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Taylor Swift was the queen of vinyl albums in 2022, as the superstar sold more vinyl LPs in the U.S. than any other act by far last year: 1.695 million across her entire catalog of releases, according to the U.S. 2022 Luminate Year-End Music Report.
In fact, she sold more vinyl LPs last year than the next two biggest-sellers on vinyl combined: Styles with 719,000 and The Beatles with 553,000.
Swift loomed so large on vinyl in 2022, nearly one of every 25 vinyl LPs sold last year in the U.S. was a Swift album (1.695 million of 43.46 million total vinyl albums sold by all artists).
Swift’s latest release, Midnights, was the top-selling vinyl album of 2022 in the U.S., with 945,000 copies sold across all of its vinyl variants and editions. The album has the largest yearly sales total for a vinyl album since Luminate began tracking sales in 1991. Midnights also posted the single-largest sales week for a vinyl LP in Luminate history, when it launched with 575,000 copies in its first week.
Swift has six of the year’s top 40-selling vinyl albums – Midnights (No. 1; 945,000), Folklore (No. 7; 174,000), Red (Taylor’s Version) (No. 11; 153,000), Evermore (No. 14; 134,000), Fearless (Taylor’s Version) (No. 30; 97,000) and Lover (No. 36; 91,000). Harry Styles and Kendrick Lamar have the second-most titles among the year’s top 40-selling vinyl LPs, with three each.
Midnights, and Swift’s popular catalog, helped U.S. vinyl album sales grow for a 17th consecutive year in 2022. It was also the second year in a row, and only the second year since Luminate began tracking music sales in 1991, where vinyl albums outsold CD albums. Vinyl continues to be the leading format for album purchases for the second straight year.
Swift’s vinyl album sales, like many acts, benefit from the availability of a range of alternative versions and color-vinyl variants for her vinyl releases.
Midnights, for example, was available in four standard vinyl LP editions, each with a different cover and colored vinyl (dubbed Moonstone Blue Edition, Jade Green Edition, Mahogany Edition and Blood Moon Edition). Target stores also carried an exclusive colored-vinyl Lavender Edition. To further enhance sales, Swift’s official web store sold signed copies of the four standard vinyl LPs during a pre-order window before the album launched. As previously reported when the album debuted at No. 1 on the Billboard 200, some superfans may have been motivated to purchase all four vinyl variants, as the back covers of the albums fit together like a puzzle to display a clock face (a literal reference to Midnights). Swift shared the news through her social media in mid-September, saying: “If you put all the back covers together, she’s a clock. It’s a clock… It makes a clock.” (Swift’s official web store previously sold hardware to hold the four CDs or the four vinyl LPs together as a wall clock.)
Luminate began tracking music sales in 1991 when the company was known as SoundScan. Luminate’s sales, streaming and airplay data is used to compile Billboard’s weekly charts. Luminate’s 2022 tracking year ran from Dec. 31, 2021, through Dec. 29, 2022. Luminate is an independently operated company owned by PME TopCo, a PMC subsidiary and joint venture between Penske Media Corporation and Eldridge. Billboard is an independently operated company owned by PME Holdings, a subsidiary of PME TopCo.
In 2022, for the second year in a row — and only the second year since Luminate began tracking music sales in 1991 — vinyl albums outsold CD albums in the U.S. Vinyl continues to be the leading format for album purchases for the second straight year, according to figures announced in the U.S. 2022 Luminate Year-End Music Report.
Vinyl was the dominant format for album purchases in the U.S. up until the early 1980s. After that, cassettes took hold until the early 1990s, when the CD format blossomed and remained king until 2021.
Further, vinyl album sales grew for a 17th consecutive year in the U.S., with Taylor Swift’s Midnights ruling as the top-selling vinyl LP in 2022. It sold 945,000 copies last year — the largest yearly sales total for a vinyl album since Luminate began tracking sales in 1991.
Growth for the format is slowing, though. Following a 51.4% year-over-year increase in vinyl album sales in 2021 and a 46.2% year-over-year increase in 2020, sales in 2022 rose just 4.2% over the year. Whether that’s due to slowing demand or supply issues that more pressing plants could help alleviate — it marks a significant deceleration following a pandemic-fueled period of rapid expansion.
