Category: Photo Sessions
In Euphoria, Australian actor Jacob Elordi’s character, Nate, is a case study in American teenage toxic masculinity, a complete 180 from the more conventionally romantic role in his breakthrough film, The Kissing Booth. Off-screen, however, the 23-year-old embodies something of a new type of masculinity unbothered by convention. Perhaps it’s because he spent parts of his childhood dressed in a curly wig and wearing red lipstick. For W’s annual Best Performances issue, Elordi, who is set to appear in the upcoming Deep Water, discusses his first kiss, audiences’ reactions to his role as Nate, and his early crush on Orlando Bloom in The Lord of the Rings.
Have you wanted to be an actor your whole life, or was that a sudden desire?
I think subconsciously, my whole life I wanted to be an actor, because I demanded all the attention from my parents and friends and people around me. Probably from when I was 12, I started doing musical theater. I did Charlie and the Chocolate Factory and Seussical. From there I took drama classes. And then from about 15, there was not much else for me to do.
Were you a dramatic child?
Yeah, still am. I still am a dramatic child, for sure.
You’d start singing in the middle of public places?
No, I don’t think I would call myself a theater kid necessarily, who just starts whooping out ballads and songs. I’m more dramatic like in a drama movie. I’ll make everything 10 times more intense, serious, or heartbreaking than it needs to be.
You’re the baby of a large family. Did your sisters dress you up like a doll?
I think it was all of us dressing up. My mom has videos of me with this great ginger curly wig, with red lipstick on, and my sister’s purse. I don’t remember ever resenting it or putting up much of a fight.
Head over to the W Magazine website to read the rest of the interview!
The Euphoria and Deep Water star talks dating in the public eye, playing opposite Ben Affleck, and his admiration for Zendaya.
Every generation has its heartthrobs; Gen Z has Jacob Elordi. The lothario of streaming, thanks to Netflix’s The Kissing Booth trilogy, shocked Hollywood as a demented jock in HBO’s Euphoria. Next, he’ll tangle with Ben Affleck and Ana de Armas in Adrian Lyne’s erotic adaptation of Patricia Highsmith’s classic thriller Deep Water—this Australian-born movie buff is picking his roles to build a leading man that lasts.
Elordi was auditioning for Australian soaps in Sydney and studying Noah Baumbach films when he landed The Kissing Booth. “I’m a purist and love the movie theater, so I had this weird moral battle of ‘What am I aiding and abetting? Am I the face of this robotic, terrifying new age? Am I murdering this thing that I love?’ But there was this mentality of, ‘I’ll do whatever the fuck I’ve got to do to get to the United States and do what I love.’ ”
The movie spawned two sequels. “This is really the last kiss,” he says of the final installation.
He fumbled his Euphoria audition but “got a callback and met Sam [Levinson]; he will stop at nothing to get that goal. To be one of the soldiers out there for him…that’s the environment I love to work in.”
He wasn’t surprised when Zendaya made Emmy history as the youngest-ever best actress in a drama series. “She’s a power unto herself and so talented, such a sweetheart.”
Affleck, his colleague in Deep Water, is “a hero”—“I have a picture in my house of him and Matt Damon with the Oscars for Good Will Hunting”—and he was thrilled to work with Lyne following his nearly 20-year hiatus. Elordi plays Charlie, a classical pianist and lover to de Armas’s character. “She had me on my toes and was surprising every single take.”
His perfect date is “a night in Paris with wine, and you’re dressed to the nines,” but he’s still adjusting to dating in the public eye (and has been snapped jet-setting with model Kaia Gerber). “You want it to be genuine and real and have all the feelings of what you read in 1920s literature, but when people are watching and talking about it, it makes it a little bit difficult.”
Jacob Elordi was set to reprise his breakout role in Euphoria, but as the world began shutting down, instead he holed up in Brisbane and turned to his own artistic pursuits.
For the past couple of months, the Australian actor Jacob Elordi has been growing a mullet.
