some more treasure out there for you to find.

Stir chanterelles into sauces that are so good that cheese would hurt the dish. Turn them into tinctures to cure winter ails. Bake atop pizzas. There are so many ways to incorporate the treasure you found onto your dinner table. Here’s just one idea:

Arrosto di Vitello ai Funghi (Roast Beef with Mushrooms)
From Spannocchia Foundation cookbook

Roast Beef:
6 servings

600 gr. (1.3 lb) beef roast
4 sage leaves
2 cloves garlic
4 tablespoons olive oil
2 cups white wine

Pre-heat the oven to 200°C/400°F.

Place the meat in an oven-safe pan. Finely chop together the sage and garlic and put in a bowl with salt and pepper; mix well. Rub this mixture over the meat, drizzling it with the olive oil at the same time, coating the entire roast very well.

Put the roast in the oven and cook for 20 minutes, turning two or three times, helping the meat to develop a browned crust. Add two cups of white wine and turn down the oven to medium heat (150°C/300°F). Leave until cooked through all the way, around 25 minutes, again turning regularly. A slight pink center is fine as it means the meat will be more tender. Set aside to rest until slightly cooled.

Cut into very thin slices and lay the pieces out evenly over a large serving platter. Mix the mushroom sauce (see below) to the pan juices and then spread it over the roast beef.

Mushroom Sauce:
1 kg (2.2 lb) mushrooms, fresh or frozen
4 cloves garlic
1 small bunch parsley
3 tablespoons olive oil
1/2 cup broth or water
red pepper (cayenne powder)

Finely chop the mushrooms. Mince the garlic and parsley. In a frying pan, add the olive oil and then the garlic and parsley and a pinch of red pepper, salt, and pepper. Cook two minutes over medium heat, then add the chopped mushrooms and cook for 10 more minutes. Add a cup of broth and cook for another 10 minutes.

Now go forth into the forest. Fungi foraging is complex, there is a lot to learn, but with these basics we hope you expand your roots from this epicenter, find your group, and let your own fairy circle flower.

Photo by Dimitrios Kambouris/Getty Images for The Met Museum/Vogue

"I am honored to share this bonding experience with my own daughter"

In a heart-warming Instagram photo, Serena Williams shares the history of hair braiding and the importance of the tradition. The tennis player shared a photo of herself braiding her daughter Olympia Ohanian's hair and spoke about how "honored" she was to be able to "add another generation" to the tradition of the practice.

The photo shows Williams attentively braiding her daughter's hair while Olympia smiles, obviously loving the experience. Williams noted that hair braiding was created by the Himba people in Namibia, Africa, and that "we have been braiding our hair for centuries." "In many African tribes braided hairstyles were a unique way to identify each tribe," she continued.

Williams pointed out that braiding is a bonding experience. "People would often take the time to socialize," she wrote. "It began with the elders braiding their children, then the children would watch and learn from them. The tradition of bonding was carried on for generations, and quickly made its way across the world."

Williams closed her post with a sweet message about her daughter, saying that she's "honored to share this bonding experience" with her.

See the post, below.

Courtesy of Adidas

The Stan Smiths are a must-have

Adidas just shared its capsule of sneakers paying tribute to Keith Haring, and TBH I can already feel my wallet emptying (and they're not even on sale yet). The new collection features three shoe silhouettes, all including the late artist's iconic imagery as embroidered designs.

The standout style of the collection is the Rivalry hi-top; with bright blue and orange stripes and piping along the edges, Haring's stars and cartoon bodies, in black thread, pop right off. If you're looking for something less over-the-top, the quirky white Nizza Hi RF sneakers show a snake wrapping around the back of the shoe and chasing one of Haring's cartoon bodies toward the toe. There's also a minimal embroidered design on the toe of a classic Stan Smith pair. Look a little more closely at the tongue though, and you'll notice the traditional image has been swapped with a caricature of Haring himself.

Peep the three silhouettes, below, and set your calendar for the official drop at the end of the month.

Adidas, Rivalry Hi Keith Haring Shoes, $120, available at Adidas starting at 10am EST on June 30.

Adidas, Nizza Hi RF Haring Shoes, $120, available at Adidas starting at 10am EST on June 30.

Adidas, Stan Smith Keith Haring Shoes, $120, available at Adidas starting at 10am EST on June 30.

NYLON uses affiliate links and may earn a commission if you purchase something through those links, but every product chosen is selected independently.

