anton yelchin’s provocative beauty | interview with curator alessio de’navasques
A leader in culture, born to foster a base for new artistic expression, meet Alessio De’Navasques, curator of AltaRoma and co-founder of A.I. Artisanal Intelligence. Beginning his artistic journey through the study of architecture at Valle Giulia in Rome, De’Navasques delved into the realm of fashion and applied arts at an early age, where he began to discover his natural knack for curating through exhibitions, lectures and workshops for several institutions.
With an abundance of projects in the works, De’Navasques’ latest project shines a light on late Russian-American actor and photographer, Anton Yelchin through “Provocative Beauty” — a photography exhibition of Yelchin’s work co-curated alongside Clayton Calvert in celebration of Spazio Field, a new exhibition space at Palazzo Brancaccio in Rome as part of the Videocittà program.
Paying homage to Yelchin’s artistic soul through his intimate photographs, De’Navasques tells Schön! about the process behind curating this exhibition, the importance of developing new ideas through artistic expressions, and his journey as a curator.
How did you begin curating?
It happened quite organically following my research in visual arts, fashion and cinema. Clara Tosi and I founded A.I. Artisanal Intelligence 10 years ago. Within that time, I found myself curating exhibitions, lectures and content from fashion items to artists’ creations, to artisans of the film and costume industry. Because of this experience, I began freelancing for various public and private institutions, festivals and fashion brands, where I had the opportunity to curate exhibitions, workshops and a variety of different content.
What is your artistic background?
I studied Architecture at Valle Giulia in Rome. Throughout these years of study, I learnt the importance of a more projectual approach, which should be applied to new ideas that are in need of development. My background is also woven with applied arts and fashion, as that became the focus of most of my research. Presently, the actual relationship between visual and applied arts, artists who work with different mediums, techniques and hybrid ways of expression are what inspires me most. Additionally, I have discovered a great interest in photography, and spacing and breaking all its mediums, because of my experience working in the fashion industry.
How would you define the role of a curator?
By quoting Francesco Bonami: “in order to be a curator, one must possess a good dose of ignorance, one of recklessness, a fantastic amount of courage, a certain imprudence, and a lot of luck.” To me, this seems to be an emblematic and humorous phrase that holds an adventurous spirit which speaks to me. In my opinion, a curator is a curious narrator that must be constantly learning in order to propose a vision. I usually try to create an intimate relationship with the artists, fashion designers or creatives that I work with. As a matter of fact, I envision a curator as a gardener that tends to his garden; one who determines the right nutriment for each and every plant in order for it to grow and not whither, one that finds the right amount of sun exposure without letting the plants burn, one that decides on the right combination and balance of essences in order to eradicate dry branches and allow new ones to grow.
What were the determining factors that have led you to display Anton Yelchin – Provocative Beauty?
Firstly, Anton’s unique and interesting way of viewing the world, a testament to his artistic soul. Secondly, Victor and Irina Yelchin’s determination and courage for sharing his story. Most of my generation in Italy has at least seen one of the 70 films he was part of and can recognize him at a first glance, however not nearly as many know his story and his truth. That is why it was important to display his work.
How do you believe that the intimacy and saturated elements present in Yelchin’s photographs reflect Spazio Field’s new exhibition space?
The space itself is found within a historic roman palazzo, which was the family home of the Princes Brancaccio for centuries. What’s most fascinating about the space is that it links to the world of Hollywood and America. The halls of the Palazzo have been featured in Roman Holidays movie, and the owner and wife of Prince Brancaccio, Elizabeth Field, was an American heiress of the famous steel dynasty. Yelchin’s photographs thus insert themselves naturally within the space, yet still retain a contemporary feel. The placement of the photographs is a product of the environment of parallel and geometrical lines, that are meant to flow through the ancient living rooms with ease. This creates an immediate sense of intimacy to be perceived by the viewer, as there lives a lingering feeling of a house that was not only furnished but a home that was lived in, despite the vastness of the rooms.
Among all the photographs presented in this exhibition, is there a particular piece you can personally relate to more than others?
Not a piece specifically, but rather a theme; that of a mask, which is found in many of the photographs. It could be said to be a representation of the artist’s identity, not only that of a famous actor recognized internationally, but that of a soul conscious of its most inner self, whose piercing gaze falls upon death.