17 YEARS OF VINYL GROWTH: 43.46 million vinyl albums were sold in 2022 (up 4.2% from 41.72 million in 2021). 2022 was the 17th consecutive year vinyl album sales grew in the U.S., and the largest year for vinyl album sales since Luminate began tracking data in 1991. Plus, vinyl LP sales posted their single-largest sales week of the Luminate era when 2.232 million vinyl albums were sold in the week ending Dec. 22.
43% OF ALL ALBUMS SOLD WERE VINYL LPS: Vinyl album sales comprised 43.4% of all album purchases in the U.S. in 2022 (43.46 million of 100.09 million total sales across all formats — both digital and physical). Vinyl LPs accounted for 54.4% of all physical albums sold last year (43.46 million of 79.89 million; physical albums include CDs, vinyl LPs, cassette tapes and other niche physical formats). Both sums are Luminate-era records for vinyl’s share of the album sales market in the U.S.
In 2022 there were a total of 88 albums that sold at least 50,000 copies on vinyl — up from 87 in 2021. To compare, only 56 albums in the CD format sold at least 50,000 copies in 2022 (down from 67 in 2021).
ONLY HALF OF U.S. VINYL BUYERS OWN A RECORD PLAYER: While vinyl album sales continue to gain each year in the U.S., only half of those fans buying records actually own a vinyl record player, according to a research survey commissioned by Luminate. Last September, the firm published the statistic as part of its U.S. Music 360 2022 – Wave 2 report. Of those respondents over the age of 13 who had purchased vinyl in the previous 12 months, there was a question asked about which devices they owned, and only 50% said they owned a record player. Total respondents for the Music 360 study: 3,992.
NEARLY HALF OF ALL VINYL ALBUMS WERE SOLD AT INDIE STORES: in 2022, 48% of all vinyl albums sold in the U.S. were purchased at independent record stores (20.92 million of 43.46 million). The second-largest seller of vinyl LPs in 2022 was Luminate’s category of Internet/mail order/venue, which accounted for 32.8% of the market (14.26 million of 43.46 million). Sales included in the Internet/mail order/venue category include those generated by mail-order websites like Amazon, Target.com and Walmart.com, official artist web stores and merchandise stands at concert venues. In third place was the mass merchant category, which includes in-store sales at stores like Target and Walmart. The segment had 13.6% of vinyl album sales in 2022 (5.90 million of 43.46 million).
ROCK RULES: Among Luminate’s core music genres measured, rock music accounted for a leading 51.83% of all vinyl albums sold in 2022 (22.52 million of 43.46 million). That’s essentially the same volume as in 2021 when rock accounted for 51.78% of all vinyl albums sold (21.60 million of 41.72 million). The second-biggest genre for vinyl album sales in 2022 — and in 2021 — was R&B/hip-hop, which accounted for 17.59% of the market last year (7.65 million of 43.46 million). In 2021, R&B/hip-hop held 17.38% (7.25 million of 41.72 million). R&B/hip-hop is an umbrella genre that includes most R&B and/or rap albums.
‘MIDNIGHTS’ IS MASSIVE: The top-selling vinyl album of 2022 is Swift’s Midnights, with 945,000 copies sold across all of its vinyl variants and editions (see top 10 list, below). Midnights has the largest yearly sales total for a vinyl album since Luminate began tracking sales in 1991. The set also posted the single-largest sales week for a vinyl LP in Luminate history, when it launched with 575,000 copies in its first week.
TOP 10 SELLING VINYL ALBUMS OF 2022 IN U.S.1. Taylor Swift, Midnights (945,000)2. Harry Styles, Harry’s House (480,000)3. Olivia Rodrigo, Sour (263,000)4. Kendrick Lamar, good kid, m.A.A.d city (254,000)5. Fleetwood Mac, Rumours (243,000)6. Tyler, the Creator, Call Me If You Get Lost (211,000)7. Taylor Swift, Folklore (174,000)8. Tyler, the Creator, Igor (172,000)9. Michael Jackson, Thriller (168,000)10. The Beatles, Abbey Road (160,000)Source: Luminate, for the tracking period Dec. 31, 2021, through Dec. 29, 2022.
Eight of the year-end top 10-selling vinyl albums saw their sales enhanced by their availability across multiple variants (including assorted color-vinyl editions). Among the top 10 vinyl sellers, only Tyler, the Creator’s Call Me If You Get Lost (No. 6) and Igor (No. 8) were available in one iteration each.