Photos by Frazer Harrison/Getty Images, Pascal Le Segretain/Getty Images

Hopefully this one will be typo-free

In an Instagram Live on Thursday, Taylor Swift announced that she would be creating a collaboration with fashion designer Stella McCartney inspired by her upcoming Lover album. Although she kept it vague, we can only assume that the two are working on a collection of luxe merch.

Swift noted in the announcement that she has been friends with McCartney "for a really long time," and that the designer already heard the new album. "I respect what she creates, how she creates it," Swift continued. "There's so much whimsy and imagination and romance to the clothing that she designs." Swift has been wearing McCartney's designs "a lot recently," so maybe we should have seen the collab coming.

One eagle-eyed fan pointed out that Swift wore Stella McCartney rainbow-hued shoes during her Wango Tango set. If the collab is anything like these shoes, you can bet I'll be copping it as quick as I can.

Swift detailed in her Instagram Live that the album Lover would be all about romance, which makes McCartney and her feminine designs perfect for the collaboration. We just hope that this collection doesn't have any typos, like some of Swift's "ME!" merch did.

Asset 7
Photo by Kevin Winter/Getty Images

And spreads the message that "we all got crowns"

Late on Thursday, Taylor Swift dropped a new single, "You Need To Calm Down," and announced her forthcoming studio album, Lover, out this August. Following her lead single "ME!" Swift continues to spread her message of self-love and call out haters—particularly the homophobic ones—in this latest song.

Swift "ended homophobic locals," as one fan put it on Twitter, with one particular lyric: "'Cause shade never made anybody less gay."

Along with the song, Swift shared a lyric video via YouTube which made her sentiments even clearer. With her lyric, "Why are you made?/ When you could be glad?" she spelled "glad" as "GLAAD," referencing the queer media advocacy organization.

Swift sings of homophobic protestors in the second verse: "Sunshine on the street at the parade/ But you would rather be in the dark ages/ Makin' that sign must've taken all night." In the pre-chorus, she adds, "You just need to take several seats and then try to restore the peace/ And control your urges to scream about all the people you hate."

Swift additionally comments on women being pitted against each other—"We see you over there on the internet comparing all the girls who are killin' it"—asserting that "we all got crowns." There's nothing trolls can do to rain on her parade anymore.

One fan pointed out the possible symbolism of the crown lyric. In "Call It What You Want," track 14 on Reputation, she sings "They took the crown but it's alright." Now on "You Need To Calm Down," track 14 of Lover, she sings that there's not just one crown—we all have them.

Some fans are pointing to the double meaning of the track title. If I had a dollar for every time someone said those words to me in a totally condescending way, I'd probably be richer than her! What woman hasn't been told to calm down about an entirely not-calm situation or while expressing their distaste?

During Swift's live stream for the release of the song, she also announced a fashion collaboration with designer Stella McCartney, a peek of which we got during the singer's WangoTango performance.

Lover is set for August 23 release.

Credit: Frederick Elmes/ Focus Features

"I was like, 'Did I sleep with this critic's girlfriend, or what?'"

The day I meet Jim Jarmusch, the sun hangs so bright and hot and yellow and solid in the sky that it's hard to believe that it will actually set at night. It's one of those New York June days that suggests we might be in permanent daylight; it's got a completely different feeling than the crepuscular atmosphere of Jarmusch's latest film, The Dead Don't Die, which takes place in a small town in what feels like one long twilight, maybe the last one.

But for today, Jarmusch and I are sitting at a table in a sun-filled restaurant, though we're in the shade. We're in a part of the city that used to be very punk rock, and is now very NYU, yet being there with Jarmusch, who looks so at home, like he's holding court in the booth (it helps that Larry Fessenden, an old friend of Jarmusch's and a writer/director/producer/actor, who appears in The Dead Don't Die, happens by the table to say hi), makes the area feel a little punk rock again, even with all the sun.

The Dead Don't Die is a very punk rock zombie movie, by which I mean: It's not very scary, but it is very cool, and even when it's sneering, it's a little bit tender. Starring Bill Murray, Adam Driver, and Chloë Sevigny as a trio of small-town cops who fight back against a nascent zombie apocalypse caused by fracking, the film is cast with a who's who of Jarmusch regulars, like Steve Buscemi, Tilda Swinton, Iggy Pop, and Fessenden, to name a few; but it also features younger stars like Caleb Landry Jones, Selena Gomez, and Luka Sabbat—and there's a real earworm of a theme song, courtesy of Sturgill Simpson.