What was the driving force behind the launch of Spazio Field in Palazzo Brancaccio?
The driving force was to breathe new life into a space that had been the National Museum of Oriental Art for over 50 years. The re-creation of a vibrant place, dedicated to a multitude of mediums spanning from contemporary art, cinema, fashion, photography and music.
What has been your favourite part of curating this exhibition?
Discovering Anton’s life through his lens. Every photograph has a story to tell.
If you had to relate a song or soundtrack to Yelchin’s photography, what would it be?
Anton was known to be a great musician, but while I was working on the exhibition and writing the texts, all I could think of was “In this World” by Moby. It probably was linked to how I was feeling at the time.
How do you approach your work and life as a curator? Any inspirations?
I try not to forget about reality and mostly, human nature. Both contemporary art and fashion tend to become self-referential worlds dominated by communication and the market at the time, with little to no contact with true life. I also try to allow myself to be inspired by everything and anything as the role of a curator is, after all, an incredibly fluid one that can find us spanning through mediums of food, music and Instagram as well.
How do you believe galleries and museums will impact upcoming cities in the future?
As long as artists have something authentic to express, anything can be possible. I think the film “The Square” by Ruben Östlund is emblematic of this vision.
What do you hope the audience will gather from this exhibition?
That life surpasses sickness and death, after all, it’s about Anton’s moral legacy.
What advice would you give to young artists?
To look; truly look inside themselves and protect their cores from being influenced too heavily from the world of communication, as it is, unfortunately, contaminating our lives.
Do you have other major projects lined up for the remainder of the year or 2020?
Many, still to be defined.
“Anton Yelchin — Provocative Beauty” is open at Rome’s Spazio Field until November 30. Find out more here.
Before the ink was even dry on the contract, Emily Bett Rickards set to work on becoming Mildred Burke. Transforming her body and shifting her mindset to the ring, Rickards started her research with Queen of the Ringby Jeff Leen. Using the book as a bible and basis to guide her, the research went beyond that, digging past the surface to find a woman who, not only helped pave the way to make female wrestling a viable and profitable sport for women in the 1940s and 50s, but powered through a world who told her ‘no’ at every turn. Continuously inspired by Burke, the more she found out about her, Bett Rickards was enticed and entranced by the wrestler’s passion. Something she tapped into for inspiration. Burke’s seemingly unquenchable tenacity, determination, and fire made her such an incredible character to portray.
From the depths of Starling City to the ring, Bett Rickards traded in Felicity Smoak’s keyboard for the ring. Putting her body through a strict regime to gain muscle quickly, she recollects to us the difficulty of it but cites how Mildred’s story made the pain worthwhile. As our chat continues, there’s a passion of her own that shines through, an enthusiasm to share the importance of a story like Mildred’s. Queen of the Ring is a film that, in today’s society, deserves to be put on a pedestal, not for fear of her story being forgotten, but for showing us what the strength of resilience in the face of adversity can do.
In conversation with Schön! Magazine, Emily Bett Rickards discusses Queen of the Ring, her relationship with the source material, how she physically prepared for the role, what she hopes the audience takes away from the film, and how history should remember Mildred Burke.
Can we talk about the research aspect of Queen of the Ring? How deep did you go? What was a fact about Mildred you found particularly fascinating?
What was awesome about Mildred is that even though we’re limited to the era, she was in the 30s, 40s, and 50s. Since she liked to be in the spotlight, there’s quite a bit of information on her.So that was very helpful [laughs]. There are a lot of photos. Luckily for me, she had the persona, the dream of being a show woman in a sense. What attracted me to her was this sort of aspiration that she had against all odds, right? She had never wrestled before and hadn’t seen much wrestling as a woman. She wasn’t even allowed at the shows. So, the fact that she had gone to one wrestling match and was like, “That’s what I want to do,” is just extraordinary.
It did feel like any time someone, or society was telling her she couldn’t, she transcribed that in her body as fuel. She was very good at pivoting and making something her own.The script was based on a book called Queen of the Ring:Sex, Muscles, and Diamonds by Jeff Leen. It’s fantastic. There’s so much more about her life in there, so that became my Bible. The internet has many wrong and good things, but it is definitely a lot to dive into. There are a lot of photos of her as a wrestler. Even more importantly for me, there were photos of her with her son, which seemed to show two different sides of her. A big part of the research was also putting on this muscle because her body was different than mine.That means she walked around the world differently than me. Finding out how that muscle influenced her spine and her navigation. Those things really became a part of her personality, I found.