Midnights, for example, was available in four vinyl LP editions, each with a different cover and colored vinyl (dubbed Moonstone Blue Edition, Jade Green Edition, Mahogany Edition and Blood Moon Edition). Target stores also carried an exclusive colored-vinyl Lavender Edition. To further enhance sales, Swift’s official web store sold signed copies of the four standard vinyl LPs during a pre-order window before the album launched. As previously reported when the album debuted at No. 1 on the Billboard 200, some superfans may have been motivated to purchase all four vinyl variants, as the back covers of the albums fit together like a puzzle to display a clock face (a literal reference to Midnights). Swift shared the news through her social media in mid-September, saying: “If you put all the back covers together, she’s a clock. It’s a clock… It makes a clock.” (Swift’s official web store previously sold hardware to hold the four CDs or the four vinyl LPs together as a wall clock.)
SWIFT IS QUEEN OF VINYL: Swift sold the most vinyl albums among all acts in 2022 in the U.S., with 1.695 million sold across her entire catalog of albums. (She sold more vinyl LPs last year than the next two biggest sellers on vinyl combined: Harry Styles with 719,000 and The Beatles with 553,000.) Swift loomed so large on vinyl in 2022 that one of every 25 vinyl LPs sold last year in the U.S. was a Swift album (1.695 million of 43.46 million).
Swift has six of the year’s top 40-selling vinyl albums — Midnights (No. 1; 945,000), Folklore (No. 7; 174,000), Red (Taylor’s Version) (No. 11; 153,000), Evermore (No. 14; 134,000), Fearless (Taylor’s Version) (No. 30; 97,000) and Lover (No. 36; 91,000). Styles and Kendrick Lamar have the second-most titles among the year’s top 40-selling vinyl LPs, with three each.
Luminate began tracking music sales in 1991 when the company was known as SoundScan. Luminate’s sales, streaming and airplay data is used to compile Billboard’s weekly charts. Luminate’s 2022 tracking year ran from Dec. 31, 2021, through Dec. 29, 2022. Luminate is an independently operated company owned by PME TopCo, a PMC subsidiary and joint venture between Penske Media Corporation and Eldridge. Billboard is an independently operated company owned by PME Holdings, a subsidiary of PME TopCo.
Kim Kardashian and her nine-year-old daughter North West were back at it again on TikTok on Thursday (Jan. 5), taking part in their usual fast-paced choreographed clips.
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This time, however, the mother-daughter duo are singing along to Taylor Swift‘s 2014 hit, “Shake It Off,” which is surprising given Kardashian and Swift’s tumultuous history. After the SKIMS founder’s ex-husband Kanye West interrupted Swift on stage at the 2009 VMAs, which sparked their decade-plus feud, he called her out in his 2016 song “Famous” by rapping, “I feel like me and Taylor might still have sex / Why? I made that b—h famous.
That year, Kardashian defended Ye in an episode of Keeping Up With the Kardashians. In 2019, however, she revealed that the beef was finally over. “I feel like we’ve all moved on,” she said during an appearance on Watch What Happens Live with Andy Cohen, adding that the two still had not spoken.
In 2021, Kardashian revealed in an interview on Honestly With Bari Weiss that she’s actually a fan of Swift’s music. “I mean, I really like a lot of her songs,” the billionaire reality TV star revealed. “They’re all super cute and catchy. I’d have to look in my phone to get a name.”
Upon Swift releasing her 10th studio album Midnights in 2022, many fans believed that “Vigilante S—,” while not mentioning anyone directly, may be about her public feud with West and Kardashian, flipping the script and now siding with Kim K.
Todrick Hall is sharing a heartwarming story about his good friend Taylor Swift just in time for the holidays.
On Monday, the singer and actor recognized Swift’s kindness toward a superfan who was recently diagnosed with cancer.
“I don’t feel like these stories get shared enough,” Hall begins his video on Instagram. “Seeing as it’s the holidays, I thought this story might warm your heart.”
In the minute-long clip, the 37-year-old artist explains that he received a message in early December from his good friend Holly, who mentioned that her friend Estelle — a “gigantic Taylor Swift fan” — was recently diagnosed with stage 4 cancer in the eye, brain and spine. Holly added that Estelle even had a Swift-themed bridal shower and said her friend’s dream was to receive a personalized message from the “Anti-Hero” singer.