“It is luscious,” the 23-year-old confirms from the front porch of his parents’ home in Brisbane, where he is currently staying. We were speaking over video call – this was mid-May and no one was travelling anywhere – but Elordi’s hair was no less striking in virtual form. Neat on top and pushed away from his forehead, the back was threatening to reach his shoulders; not quite the full ’80s Billy Ray Cyrus, but getting there. “It is a huge sense of freedom,” says Elordi, running his hand through it. “Usually I have this all-American short back and sides, but I hate that haircut. I hate having super-short hair. So this is the first time I’ve been able to grow it.”
The mullet, for all its overtones of a certain kind of Australiana, speaks of something else. Namely, that Elordi is not where he should be: on a set somewhere in LA, filming the second season of acclaimed HBO series Euphoria.
“I was supposed to start shooting, but shit was starting to get weird in LA,” he says, referring to the first rumblings of what would become a global pandemic. “And the last place on Earth I want to be when shit gets weird is America, so I booked a ticket and dipped out.”
Elordi and the rest of the young cast – including Zendaya, Maude Apatow, Hunter Schafer and Algee Smith – had been hoping things would go ahead, but on the day they were due to start filming, he received a phone call. Production was shutting down – indefinitely.
Elordi had not been following the news and was unaware of how the pandemic was developing, but the fact filming had stopped told him everything he needed to know: it was bad.
“The reality for me was that it was large enough to stop production, which is a huge thing – movies will keep going even if there’s a civil war,” he laughs. “So that’s how crazy it was.”
Read the full article at Australian GQ
As Jacob Elordi’s gripping turn as Nate in HBO’s Euphoria sent his career into high gear, here, the real Elordi—a thoughtful Aussie with a penchant for fellow good-guy actors—jumps into the driver’s seat.
Brisbane-born actor Jacob Elordi did not so much catapult into the public’s consciousness as he did saunter into it. With his slow-mo entrance in 2018’s The Kissing Booth on Netflix, which emphasized his ripped build and grinning insouciance, Elordi’s overnight-heartthrob status seemed inevitable. The rest might have been history, were it not for the actor’s next big break: playing the closeted, sociopathic Nate on HBO’s Euphoria. Though technically young-adult-driven, the Sam Levinson drama, dubbed the “most shocking teen show ever” by The Guardian, was purpose-built to break taboos and shift paradigms.
In no small part, the show’s shock factor stemmed from Elordi’s Nate, which laid waste to the hunky purity the actor embodied in his rom-com debut. All id and muscle, Nate courses with hardly-contained rage. “You want my advice?” he snarls to his footballer friends in Episode 1. “You fuck her like the whore she is.” His wrath telegraphs a primordial yet still-relevant brand of masculinity: “Keep your head down,” he warns a trans student whom he’s attempting to blackmail. “Keep your mouth shut. Don’t try to ruin my life, and I won’t have to ruin yours.”
Even for an experienced actor, playing a guy like Nate would be intimidating. For a relative unknown, to take on such a role is risky, if not hubristic. But not to Elordi. “Pretty quickly after meeting Sam, I had an idea that it was something I was going to enjoy tremendously,” he says. “Obviously you never know how something is going to be received in the wider world, but I knew that I was going to have a good time making it.”
Still, the character of Nate is daunting by nature. One climactic scene offered particularly good PTSD fodder: the physical fight between Nate and his father (Eric Dane). “The breakdown scene came toward the end of [shooting]. So I guess I had been building up to that, and I knew there was that climax coming for the character,” Elordi says, calling in from a New Orleans-based film set. In said tussle, Nate flip-flops between aggressor and terrified child, eventually using his own head to beat himself half-unconscious. In watching the disturbing sequence, the viewer flip-flops, too: between hating Nate, fearing him, and pitying him, but never wavering in the thrill of watching a young actor do something great.“That scene was definitely a lot,” Elordi continues. “But then, the whole thing was [a lot]; I hadn’t worked that much. I’d thought a lot about being an actor, but I never imagined that I’d be doing a big TV show at this stage in my career.” Elordi was on the verge of audition burnout when he heard about Euphoria—first through an L.A.peer who was up for a role. “I helped a friend [make] a tape for it,” he recalls. “Then a few weeks later, I got the brief myself. It was such a standard-procedure kind of thing: I went in for the casting, then went back in for it, and again, and again…The caliber of writing was spectacular from the get-go.”