Talking about the muscle, I was going to touch on the physicality of the role. What was the most challenging thing about getting into the ring for you and putting on that muscle? What did that transformation process look like?
Even before contracts were signed, I called my friend, Thomas Taylor, who’s out here in Vancouver and had been a trainer of mine for a while. I said, “Listen, I have to put on muscle.I have to put on muscle fast.” [laughs] We had three months before the camera. I think that was just over two months before wrestling rehearsals.I needed to do something pretty drastic. Tom also knew that I needed to be supplemented with nutrition. He brought on board Dr. Diego Botticelli, who framed out what type of food was needed to do that.It was more food than I’d ever eaten. It was more carbs than I’d ever eaten and more protein than I’d ever eaten. It was extreme.
It taught me a lot about how food builds the body, but food for longevity moving forward. It opened up my eyes. As a woman, I discovered what we need when we’re exercising and how we can have the foundation of our bodywork within the parameters of what we’re asking it to do. I think what was challenging off the bat was making sure I was getting into that routine.
The learning process of it, became second nature, but I really was weighing all my food, and trying to get more protein in a day was pretty hard because you can supplement with powders and stuff, but I do like to eat as many whole foods as possible. I think it’s a real honor to be able to have done this. We should all strive to be healthier and eat how our bodies want us to, but please keep in mind, that I was fueled by the passion to find out who this woman was, it made the process easier. As a side effect, I got to learn a lot. I hope that empowers people. I hope that if you’re looking at changing your life you fuel it with passion as opposed to feeling like it’s a chore because I think that’s the only way we move forward.
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coat + gloves. MARGARET
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top. KkCo
trousers. THEO
shoes. Jeffrey Campbell
bracelet. Christine Bukkehave
Emily wears
coat + gloves. MARGARET
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Emily wears
top. KkCo
trousers. THEO
shoes. Jeffrey Campbell
bracelet. Christine Bukkehave
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Mildred Burke was a trailblazer for the sport, and she broke boundaries for women. Why do you think a movie like this should exist in our current political climate?
It speaks for itself. There’s something about Mildred specifically in the story we tell that really focuses on bringing people together and making us stronger.When we start picking at each other, we’re only dividing ourselves. We’re not learning anything. We’re not growing as individuals, but we’re definitely not growing as humanity. There will always be a challenge or an evil to overcome. But the point is that we have to do it together, not divided. There’s so much division in the world. There’s so much violence. There’s so much tragedy happening that when we think about coming together, it feels impossible.
Mildred was a woman of her era. There were things she wanted to challenge, right? There were norms that weren’t allowed, and she challenged that. She’s like, “Well, if I can tell myself that I can do this, I have to be able to believe that you can do it too.”That is what was so cool about her. When you believe in yourself, you have to be able to believe in someone else as well. Cause you can’t just give yourself the right, you know? Maybe there’s something in there that we can learn today.I really do think there is, and I hope everybody can metabolize it in a way that puts it into action in their lives.
How would you say that Mildred’s story changed you as a person and as an actor?
There’s definitely something in her that propels me forward. If I have self doubt, she’s the voice that comes into my head now.She says, “No, get up. Like, let’s go. You can deal with this. Not only can you deal with this, but you can also make this into fuel.” She’s made me more of an understanding person. There are all these things that we talk about; self-love and self-forgiveness and self-care. Those things are hard, but they’re more important because not only when you give them to yourself, you’re immediately giving them to other people. It’s almost infectious, you know? I’m so grateful for that lesson.
Moving a bit away from the film for just a moment, I read an article by Comic Book Resources that the Arrowverse fandom prepared you for the passionate wrestling fans.Is there a particular fan interaction that sticks out to you in recent memory, whether it’s around this film or the Arrowverse?
I’ve talked to people about it, especially the Arrowverse, and they have ideas for a certain season that has passed, I’m always like, “That’s such a genius idea!” They’re always good ideas. So, I think that when you love something, you have the right to be passionate about it.I think you have the right to have opinions on it, for sure. There’s always a vice and virtue to the same thing. Your virtue is your vice. Be careful with who you divide outside of that, because I think the best part of being passionate about something is bringing somebody else in, right? That’s what I was welcomed into with wrestling. It’s also what I was welcomed into with comic books.