“When I saw the footage of this incredible bridal shower, I was like, ‘OK, Taylor has to see this,’” Hall continues. “So I sent the videos, the footage and the message to Taylor and [she] responded so sweetly and said, ‘I would love to send her something. What is her address?’”
Swift followed through on her promise, according to Hall, and sent Estelle a huge box full of an assortment of merchandise, including colorful Midnights-branded T-shirts and hoodies.
“I know that she has a smile from ear to ear,” Hall says. “She’s been DM’ing me all day. I just wanted you to know there are so many stories like this that that I could tell, but this story in particular warmed my heart. I hope it touched your heart, I hope it put a smile on your face.”
Billboard has reached out to Swift’s representatives for further details about Hall’s touching post.
See Hall’s post on Instagram below.
When Taylor Swift sells the remaining 170,000 tickets for her 52-date Eras tour later this month, the U.S. trek will have generated $591 million in sales, Billboard estimates. The average ticket price is $215, according to concert business sources.
This total will make Swift the highest-grossing female touring artist of all time, according to the Billboard Boxscore chart, topping current title holder Madonna whose Sticky & Sweet Tour (of 2008 and 2009) currently holds the No. 1 slot with a gross of $407 million. Swift’s U.S. tour will also put her in fourth place on the all-time Top Tours chart, which is currently led by Ed Sheeran, whose 2017-2019 Divide shows grossed a total of $776.2 million.
Normally with a tour of this scale, artists share some revenue with a promoter and an agent. In this case, Swift will presumably keep a higher share of revenue, because she’s not represented by one of the major booking agencies and because independent promoter Louis Messina is booking the entire tour and providing some of the services an agency normally would.
Other companies involved in the tour won’t do as well as they normally do, either. Ticketmaster and SeatGeek, which handled sales for the tour, normally allow ticket buyers to sell tickets on their secondary markets and take a percentage of that revenue. (Ticketmaster handled sales for 47 shows, while SeatGeek sold seats for the remaining five.) But Swift would not allow the companies who handled primary ticket sales to also sell secondary market tickets. As well, Swift asked Ticketmaster to help make sure tickets went to fans, rather than scalpers, and the company says it used its Verified Fan technology to reduce the number of tickets on resale sites by 75%.
That’s an expensive decision. Ticketmaster makes a much higher margin on resale tickets than primary tickets, since it keeps all of the fees it charges — typically 10% of the sale price for the seller and another 20% for the buyer. The company still charges a 25% service fee for all primary ticket sales. However, it only keeps a small percentage of that money, $3.50 to $5 per ticket, which for this tour will come out to about $7.6 million to $10.8 million. The rest of the fees normally go to venues and promoters. (Ticketmaster, like most ticketing companies, also charges 2.75% for credit card processing, of which it keeps about 10% and pays the rest to credit card companies. The Eras tour generated approximately $13.8 million in these fees, Billboard estimates.) All told, by the time Ticketmaster sells the remaining 170,000 tickets, the company’s total revenue will add up to between $9 million and $12.9 million.
Ticketmaster’s efforts to fight scalpers means that relatively few tickets wound up on the secondary market – but the ones that did are expensive. A month after the presale, on Dec. 14, the average resale ticket price was $1,425, according to TiqIQ, which tracks secondary ticket sales across multiple marketplaces.
TiqIQ estimates that about 1,100 resale tickets are available per show, out of an average of about 50,000. At an average price of $1,425, that would work out to about $1.6 million worth of tickets per show on the secondary market. Assuming that Ticketmaster would have captured about 15%–20% of those purchases, based on 2018 estimates by the United States Government Accountability Office, that means that the company could have brought in an additional $12.5 million to $16.4 million in revenue, of which Ticketmaster would have kept $3.8 million to $5 million in fees, if Swift had allowed the company to sell tickets on its own secondary market.
SeatGeek, which has a 12% share of the secondary market according to its April earnings report, agreed to turn off resale for the five shows it ticketed on the tour, but not the 47 shows sold by Ticketmaster. (Ticketmaster blocked secondary sales for the SeatGeek shows.) That means SeatGeek could make about $9 million from the Ticketmaster shows it lists on its secondary market, although it missed out on about $960,000 in revenue for not allowing secondary sales on the five shows for which it initially sold tickets.
Working with Swift has benefits beyond the financial, of course. In addition to the prestige of working with an artist of that stature — and enduring the embarrassment of the flubs around the Nov. 15 presale — Ticketmaster will presumably see an increase in app downloads and usage of its digital ticket platform, which has been a priority for the company.
