interview | aziya

Miles wears
shirt + trousers. Sandro
shoes. Zara
opposite
Miles wears
jacket. Avirex

Miles wears
shirt + trousers. Sandro
shoes. Zara
opposite
Miles wears
jacket. Avirex

×

Credits

Miles Caton makes his silver screen debut in Ryan Coogler’s ‘Sinners‘, piercing the veil with vocals that transcend the ages. The story of ‘Sinners’ is a rich tapestry of blues music, culture, community, magic, and horror, woven through 1930s Mississippi. When Caton enters the frame within the film’s first few minutes, you’re pulled in, questions begin to swirl, and you’re immediately enveloped. The role of Sammie Moore or ‘Preacher Boy’ was tailor-made for him, moving with the grace and ease of a practiced actor, so you’d never know that this was his first outing on the big screen. Keeping up with heavyweights such as Michael B. Jordan, Hailee Steinfeld, Wunmi Mosaku, and the legendary Delroy Lindo, Caton shows he is more than up to the task.

The moment he opens his mouth to sing in ‘Sinners’, it’s clear what Ryan Coogler saw in him: raw talent. His voice stirs feelings, the ability to convey the most deeply seated emotions. Love, pain, joy, all full entrenched and rooted through a voice so melodic, resonant, and smooth, you feel it to down to your very bones. It takes you away. It transports you to other worlds, other times, connecting us through the power of song. But Caton brings so much more than his voice, commanding a presence that makes you feel what Sammie feels. His dreams are the audience’s, and you find yourself hoping that he makes it out of this horrific night unscathed.

Speaking with Schön! Magazine, fresh off a family film screening, Miles Caton discusses what led him to the role of Sammie Moore, making music with Ludwig Göransson, and what sets ‘Sinners’ apart.

Miles wears
blazer. Wangda
shirt + trousers. Sandro
opposite
Miles wears
jacket + trousers. Pence
shoes. Zara

Miles wears
blazer. Wangda
shirt + trousers. Sandro
opposite
Miles wears
jacket + trousers. Pence
shoes. Zara

×

Credits

In another interview, you said you had to wait months to determine whether you got the part. What were you doing in between, in that sort of state of limbo? Who was the first person you told when you found out?

The whole process was probably about two months in total. So, from the time I started, from the time I heard about the role, to the time I got the role, was about two months. I had just gotten off tour, the process started from there. I found out at the mall, and I was running, and running. I had already spoken to Ryan Coogler, and I did a chemistry read. I had gotten back home, and I waited maybe a week or two to hear what the news would be. He called me on my phone at the mall and told me I got the role. He said, “Bro, you got the role,” and I lost it. I lost it [laughs]. I went back home. I got on the train and went back home. I had my family on a group call. We were all crying. We were like, “Man, this is going to be crazy.”

So, you’ve barely stopped for breath, going from being on tour to the audition.

Everything has been from one thing to the next. I feel blessed, man.

Once you got the part, and finally got eyes on the script, because I know during the audition process, you only got a snippet to look at, what were your initial thoughts on the story? What did you think of Sammie on the page? What kind of jumped out at you about him?

What jumped out was the relatable. It was really relatable. We’re both the same age. We both have the same ambition. We’re just starting out, and jumping into something new. We know what we want, but we’re trying to see how to get there. That was something that instantly drew me to the character, and then just the scenery, you know? The horror aspect of it, I felt like that was a dope twist, and the way that Ryan was able to incorporate all of those different genres in one, and blend it with the 1930s and the music, I felt like it was going to be something really different and really special. So that immediately caught my eye.

The chemistry you all share as a cast is so palpable on and off the screen. Can you walk me through meeting everyone? What were the vibes on set?

I met a couple of people individually, but once we all flew out to New Orleans to start filming, we did a table read, and everybody was there. Even from then, the energy and the ambition from everybody, you could feel it. You knew it was going to be something special. I remember sitting there, and just being like, “Yo, I’m really here. I’m sitting next to all of these actors I grew up watching, and I’m really in this room right now.” But, you know, once we started reading, you just kind of knew. It was a great feeling.

It was your ‘pinch me’ moment, right?

Definitely.

Miles wears
jacket + trousers. Pence
opposite
Miles wears
jacket. Avirex
trousers. Pence
shoes. Zara

Miles wears
jacket + trousers. Pence
opposite
Miles wears
jacket. Avirex
trousers. Pence
shoes. Zara

×

Credits

You’re a musician now turned actor, can you talk about the intersection between making music and acting, particularly in this film?