With wrestling, though, this was a world I knew nothing about. Now I feel like I’m indoctrinated in a way that is a part of my cellular being.I’m so grateful for that, because I do feel like it is a world of passion. I’ll have the chance to welcome somebody else into something I’m passionate about in the future in the same way.
You’re the second person from the Arrowverse to enter the ring with Stephen Amell’s role in Heels. Did he reach out to you, or did you reach out to him for advice?
[Emily shakes her head]
No?
Such a missed opportunity.
For sure.
I hope we get to talk about it in the future, now that the movie’s out.
I think you will. Between you and I, who do you think could complete the Salmon Ladder fastest?
[laughs] I don’t know what type of shape he’s in, but I was also never able to do the Salmon Ladder, so he’s got muscular memory that I don’t have. He has the upper hand, you know?
I mean, fair, but he’s also filming or was filming Suits: LA, so I think you could take him.
I could definitely take him. I just don’t know about taking him in the Salmon Ladder.
With the film all said and done, and out in the world, what’s the first thing you did once you finished filming?
I went for a run.
Really?
I went with my partner, who’s an ultramarathon runner. I wasn’t really prepared for that. The workout I had when preparing for Mildred, the recommendation was not to do any cardio at all.
Wow.
Because we were trying to build muscle that looked bigger, and the way I was eating was really to build muscle, not to sort of shed anything, in a sense.It just would have been too stressful on the body. We were trying to keep my stress at a minimum so the muscle would build. Nutrition’s so interesting because if your cortisol gets too high, then your hormones get out of whack, and if your hormones get out of whack, then everything does. Especially with women and our cycle, you want to be a little bit more delicate.
So, I went for a run, and my legs felt like concrete. My body was just tired and done, and I was pushing it literally uphill in the middle of summer in Canada. My body was done.I think I was pushing myself to do something I wasn’t necessarily listening to my body for. But I was so excited to be home. My partner and I live somewhere where the best part of the year is summer. It’s the most beautiful place to be in the summer. It was really about spending time with family and doing something that we do together. It was just a brutal reality that what I needed to do was just sit down and take a break.Even though I was doing something that I loved, but no, I had to take it easy for a few weeks.
What do you hope the audience takes away from the film?
I hope they feel impassioned. I feel like they really learn about Mildred, but they also learn that inspiration comes from everywhere. But it also comes from each other.And, you know, you asked that beautiful question about when the world is so divided, what are we doing? It just makes you think that our human existence is really to be with each other and learn from each other. And the platform I get to walk on and that we get to walk on today is because of people like Mildred. And so, carrying that torch, in a sense, and recognizing the privilege that we have of where we live, what we do, I guess, connection with other people, but also just making sure that we’re lifting each other up.
I love that answer.
I can’t see a better way to live life. I don’t think there’s another answer. Please show me. I think that’s our best way forward, to be honest. At some point we die, but I hope I get to hold your hand while we go through life.
How do you think history should remember Mildred Burke?
You know, I was thinking about her. We just did our premiere in LA, and it was our last American premiere. She died in her 70s on Valentine’s Day, and decades later, not only her story lives on, but her message lives on. It makes you realize you have a ripple effect, right? She really had a ripple effect, and it doesn’t need to be on some global scale, but your family who you interact with, your pets, like you have a ripple. I think that carries on decades after you die. She was a woman, she was a wrestler, and she was a person with a dream.But I think she would want to be remembered as a wrestler; that’s her bones, baby.
My last question, Emily, is what’s next for you?
I’m awaiting the next character that’ll kind of wake me up again, just like Mildred did. Something is prickling right now, but we’ll see if it lands.
Editor’s note: This review contains some spoilers.
François Ozon’s latest film When Autumn Falls is an unexpected thriller hinged on friendship and faltering family dynamics. At the heart of the film is Michelle (Hélène Vincent,) a sweet grandma who spends her days up keeping her rustic home and going for walks with her chain smoking best friend Marie-Claude (Josiane Balasko.) “I’m appalled at how rapidly older people are disappearing from view in society and on screens. I countered this by filming actresses in their seventies and eighties who wear their age proudly and accept it without artifice,” said director Ozon in a press interview.