Sadie Sink is a Swiftie through and through — and not just because she starred in Taylor Swift‘s All Too Well: The Short Film.
In a new interview with Elle, the Stranger Things actress revealed that she listened to Swift’s 10th studio album, Midnights, and her top tracks are “Labyrinth,” “Sweet Nothing,” and “You’re on Your Own, Kid.” The third one on the list, she explained, is “track five – it’s always the best one.”
Sink was hand-picked by Swift to star in the epic “All Too Well” short film alongside Dylan O’Brien, chronicling seven chapters of a couple’s relationship. The 10-minute, expanded version of the fan-favorite track was featured on Red (Taylor’s Version), released in November 2021. “Of course it’s such an iconic song and the way she brought that to life on screen was really special so it was an honor to be a part of it,” Sink previously told Glamour.
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Swift’s recent album, Midnights, spent five nonconsecutive weeks atop the Billboard 200 albums chart, and was recently dethroned by Metro Boomin’s superstar-filled album Heroes & Villains on the Dec. 17-dated chart.
The last Swift album with more weeks at No. 1 is Folklore, which notched eight nonconsecutive weeks atop the list in 2020. Since then, she’s claimed four more chart-topping albums: Evermore (four weeks at No. 1 in 2020-21), Fearless (Taylor’s Version) (two weeks, 2021), Red (Taylor’s Version) (one week in 2021) and Midnights (five weeks so far).
Few artists have earned the chart hits, fan support and critical acclaim that Taylor Swift enjoys. Emerging as a country singer-songwriter on her 2006 self-titled debut before branching out into the worlds of pop music, indie folk and beyond, Swift has notched eight No. 1s on the Billboard Hot 100, inspired a dedicated legion of Swifties and won the Grammy for album of the year three times — for Fearless, 1989 and Folklore; She is just the fourth person, and the first woman, to win that prestigious Grammy three times.
In 2019, Swift was honored as Billboard‘s first ever Woman of the Decade at our 2019 Women In Music event, not just for her commercial success, but for her commitment to protecting creative rights, music education, literacy programs, cancer research, disaster relief and the Time’s Up initiative.
Here are the 40 biggest Taylor Swift songs, based on actual performance on the weekly Billboard Hot 100 (through the chart dated December 17, 2022).
Taylor Swift opened up Monday (Dec. 12) about how her approach to creativity has changed as she moves into the next decade of her career.
The topic came up when the superstar sat down with acclaimed director Martin McDonagh as part of Variety‘s annual Directors on Directors series. “Do you feel like your songwriting is different now? Even if you’re talking about a heartbreak song, are you different in writing now as opposed to how you were when you were 22?” the Banshees of Inisherin filmmaker asked Swift, comparing All Too Well: The Short Film to the original album cut from 2012’s Red.
“Yes. I definitely feel more free to create now,” the pop star-turned-director replied. “And I’m making more albums at a more rapid pace than I ever did before, because I think the more art you create, hopefully the less pressure you put on yourself. It’s just a phase I’m in right now. And everybody’s different. There are people who put an album out every five years and it’s brilliant and that’s the way they work. And I have full respect for that. But I’m happier when I’m making things more often.”
Swift also shed light during the discussion on how she tackled making the Grammy-nominated short film for “All Too Well (10 Minute Version),” starring Sadie Sink and Dylan O’Brien, and how it might impact her upcoming directorial debut for Searchlight Pictures.
“Every aspect of my job as a singer has affected the way that I am as a director,” the “Anti-Hero” singer said. “I’ve occasionally been in a film for very short periods of time. I really want someone to feel comfortable. If they want to be able to look at the monitor, or they want to know how it’s set up, they should be able to. But I think it’s helpful when people know what story it is they’re telling. I’ve been part of things where you didn’t know the script, and no one knew what the story was.
“And so as much as I like to be secretive about projects I’m making,” she concluded, “you have to trust the people that you’re making something with to let them know this is exactly why this matters.”
Read Swift’s full Directors on Directors conversation with McDonagh here.
Taylor Swift has reached an agreement with two songwriters to end a five-year long copyright lawsuit claiming she stole the lyrics to “Shake It Off” from an earlier song about “playas” and “haters,” resolving one of the music industry’s biggest legal battles without a climactic trial or ruling.