Critics agreed, largely extolling the show’s genre-pushing storylines, inclusive cast, and stellar acting. Besides its substantive and aesthetic achievements (“Euphoria threw a glitter bomb at its audience,” The New York Times summarized), Euphoria opened up the current golden age of TV to the YA genre—maneuvering a dizzying tightrope between tenderness and shock. Unlike much prestige TV, it relied on mostly newcomers to play its cadre of high schoolers. (The exception being Zendaya, who stars as Rue.) “It’s very rare to get a script…at HBO where they tell you they don’t need any names, just whoever is best to make this story,” casting director Jessica Kelly pointed out to IndieWire. Thus Elordi is not wrong in calling himself “really, really lucky” to have landed his role. Another stroke of luck: having muscled through one of the most talked-about first seasons of 2019, and leaving fans scrambling for more with its finale, Euphoria will return later this year for another round of can’t-miss histrionics.
He might be objectively a newcomer, but Elordi’s tour de force performance as Nate involved serious-actor methodology: On set, he would stay in character by keeping a journal as Nate. “It was about keeping tabs on my thoughts, as a character,” he explains. (Those entries, along with snapshots Elordi, an avid photographer, took on set, were later extracted and published as a zine by HBO.) Elordi also says he studies his actor role models the way other 22-year-olds might study math or English Lit. “I’m obsessed with actors in general,” he says. “More and more so as I get older, especially as I meet them. Seeing them work just blows my mind.”
Chief among Elordi’s objects of fascination is another Australian leading man, the late Heath Ledger: Before moving to L.A. with camera in-tow, Elordi discovered the photos Ledger took throughout his early years in Hollywood. Before that, Elordi’s actor-worship had guided his movie diet. “I was particularly influenced by Michael Fassbender and Ryan Gosling,” he says. “As I watched more movies, it was Marlon Brando and James Dean. After that, it was Montgomery Clift…I think all young men who want to act [have] that period of falling in love with [those actors]…I’m also a huge fan of James Franco as an artist. I have such a major interest in almost everyone working in the field, even down to someone like Nicolas Cage…I find that [so many actors] are doing something interesting, most of the time.”
Elordi is poised to make a career of doing something interesting, all of the time. He’s on set in New Orleans doing just that: the project is an adaptation of the 1957 Patricia Highsmith novel Deep Water, about an open marriage between a dysfunctional, possibly murderous couple (Ben Affleck, Ana de Armas). The film, which Elordi describes as “a marriage-drama-cum-thriller kind of thing,” promises a compelling mix of new blood and industry clout: In addition to a screenplay Euphoria’s Levinson, the adaptation is directed by thriller master Adrian Lyne (Fatal Attraction, Lolita).“It is really cool,” Elordi says. “Every day I wake up incredibly excited. [Lyne] is a legend, and I love Patricia Highsmith; she is such an interesting woman, and had the most unusual life.”
Whether immersing himself in the chilling mind of Highsmith or character-journaling for the second season of Euphoria, soon to be in production, Elordi seems poised to be the handsome face of Neo-noir. Still, the actor doesn’t plan on sticking to any one genre for too long. “I’m not actually someone who makes a lot of plans,” he shrugs. “One thing I’d like to do is to make more movies, because I enjoy the fact that they allow [for] these sin-gular experiences: You can play a character for a period of time. More than anything else, I’d love to do plays. That’s sort of my favorite thing in the whole world. I’m trying to build a space over the next two years where I’m in a position to be able to drop [everything] and do a play.” For somebody who cares so much about the work, making it as an actor has to feel euphoric.