I feel like that was definitely something that helped me on the acting side. Having the experience of performing in front of different crowds and different audiences. That helped me transition into film because it’s similar in the way that you have to convey a message to an audience. You’re trying to convey something through a scene or perform through a song. It’s kind of the same thing. You’ve got to dig deep in yourself, be grounded, and always know what you’re going after. That was something I learned in acting.

I work with Beth McGuire. She’s an incredible actor and dialect coach. She helped me to break down the script and find those different emotional pockets to be able to convey those emotions and the type of things in the scene.

That’s incredible. In addition to working with Beth, you collaborated with Ludwig Göransson on the soundtrack, and you just released ‘I Lied to You’ on your YouTube channel. What was that creative process like? Was it easy for you to go from acting and slip back into your musical roots? That must have felt more comfortable, right?

Absolutely [laughter]. It was crazy. I felt like I was jumping into something that was on such a big platform, but I still had the comfort of being ingrained in the music. It made the transition a lot smoother.

Another thing about this project: Ludwig is a genius. The way they started working on the music, we were able to play some of what he had been working on, on the set. That helped us to get the feel of each scene as we were going through the process. But making ‘I Lied to You’ was really dope. I remember after a couple of days of filming, I went to the studio, and that’s where I got to see, his whole setup and his team, and his wife, Serena, who also worked on the music.

They had already been working on the music for ‘I Lied to You.’ It was written by Raphael Sadiq. They played it for me and I was like, “Yo, this is going to be amazing, man.” They pictured it as the big moment in the film where Sammie shows everybody his talent. You know, he’s been going for a while, and he’s ready to show people what he has. He’s ready to make his move. So, that was his big song. I was excited to be able to put my twist on it. I had been listening to a bunch of different blues artists, Howlin’ Wolf and Buddy Guy. So, I was already mapping out how I wanted the character to sound. Once we got in the booth, that was it.

What would you say is a common thread between you and Sammie?

I’d say the overall ambition. Just the drive to really be great and do what you love to do and navigating the best way to go about it. You know, in the film, you see that Sammie comes from a religious background, he’s got family, he’s got his cousins, but he’s also trying to decide things for himself. That resonated with me.

During another interview, you stated that you’re a horror movie fan. So, I’d be remiss if I didn’t ask, what are your favorite horror films? Maybe the top two or three? What about horror entices you?

As a kid, I always watched horror films. My uncle was the one person who put me on to a bunch of different horror films. Then once he saw that it wasn’t scary to me, he would try to find the next and the next thing to try to scare me [laughs], it never worked. I grew up on Chucky, Friday the 13th, and Halloween. Those are some of my favorites.

Have you watched any Japanese or Korean horror? Like the original Grunge, The Ring or anything like that?

No, I haven’t. I gotta tap in.

Miles wears
jacket. Avirex
trousers. Pence
opposite
Miles wears
shirt + trousers. Sandro

Miles wears
jacket. Avirex
trousers. Pence
opposite
Miles wears
shirt + trousers. Sandro

×

Credits

For sure, the Americanized versions of those are completely watered down in comparison. What, in your opinion, about horror keeps people coming back for more?

I’d probably say the new stories that they’re able to create. Pushing the boundaries on what’s possible. Connecting them to events that may have occurred, just to bring that edge every time.

What do you think sets ‘Sinners’ apart? What makes it so unique?

I would say the ties to the 1930s. A lot of things were happening. It was Prohibition, Jim Crow. You have all those stories and the horrific events that were happening during that time, Black people, and the culture. I think the way Ryan tied that in with the horror element was unique and different in the way he kind of made his own twist with the vampires.

I have to say, this has been on my most anticipated movie list since the first trailer dropped last year. This being your first film, what are two things you’ve taken away from the experience?

One, I would say, the gratitude that I have, the newfound gratitude I have for the art of filmmaking and acting. You know, being able to see that up close every day and see the dedication and the work that people put into making the films that we love. It was really inspiring and beautiful to see. There are so many different moving parts that you don’t get to see when you’re watching the film. But when you’re on set and you see the VFX crew and you see wardrobe and you see everybody pitching in to make this whole thing come together, it’s really inspiring.

What do you hope audiences take away from the film?

Oh, man. This film has something for everybody. It’s a fun experience, but I think it highlights the important themes of culture, community, and music. Those are the three big things that this film highlights. I think it’s going to lead to a lot of conversation starters, a lot of things for people to think about. It’s going to be one that people are going to talk about for a long time.

I don’t know if you’ve been on Instagram or Twitter lately, but the conversation has already started. With the press tour winding down now, what’s next for you, whether personally, professionally? Do you just want to go have a nap?