Their loyal friendship began many years ago in Paris where they worked together. Their shared past follows them like a heavy grey cloud, even into old age. “We tend to sanctify and idealise older people, forgetting that they’ve lived complex lives. They were young once, they are sexual beings, they have subconscious thoughts and desires,” said Ozon. The delightful duo mirror each other when it comes to motherhood. They both question whether they have been good mothers as Marie-Claude’s son Vincent (Pierre Lottin) is finding his feet after a stint in prison and Michelle’s daughter Valérie (Ludivine Sagnier) has a fractured relationship with her mother, further threatened by an unfortunate series of events.
“When I was a child, one of my aunts organised a family meal where she cooked mushrooms she’d picked herself. That night everyone was very ill except for her because she hadn’t eaten any. I was fascinated by this incident and suspected my aunt – so kind and caring – of having wanted to poison the entire family,” said Ozon on the film’s conception. “When we cook wild mushrooms, are we not, more or less subconsciously, trying to get rid of someone? Starting with that question, I created a character who seems to be the epitome of a doting grandmother, but who might actually be a bit more sinister than outside appearances would suggest.”
Set in Burgundy, the French countryside becomes a character of its own throughout the film. The landscape’s cosy and autumnal colour palette fills the screen with maroon, amber and toasty browns. The tranquil rustling of trees and the tinkering of metal spoons on soup bowls evokes a warm homeliness that starkly contrasts the void in Michelle’s family life. Its frigidity is captured through isolating wooden door frames and ignored phone calls. As an audience, the camera’s frequent vertical sweeps remove you from the narrative at times, but equally serve as a reminder that we are merely a voyeuristic fly on the wall to each character’s choices.
Nature plays a transitional role in the film with the change of seasons signifying mortality and the lengths people will go to ensure they survive. Whether that be Marie-Claude’s son Vincent trying to stay out of prison or Michelle desperately trying to stay connected to her grandson Lucas (Garlan Erlos,) each character protects their own, and in doing so, exposes their deepest fractures.
The faults each character is willing to overlook and the secrets they decide to keep in the name of preserving familial ties, at its core, is the most human aspect of this film. Flawed humans doing whatever they can to evade emotional solitude, even if it costs them. A concept illustrated by a striking image of one character resting like a camouflaged fallen leaf on the forest floor. “I want the film to make us wonder what our own behaviour and reactions would be if someone close to us were suspected of committing an act we disapprove of, but for which we have no proof…How far would we go to protect them? These questions feel particularly relevant today, in light of the current political and social unrest,” said Ozon.
It seems that much like the tumbling autumn leaves, throughout the film women fall victim to the mistakes of men. Marie-Claude suffers her own health problems worrying about the misbehaviour of her son. “It’s like a punch in the gut. Her body keeps the score…she feels responsible for her son’s struggles,” said Ozon. The mistakes of Marie-Claude’s son bear little repercussion, only protection. In contrast, the women in When Autumn Falls cannot escape their errors. We come to learn that all that tension in the brisk autumn breeze stems from a family history riddled with shame, blame and guilt.
Through the lens of 2025, the villainisation that Michelle receives for her past feels out of place. Although, Ozon explained that “Michelle and Marie-Claude’s past is a pebble in their children’s shoes. Doing some research, I found that in general there are two types of reactions. Either the child defends the mother, seeing her as a victim who needs help now, to get healthcare, retirement. Or the child rejects the mother, disgusted and shocked by what she did.”
‘When Autumn Falls’ is showing in UK & Irish cinemas from 21st March
photography. Courtesy of Parkland Pictures
words. Shama Nasinde
full look. Brioni
boots. Brunello Cucinelli
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t-shirt. Miu Miu
full look. Brioni
boots. Brunello Cucinelli
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t-shirt. Miu Miu
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A paradise full of sin, betrayal and power games… The White Lotus moves to the tropics of Thailand for its third season, once again revealing the deepest human weaknesses hidden behind a sumptuous vacation. In this seemingly idyllic world, who is truly innocent and who is tainted by sin? And the biggest question: Who is this season’s victim and who is this season’s killer? Mike White’s masterfully written story keeps this mystery until the very end. One of this season’s standouts is Arnas Fedaravicius, best known for The Last Kingdom. Fedaravičius, who plays Valentin in the series, appears as a yoga instructor, masseur and health mentor working at The White Lotus hotel.