Below, I speak with Jarmusch about the movie, being a dilettante, and why he only reads his negative reviews—which is definitely one of the most punk rock things I've ever heard.

Photo by Gareth Cattermole/ Getty Images

This was filmed on a pretty condensed shooting schedule, right?
It was a very rough schedule. A very difficult one, actually.

We only had seven weeks to shoot, and we had to shoot Adam Driver out in three weeks because he had to be delivered to Star Wars, and the financing of the film was incredibly grueling and took a long time, so we were pushed so far that we had about one month of prep, and then three weeks with Adam. And then all these different actors coming in and out; I don't know how Carter and Josh, the two producers, organized it all. And then we'd shoot 15-hour days, and halfway through, I had walking pneumonia; I had two coats; it was 95 out; I was shaking. You know, just weird stuff like that. But it's all okay because we had such great people—our crew—everybody. And then, the visual effects were very taxing and complicated.

How did that all work together? Because there's more than one decapitated head.
Yeah, it's a mixture. First of all, we mixed prosthetics with makeup with masks for some of the zombie stuff, but all of those effects with the decapitations, we had to just imagine. So we had to choreograph everything and then only imagine kind of what it would be like, which was, for me, very abstract because I'm not very versed in visual effects. You know, you had to really kind of trust your instincts, because Adam Driver's chopping away with a machete with no blade.

It could've been a machete, it could've been a lightsaber, who knows? So, to what degree is this a sequel of Paterson with Adam Driver's character's last name being Peterson?
Well, I just do these things to amuse myself while writing, you know? Bill Murray in Broken Flowers was named Don Johnson, and in this, I gave him the name Cliff Robertson. Tilda Swinton's character is Zelda Winston. Rosie Perez is named Posie Juarez. You know, I'm just kind of amusing myself.

And Peterson, Paterson. While we were filming Paterson I was always teasing Adam that the next one, we would make was gonna be a sequel about a psychopathic murderous bus driver named Peterson. Tag line: "Get the fuck off my bus!" Or "Next Stop Hell!" You know, stuff like that. It's just to make them... I love trying to make Adam Driver laugh, because he has a very odd and wonderful sense of humor, but it's on the dry side, so I'm always joking around with him between work to try and see what makes him laugh.

But yeah, there's no sequel of any kind, and I don't think that way, and I don't plan, and I don't see my films from the past ever again. I just look toward the next thing.

Credit: Frederick Elmes/ Focus Features

What was the original concept for this? When did you start coalescing all of these different elements into knowing that you wanted it to be your next film?
Some years ago after Only Lovers Left Alive, Tilda kept teasing me, calling me, saying, "When do we do the zombies? When are we doing the zombies?" And in between I made Paterson and Gimme Danger, but then after those I started writing the zombie one, and my original conception was: I wanna make a film that's really funny and silly like Coffee and Cigarettes, where people talk about whatever nonsense I want them to, and I want to get actors I love, you know? So I thought, okay, if I make a zombie film, I can have a structure where different groups are cordoned off against the zombies, and the zombie attacks will be intermittent and not very long, so I'll have long lags where they're just stuck there, like in the house of The Night of the Living Dead, where they can talk about any kind of nonsense. So that was my first idea, and then when I started writing it, for some reason, I wanted to have a small town, Centerville, and I just followed my intuition, and it became this, I don't really know why beyond that.

What is it about small towns that make them the perfect setting for existential terror?
They're insular. They're kind of… everyone kind of knows each other. It's controllable by the characters. It's believable that everyone kind of know each other. I don't know. I'm not very good at analyzing that. And also, this is not a horror film because horror films use devices that are necessary to frighten people, like suspense, and then you get scared. We have no interest whatsoever in that. This is more of a metaphorical zombie film, but I would not call it a horror movie. It's a comedy with zombies with a kind of sad ending. Beyond that, I don't know what it is.

And horror nerds may not like it if they're expecting creepy, creepy, scary thing! They're not gonna get it. They're not gonna get that delivered to them.

What's interesting about it is seeing who fights back against this existential dread. Or, like, Chloë Sevigny's character, Mindy, doesn't fight, she is on her own separate trip, avoiding the end till she embraces it.
It's a character film. It's not even a plot film, really, although critics say that about all my films. But Chloë… it's a complicated thing, because when I first called Chloë, I told her... I wrote her a letter, and then she said, "Yeah, yeah I'd like to do this." And I said, obviously, this is not a feminist character. She's reactive. She's our sort of "Scream Queen." She screams like six times. But Chloë is the master of reaction, and I love watching her react.