In a joint filing made on Monday in California federal court, attorneys for both Swift and her accusers – songwriters Sean Hall and Nathan Butler – asked a judge for an order “dismissing this action in its entirety.” Before the deal, a trial had been scheduled to kick off in January.
The public filings did not include any specific terms of the apparent settlement, like whether any money exchanged or songwriting credits would be changed. Attorneys for both sides and a rep for Swift did not immediately return requests for comment.
The agreement means a sudden end for a blockbuster case that seemed headed toward the next landmark ruling on music copyrights. Following legal battles over Robin Thicke’s “Blurred Lines” and Led Zeppelin’s “Stairway to Heaven,” the case against Swift posed fundamental questions about the limits of copyright protection, with her lawyers arguing that the accusers were trying to “cheat the public domain” by monopolizing basic lyrical phrases.
Hall and Butler first sued way back in 2017, claiming Swift stole her lyrics to “Shake It Off” from their “Playas Gon’ Play,” a song released by R&B group 3LW in 2001. That was no small accusation, given the song in question: “Shake It Off” debuted at No. 1 on the Billboard Hot 100 in September 2014 and ultimately spent 50 weeks on the chart, a mega-hit even for one of music’s biggest stars.
In Hall and Butler’s song, the line was “playas, they gonna play, and haters, they gonna hate”; in Swift’s track, she sings, “‘Cause the players gonna play, play, play, play, play and the haters gonna hate, hate, hate, hate, hate.” In their complaint, the duo said Swift’s lyric was clearly copied from their song.
In the years since, Swift’s attorneys repeatedly pushed to dismiss the case, arguing that a short snippet of lyrics about “players” and “haters” was not creative or unique enough to be covered by copyrights. They cited more than a dozen earlier songs that had used similar phrases, including 1997’s “Playa Hater” by Notorious B.I.G and 1999’s “Don’t Hate the Player” by Ice-T.
Swift initially won a decision in 2018 dismissing the case on those grounds, with a federal judge ruling that Hall and Butler’s lyrics were not protected because popular culture in 2001 had had been “heavily steeped in the concepts of players, haters, and player haters.” But an appeals court later overruled that decision, and a judge ruled last year that the case would need to be decided by a jury trial.
“Even though there are some noticeable differences between the works, there are also significant similarities in word usage and sequence/structure,” the judge wrote at the time.
More recently, Swift’s team again asked the judge to dismiss the case, this time making a new argument: That documents turned over during the case had revealed that Hall and Butler voluntarily signed away their right to file the lawsuit in the first place.
In an August filing, Swift’s lawyers said the documents proved that Hall and Butler had granted their music publishers the exclusive rights to bring an infringement lawsuit over the song, meaning they lacked the legal standing to do so. Her lawyers said the pair had even emailed their publishers – Sony Music Publishing and Universal Music Publishing Group, respectively – asking for permission to sue, but that both companies had refused the request.
“After their music publishers refused to assign to plaintiffs the claim they assert in this action, their manager unsuccessfully lobbied a United States Congressman to get a House sub-committee to intervene,” Swift’s lawyers alleged in the filing.
That motion was still pending when Monday’s settlement was filed.
Days after Taylor Swift revealed that she identifies with Game of Thrones‘ Arya Stark and gushed over the series’ director Guillermo Del Toro, the filmmaker returned the love for the Grammy-winning superstar.
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“She’s a very accomplished director, she’s incredibly articulate and deep about what she’s trying to do—and what she will do,” he told W Magazine when asked if he’s a Swiftie. “I have the greatest admiration for her; we had one of the most stimulating and gratifying conversations.”
Del Toro added that the duo have many “common interests,” including fairy tales. “Her interest in fable and myth and the origins of fairy tale is quite deep,” he explained. “I gave her a few books that I thought would be interesting for her—among them, very importantly, a book that was useful for me in creating Pan’s Labyrinth called The Science of Fairy Tales, which codifies and talks about fairy tale lore.”
For The Hollywood Reporter‘s 2022 Women In Entertainment Power 100, Swift revealed that she’d like to trade places with Del Toro. “Imagine having that imagination, that visual vocabulary and that astonishing body of work,” she said of the Shape of Water filmmaker. “To have such a diverse storytelling range but to somehow put your distinctive artistic fingerprint on every film. And yet, it feels like he’s still so curious and enthusiastic about his work. I can only imagine that a day in his mind would be fascinating.”