Schön! speaks with Fedaravičius about the excitement of being part of a big production, how he got the offer for the role, the filming process in Thailand and how the third season will surprise viewers.
What was your first reaction when you found out you were cast in Season 3? Did you instantly say yes, or did you have to think about it for a moment?
That’s funny. I’d like to see someone who was like, “Hmm, am I gonna say yes to The White Lotus?” I think there wasn’t any doubt that, as soon as I heard the news, I was like, “No doubt, yes, I’m doing this.” It was hard to believe, too — like, it was really hard to believe this news because I had completely forgotten that I auditioned for it. I think nothing in life is kind of promised or secured, but I had this instant feeling that my life was about to change. Life is about to change because it’s just such a huge thing to be part of. So it was hard to believe, but also, there was this sensation of, like, “Wow, life is gonna change now.” Not that my life wasn’t great — I mean, by all accounts, I was living a great life — but it just added this little extra, like, spice.
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jacket. Stone Island
jumper. Prada
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jacket. Stone Island
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How was the auditioning process? I assume it was a bit complicated? Maybe it was a bit crowded?
Well, my personal experience was that I just did a self-tape, as I’m sure most people around the world did. I think the actual auditioning was perhaps in Los Angeles, but at the time, I was in Paris. I was very lucky that I had my friends from a past show with me. Someone brought a tripod, somebody had some lights. We were in a hotel, and we were just trying out different ideas, different things. It’s really nice to do it with your friends because a lot of people hate self-tapes since you have to direct yourself, but I’ve now come to love them because you get to decide how you present yourself. We just did a variety of different, silly versions of takes and then sent them out. I didn’t have a callback, which I know some people did. I hadn’t met the director or the producers until I got to Thailand. I was very fortunate. I did one tape, and I got the job.
That must have been really surprising.
Yeah! That’s another thing that made me think, “Really? I got the job just like that?” There wasn’t a callback — they just gave me the job.
It must have boosted your confidence!
Exactly, yes. It was the best news.
What can you tell us about your character? How does he fit into the dynamics of The White Lotus this season? Without spoiling too much, of course, is he someone we should keep an eye on?
Oh, just like everyone on the show, everyone has their own secrets and surprises. You should stay alert. I think whenever you watch The White Lotus, that’s the theme for audiences — you have to stay alert because you never know who’s doing what and how. I play Valentin — he’s a yoga instructor, a masseur, and a health mentor who works for the hotel. He’s a Russian expat, which there are a lot of in Thailand. He loves having a great time. I think he really loves his job, and I think he’s pretty good at it, which is why he’s kept it. To be part of The White Lotus hotels, you have to be good at something. He’s a fun-loving guy and sometimes people like to spend more time with him because of his looks or his skills. And, well, fun stuff happens.
The show is also known for its dark humour and sharp social critique. How do you think Season 3 raises the stakes in that regard? Every season tackles different themes — did this one surprise you in any way?
Yeah, when I was reading it, I already thought, “This is so profound.” The moment I got all the scripts — because it’s rare to get the entire thing upfront — I thought it was very profound in exploring people’s religions, and their associations with religion. Then there are, obviously, some observations of the current zeitgeist, what’s happening in the world, the relationships between people of different faiths, different beliefs — perhaps even different political beliefs. There are really sharp moments where you’re like, “Wow, I can’t wait for audiences to see this.” I don’t know if you’ve seen it yourself yet, but even though only three episodes have come out, there are already certain jokes and moments that make you think, “Wait, this could have been written and shot two weeks ago!”
full look. Armani Exchange
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Exactly! Especially the conversations Michelle Monaghan, Carrie Coon, and Leslie Bibb have. I was going to say that! The part about Trump and politics — it’s quite recent, but they’re already discussing it. So it was really shocking, actually.
That’s why I think one of the fascinating things about Mike White is his ability to be so in tune with what’s going on in the world. I don’t know how, but I think he’s one of the most perceptive people I’ve ever met.
Was there a particular scene or storyline that surprised you when you first read the script? Like something that made you think, “Wow, we’re really going there?”