[laughs] This experience has shown me a lot. We went to London, we went to Mexico City, so to be in all of those different places and to be able to experience it with the cast was incredible, but I’m definitely looking forward to getting into some more films. I’m working on music. I got a song that’s coming out pretty soon, and I’m just excited for the future.

Well, your future is going to be bright. Miles, thank you so much for your time today.

This was amazing.

I can’t wait to see how far you go.

I appreciate you.

Miles wears
blazer. Wangda
shirt. Sandro
opposite
Miles wears
blazer. Wangda
shirt + trousers. Sandro
shoes. Zara

Miles wears
blazer. Wangda
shirt. Sandro
opposite
Miles wears
blazer. Wangda
shirt + trousers. Sandro
shoes. Zara

×

Credits

‘Sinners‘ is out now.

photography. Mihailo Andic
fashion. Katherine Ventura
talent. Miles Caton
grooming. Marcos “Reggae” Smith @ Tomlinson Management Group
lighting tech. Manas Sinha
retouch. Mihailo Andic
photography assistant. Jishnu Chowdhury + Risheet Senapathy
location. Brooklyn, New York
interview. Dana Reboe

crochet dress. Roberta Einer
ring. Nada Ghazal
opposite
top. Hildur Yeoman
ring. Missoma

crochet dress. Roberta Einer
ring. Nada Ghazal
opposite
top. Hildur Yeoman
ring. Missoma

×

Credits

Everyone, at some point, craves a sense of escapism in their lives. For many, that’s changing hairstyles, buying a jacket in that colour you swore you’d never wear, or trying a new hobby. Unfortunately, our realities are slightly more mundane – taking the same route on the way home, becoming regulars at the same coffee shops, ritualistic and comfortable.

Emily Barber, however, consistently prods the boundaries of reality, shapeshifting through different personas, periods and realities in both television and theatre. Rather than a split-second decision, Emily’s been riding the wave of acting from a young age, often leading to characters far removed from herself. In the West End, Emily’s been critically acclaimed for her performances in ‘Shakespeare’, ‘Oscar Wilde’ and more recently, ‘Operation Mincemeat’.

And now, playing Alice in Guy Ritchie’s new series, ‘MobLand‘, centring around a war between two powerful families, the Harrigan’s and the Stevenson’s, Alice takes a more dynamic role, getting caught in the crossfire as she integrates into the world of London gangsters.

In conversation with Schön!, Emily Barber takes us behind the scenes of ‘MobLand’, her time in theatre and television, and navigating a diverse range of characters.

Do you remember the moment you first thought, “I want to be an actor”?

I weirdly feel like I’ve never had a moment. I don’t remember doing anything else, it’s kind of been something that I’ve always done. I was really into ballet when I was about three and that got me into joining musical theatre, and then acting classes. It’s just been this trajectory of this is obviously what I was gonna do, even though I have no family or anyone connected to it. But I used to do the summer schools at Key Theatre in Peterborough, where I’m from, every summer. We did Jesus Christ Superstar – it was the first time I’d gotten not narrator number two.

I was cast as Judas, which is a funny theme because I’ve played men quite a lot. Anyway, I remember every summer that those summer schools were the most fun I’d ever had. And I remember my dad being like You were pretty good then. So I think that was maybe him noticing, saying, you’ve actually got something – whatever that is, you’ve got it. And so maybe from there? But, certainly, you find your tribe, and that was when I thought, I could do this for the rest of my life. I would happily do it.

What was your first audition like? Was it a total disaster, or surprisingly smooth?

It probably was a disaster. I was really lucky that I did National Youth Theatre when I was a teenager, and I did a play in The Old Vic Tunnels, which is now the Vaults Theatre. I signed with an agent when I was about eighteen, so I was kind of thrown out into the industry quite young. I do think I finished my first TV audition, they said, “Okay, thank you.” And I was like, “Are you sure you don’t want me to do anything else?”

I was really confused by the idea that it was just a quick in-and-out process. I was like, you don’t want me to do a dance or a song? I’ve got so much I can show you. I was quite clueless but you live and learn. I went to drama school and probably learned how to audition, and then went out into the world and was alright by then. But I think those early auditions, you’re also riddled with nerves, and you do just get used to that, which is a fascinating thing.

Now you’re playing Alice in ‘MobLand’. Tell me a bit about that and the character that you play.