She definitely feels like a stand-in for what a normal person would feel during these absurdist experiences, which is nice to have. It's not necessarily that you need a relatable character in a movie like this, but...
Yeah, but she's an empathetic human that's in a job with some authority, but in a small town where that means taking care of whatever, you know, as a police officer, pretty minimal [stuff]. There's not a lot of rampant crime or anything going on… or anything at all, really.

Credit : Frederick Elmes / Focus Features

A lot of people are going to be projecting tons of different meanings onto this film, like with all your films. To what level do you participate in that or pay attention to that? Or, once you're done making a film, is it just out there, and you just let people project onto it whatever they will?
I've always felt that anyone's interpretation of a film that I write and direct is probably more valid than my own. Because it's a funny thing, the beauty of films is going into a world—or a book or whatever—but going into a world that you don't know, and you are entering a world, and it takes you. And if you wrote it, and you were there filming it, and you're in the editing room every day for six months, the mix, and all that... I can never possibly see it. I like hearing what friends or people I know... I like Q and As after screenings because they have no agenda except their interest. I like that a lot, and I value that. I don't really like to read a lot of reviews unless they're really negative. I love the negative ones.

You do?
Yeah, because they must be very far from me in their perception of the world, and that is interesting to me. But I try not to read a lot...

I think you're probably the first person who I've ever spoken to who says they like to read the negative reviews.
I really like them. The worst one I ever got in my life, I laminated and used to carry in my wallet. It was a brief thing from a right-wing French [paper], maybe Le Figaro or something, of a film called Dead Man that we made, and they said—this is the English translation—"The French intelligence celebrates Jarmusch in the way death and blind parents would celebrate their retarded child. Jarmusch is 33 years old, the same age as Christ when he was crucified. We can only hope the same for his film career." I was like, Whoa! That is harsh! I'm keeping that one!

It gets personal.
But that was vicious. I was like, Did I sleep with this critic's girlfriend, or what? What happened? It was really... the knife was sharpened, you know.

That speaks to a very specific kind of agenda for sure.
A friend of mine Amos Poe, he's sort of a mentor of mine, a punk filmmaker, whatever, and when we were young when he made, in the late-'70s, one of his films—The Foreigner or Unmade Beds—the New York Times called it "the cinematic equivalent of kindergarten scribbling," and he put that on his posters and put "New York Times" and we were like punks, we were like, "Yes! Amos! That's great!"

I mean, it genuinely is a pretty great pull quote, and I think also a little bit oblivious to the charms of a kindergartener's scribbles and what the value is in that anyway.
Yeah, it was kind of accurate in a positive way, and they intended it as very negative.

In this film, there are so many actors who are veteran actors, but there are also a lot of younger actors. What do you like about the combination of that dynamic?
I just like the variety of sort of world perceptions—indicated in a very minor way when Bill Murray's character says, "I've known Hermit Bob since we were in junior high," and Adam's character says, "Oh, wow! That must've been like 50 years ago!" And Bill says, "Yeah. It was." But just the kind of difference of perception of age I find as I get older really interesting. And I'm very interested in young people, especially teenagers, because I think they form our sense of style, of music, of so many things, and yet they're kind of pushed around and treated badly and constantly told, "You don't know how the world really works! You're just a teenager!" But they gave us poetry. They gave us Mary Shelley and Rimbaud and chess masters, and all the great music comes a lot from teenagers. So I tried to keep a pulse, that's why the three teenagers, I would not let them turn into zombies. There are only four people [who don't get turned by zombies]: those three that are delinquents, and the Tom Waits character, who's already removed himself from the social order long before.

When the zombies become zombies, they all have one inciting thing that they're still pursuing in the real world. Do you have one thing that you think you would pursue if you were a zombie?
You know, it's hard because I'm a self-proclaimed dilettante. I'm interested in so many things, I don't know if I would be breaking into a bookstore, or if I would be in the alley outside of a movie theater, or if I would be trying to get into a guitar shop. I'm not sure. I have a lot of interests.

I mean there's a way in which it's a really tender portrayal of the human impulse to just seek out these things that they love.
It's not totally a critique; it's their vestigial memory of some things that they were drawn toward, whether it was power tools or oxycontin.

The Dead Don't Die is in theaters now.

Credit: Frederick Elmes/ Focus Features