I don’t want to give away too much, but I’ll just say — stay alert. The twists and turns in the relationships — when I was reading the script, there were a lot of strong “wow” moments. Like, “Oh my God, I can’t believe this is happening!” or “I can’t believe they’re actually talking about this!” I think the big twists and turns really start happening in episodes 4 and 5. All of the storylines and all the different characters you’ve followed up until that point — you might have thought one thing, but in episodes 4, 5, and 6, your expectations will completely shift.
Filming on an island in Thailand must have been an experience in itself. How did the location influence the atmosphere on set? Did it feel like a real-life resort, or did it still feel like work?
Formally, it was work, but I had to keep reminding myself of that. Not because I was going out or anything, but you had to remind yourself, “Let’s not forget, we’re here for work.” We were living in insanely luxurious resorts. I keep getting emails from the Four Seasons now because I’m on their list, and every time, I just reminisce about the time we spent there. It just makes your job so much easier.
It’s funny because we were living in this luxurious hotel, I was playing a hotel worker, and all of us who played staff could just go talk to the actual hotel workers. The reality of it all blended with our experience on the show. I’m an absolute fan of Thailand. On my days off, I’d just hop on a motorcycle and cruise around the island. The weather was always perfect, and you were constantly taken care of to the point where you had to remind yourself, “This is temporary.” It’s easy — the human mind gets used to luxury so quickly. When something is hard, it’s harder to adapt. But when something is easy, by day 3, you’re like, “Where’s my turn-down service?”
And the cast is always an eclectic mix of established stars and fresh faces. So what was the energy like on set? Were there any co-stars you particularly connected with? Any fun or unexpected friendships that formed during filming?
I think the experience of what you mentioned — that there are established actors and actors who are still making their way up — makes it feel like a team sport. You get this assistance from these very well-established and good professional actors. Like myself, working with Michelle Monaghan, Carrie Coon, and Leslie Bibb — most of my scenes were with them. Just their presence and assistance — like being off-camera and giving you lines in different ways or helping you see the scenes in a completely new way — made it a constant team effort, and you constantly got to learn. I’ve been a fan of these actors from before. While being there, you just want to ask questions about what to expect, and how to approach this.
I remember we were in this Muay Thai gym — Jason Isaacs’ family was there as well. They were training, and I was sitting on the side of it, preparing, reading sides for a different job and asking him for advice. Or spending time with Walton Goggins, going out for dinner, and asking, “How do I approach this? What do I expect?” And just getting these nuggets of wisdom. And of course, you have these actors in the show that you see as such strong personalities — like, for example, Jon Gries’ character, Greg, where you’re like, “This motherfucker!” But then you meet him, and he’s the nicest, most pleasant man to be around. I think every single one has taught me something about myself and about human interactions—what to expect in this life.
And Mike White has such a unique approach to storytelling. What was it like collaborating with him? Did he give you any specific direction that stood out? He seems like someone who really trusts his actors—was that the case for you too?
I think the fear of coming into the job was like, “Oh my God, this is such a big show. I need to bring my A-game. I need to be super prepared.” You come in with this grandiose idea of how it should be or how you should play this scene. I remember I was a bit nervous. We did a couple of takes, and he just said, “See? Wait. More. More just… more you.” And that was kind of like, “Oh, that’s what this is about.”
You’re creating characters — some of them larger than life — but ultimately, they all come from within you. In the most Mike White fashion, he just grabs onto something like a channelling magician and throws it at you. I just needed to be more me and that was the focus and, because of that, you completely trust him. We’ve all seen the show, we know it works. So whatever comes out of his mouth, whatever he says, you just go, “Absolutely, yes.”
Then, as the show progresses, because you trust him so much, you feel more liberated to bring your ideas and try them out. Like, “Mike, do you think this would work?” and he’s open to it because to have a good idea, you might have to have 10 or 20 bad ideas. Among those ideas, sometimes he’d pick one and say, “That’s a great one — do that.” Or he’d tell you to try something different. It’s just this constant dance with Mike White — you’re dancing, but you never feel like you’re stepping on anyone’s toes.
I think that’s what makes it so unique and the part of that uniqueness also comes from the fact that it’s a whole team, but the whole team trusts one man’s vision.