We meet Alice in episode one at a group therapy session where she becomes friends with Jan, who’s played by Joanne Froggatt, who’s married to Harry Da Souza, played by Tom Hardy. They become very fast friends because they’re bonding over their marital problems, among other things. And as their friendship grows, Alice becomes more intertwined in the Harrigan family – the twists and turns of their world. There is a lot to Alice that you don’t see on first meeting, because she has a lot of faces that she shows the world, but certainly as her journey goes through the series, you’ll learn a lot more about her.

dress. Azzi & Osta
opposite
caped gown. Stella McCartney
thumb ring. Tami & Tami @ Wolf & Badger

dress. Azzi & Osta
opposite
caped gown. Stella McCartney
thumb ring. Tami & Tami @ Wolf & Badger

×

Credits

Like peeling the layers of an onion. Is there anything that you particularly relate to playing Alice?

It’s interesting because the crime world, obviously, is something I don’t have a huge amount of experience in. Alice is really complex and very complicated – there were a lot of things that I didn’t necessarily connect with. She has a huge amount of confidence, and boldness, and humour – a Guy Ritchie wit to her which I’d like to think I connected to.

Weirdly, because I was doing a musical at the same time as filming ‘MobLand’, and I was playing this confident man in ‘Operation Mincemeat’ in the West End. Interestingly, I think those characters slightly merged into each other. I kind of connected with this inner confidence because I was playing two characters that were so confident. I wouldn’t say I naturally am, but, actually, I think it was really useful for me as Emily to play two people who have so much belief in themselves. That was quite fun to live through them.

So you were on stage in ‘Operation Mincemeat’ whilst filming ‘MobLand’ – they’re quite different characters, I’m surprised to hear there was a similarity.

The confidence was probably the only thing. You’re right. There’s one thing doing a play at night and doing filming, but I think a musical is so much bigger in terms of the medium, it’s so much more performative. Luckily, it was not the first time I’ve been on stage, and it wasn’t the first time I’ve filmed, so once you’re in the world that you’re in, you know how to navigate it. There was part of me that I wondered if my acting on stage would become more TV or they would merge, or I forget which medium I’m in, but I don’t think that was the case because also they’re quite clear worlds that I could separate mentally.

Have there been any memorable moments or takeaways from set, especially when sharing the screen with big names like Tom Hardy, Pierce Brosnan, and Helen Mirren?

So many. The whole experience was a little bit ‘pinch me’, but there were so many moments when you’re on set with people like that where you forget, and you’re suddenly faced with Bond and a Dame and, you know, all these people. I had a three-day shoot of a dinner scene that comes in later in the series, which was a unique experience being around a table, partly because my character was invited to dinner at the Harrigan’s. So it’s a formed family, and my character is the outsider coming in. I, as Emily, already felt like an outsider just because I’m entering this world, but also my character was on the back foot.

I had Helen Mirren passing me the potatoes. I had Pierce Brosnan cutting up the ham. Tom Hardy is next to me on his phone. There’s this weird dysfunctional family that I’ve somehow joined, and yet they are incredible heavyweight actors. Certainly, after a while, you realise that whatever level any actors are on, everyone’s the same. Everyone’s just trying to do their best work and worried about remembering their lines. We were getting the scripts as we were going, there was that huge immediacy to learning your lines that you go, they’re all professionals, we’re all in the same boat, we’re all on this adventure together, so that was quite comforting.

Speaking of big names, are there any actors or filmmakers who have significantly inspired you or the roles that you play?

Interesting. I was really lucky that one of my first jobs was in the West End with David Suchet, and he really was a mentor. I think I was 24, just got a lead in the West End and was auditioning for something at Shakespeare’s Globe at the time, and he took me under his wing and gave me Shakespeare lessons in between shows on a Saturday. He’s just an incredible man and actor, but also Shakespeare is his forte, and he helped me get a job at the Globe, and he’s really helped give advice whenever I needed it.

I’ve been lucky because I worked with Penelope Wilton a few years ago, who was useful to talk to about career, longevity and making sure you pick roles that inspire you or challenge you. They’re all actors that I admire who often manage to do all the mediums together.

I think the actors that I am impressed by are the ones that can be on stage, but then also have a comedy aspect of their performance, and also have an incredibly deep dramatic performance. People who manage to just do everything on every medium. So certainly David, Penelope, and then Helen Mirren, I spoke to her about balancing theatre and film, and she was pretty inspirational in that sense.

You’ve played some really diverse characters as well – Monty in ‘Operation Mincemeat’, Imogen in ‘Cymbeline’, Kathleen in ‘Bodies’, Alice in ‘MobLand’. When you get a script, what’s the first thing you look for in a character?