He wrote it, he’s the showrunner, he’s the director. Sometimes I’m like, “Do you ever take a rest?” And he never looks tired. But the fact that it’s all from him just makes it easier in a way.
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Also, from Season 2, Tanya, played by Jennifer Coolidge, became such an iconic figure. Do you think there’s a character in this season who embodies a similar larger-than-life presence? Maybe not in the same way as Tanya, of course, but someone who really steals the show? For example, I think for me, it’s Patrick Schwarzenegger’s character, Saxon. He’s making me nervous from the first episode! So I feel like, “What’s gonna happen?”
Yeah, that was my experience when I read the script! Like, “Oh my God, this guy has the craziest lines. He has the craziest things to say.” I think you’re right — everyone is uniquely themselves, and no one can be better than anyone else before or after. Tanya’s character kind of established the tone of the show, right? She helped develop it into what it is. For this season, I must say two characters stand out. Parker Posey, definitely — her character. And you’re right, I have to agree with you with Patrick. Every time he speaks, you’re like, “This motherfucker! I can’t believe he just said that!” And Parker, in her own way—when she’s this kind of dreamy, floaty person, and then suddenly she switches to reading a Thai menu perfectly, ordering effortlessly — it’s fantastic.
I think it’s just an amazing cast. It’s a huge cast, yet somehow, every single character is big but also grounded.
Yes! That’s exactly it. Somehow, even with such a large ensemble, everyone gets their moment. The way the show is written, every character feels like they belong there.
You’re widely known for The Last Kingdom. How did stepping into the world of The White Lotus challenge or surprise you as an actor? I think it’s such a different genre—was that part of the appeal for you?
Well, it was my dream for a long time to be in something that blends comedy with drama and thriller elements, so I was very excited. One of the first things that excited me was the fact that getting into my costume takes two minutes — as opposed to The Last Kingdom, where every day it was 30–40 minutes of people pulling you into leather suits and corsets, making you stiff. That was a massive change. Not being in the cold? I’ve been dreaming for a while of just putting on a little shirt and stepping into warm weather! I think, like any actor, I always knew I wanted to do a variety of things. It was just incredible to jump onto something this big — something I had been dreaming about. I’ve always wanted to be part of an HBO show ever since I saw The Sopranos, so it just feels amazing.
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The White Lotus has a fan base that loves to theorize and dissect every detail. Have you come across any wild fan theories about Season 3 yet? And what’s next for you after this? Do you think fans will be able to predict what happens this season, or is it full of surprises like always?
Oh yeah, I’ve already seen some! Since episode 2, people have been saying, “That guy’s the killer! That girl’s the killer! He’s gonna do this, she’s gonna do that!” Even my friends have been messaging me like, “I know you’re involved in this or that!” And I’m like, “Guys, I’m just a health mentor!” But I promise — the ending is not what anyone expects. Mike White is just too good at controlling the audience’s expectations. You think you know where it’s going, but you never do.
As for myself, I have a movie coming out early next year with Jason Statham called Mutiny. Right now, I’m working on a new show here in Scotland. Just auditioning, preparing for the next thing, while also riding the wave of The White Lotus to see where it takes me. Getting to meet people, wonderful people like yourself, taking beautiful pictures for amazing magazines like your own, and just living life. Taking every experience in, learning from the best, having huge dreams, and moving forward.
I was also going to ask one more thing. I just saw it on the internet, maybe it’s not true, but I heard that the fourth season is going to be in Geneva, in Switzerland. Do you know anything about it?
As in The White Lotus?
Yeah.
Oh, I don’t know. I’ve heard that they were travelling already, looking for the next location. I heard someone mention Paris, and someone else mentioned Switzerland. It’s all just like the Mike White Show — it’s a mystery until it happens. Perhaps even us actors, we’ve been told different bits of information just to confuse the rest of the world until it actually happens. I could see that, though — a Swiss experience, maybe somewhere in the mountains. But I really don’t know.
It made me a bit confused, actually, because I was just checking for the fourth season’s location, and I ended up seeing all these different places.
Yeah, The White Lotus is really good at keeping secrets. They’re riding the wave very well. Even their social media presence — like their Instagram — is hilarious now.
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If you had to relate a song or soundtrack to Yelchin’s photography, what would it be?