Interestingly, I think often it’s when I can read the script and know exactly what my point is, or something that I know that I can bring to it. Because sometimes you just read so many, and I go, I know what I would do with this, but I don’t know if it’s the most unique or interesting version of that character. But sometimes you just read something and it clicks, and I know exactly what take I would want to do with it. Also, generally something that’s different where you’re like, “Oh, I’ve not explored that.” Or often, I’m drawn to comedic characters, I guess. I’ve done quite a lot of that. I’m saying that, but I’ve done lots of drama as well.

Often, it’s whatever you’ve last done as well – that you are then drawn to the opposite. I just love being thrown all the sides of everything all the time. As soon as anything feels the same as what I’ve done, I feel less creative and fun about it.

It must be interesting to step out of your comfort zone and learn with each new role and new genre.

Yeah, it is interesting. I have probably played some characters that are in the same world, and actually then working out what their differences are and also there are certain niche characters that I know I suit or can feel really comfortable with me. But I guess I came into acting because I could play Judas – I could play whatever. So you want to be able to test yourself always, and particularly, voice has always been a huge thing for me. I love different accents, different physicalities, making sure everything feels different and a new experience, I guess.

top + flares. Hildur Yeoman
shoes. Essen
ring. Missoma
opposite
crochet dress. Roberta Einer
platform heels. Casadei
ring. Nada Ghazal

top + flares. Hildur Yeoman
shoes. Essen
ring. Missoma
opposite
crochet dress. Roberta Einer
platform heels. Casadei
ring. Nada Ghazal

×

Credits

Looking back at all of these roles that you’ve played, was there a particular one or project, maybe, that felt like a turning point for you as an actor?

Getting to play a lead at the Globe quite quickly out of drama school was a real moment, I guess, because it was the lead in a company, and I’ve never had that experience before. That certainly felt like a real-life moment. It’s funny, I look back at it now, and I’m like, god, what an amazing, mad thing to happen.

And I did ‘The Alienist’, which was a Netflix show, and that was the first time that I was a regular in a TV show, and was able to, kind of, chart an entire journey with a character. That felt like a real moment because it was the first time I really explored TV and got really excited by that world and realising that you can be really challenged in that sense as well.

But I guess that I’ve just had a few little moments along the way. Nothing’s been like, “That was the job that changed my life,” or anything. Everything’s just been a stepping stone in the right direction.

Were there any instances where your time in theatre shaped your television career or vice versa? Maybe a role that changed the way you see acting, or even yourself?

Such a good question, I don’t know. I feel like I’ve been lucky in theatre, doing ‘Cymbeline’ and I did a play called ‘Cost of Living’, at the Hampstead with Adrian Lester. Both of them were emotionally challenging roles that really required me to go into places that I’ve never really been. I’d say that doing them on a stage, interestingly, I find probably easier to access because you get to chart the whole journey, and there’s an adrenaline to it. Sometimes I find, with TV, accessing those areas or parts of myself are slightly harder, but, actually, I think doing them on stage has helped me when I’ve then got more dramatic roles on screen. Just knowing how to navigate that and knowing how to get yourself in the right headspace, I think.

It’s different on stage and on set – do you have a favourite place to be or does it depend on the project?

I think it depends on the project. I certainly feel very at home on stage, probably because that’s where I began. But ‘MobLand’ opened my eyes to how exciting television can be. My character didn’t get to do huge amounts of action, but I had snippets of what that world could be like. I had a running scene – there was police, and these drones creating the feeling of helicopters and whatever. I was just like, “This is incredible, this is a whole world that I am really excited by now.” I think theatre will always be my first love, really.

Is there a moment behind the scenes that still makes you smile when you think about it, either in theatre or TV?

I mean, there always is. When I did ‘The Importance Being Earnest’  in the West End with David Suchet, there was just a day when, I think, when you do Oscar Wilde that many times, it is one of the funniest plays ever written. I truly believe that. Being in that play was one of the funniest experiences.

We would just get the giggles to a point where I was slightly worried I was going to have an accident because trying not to laugh when something is the funniest thing – I don’t know if you’ve watched this program, ‘Last One Laughing’, a new show where comedians aren’t allowed to laugh – most of my funniest memories are ones where you’re not allowed to laugh on stage because you’re in a play and the funniest thing that’s ever happened has happened. I’ve had a lot of plays like that. Sometimes it isn’t even a line. It’s just, like, a face that someone’s pulled or somebody’s forgotten a line or something’s happened.

But also in ‘MobLand’, Helen Mirren gave a monologue to my character about marriage and I will never forget that experience of having someone of her calibre give me the most incredible monologue. Since this character she’s playing is so out of anything we’ve ever seen her doing – she’s so foul-mouthed and goes into some dark places – that was quite a life moment for sure. Sitting opposite Helen Mirren, giving you marriage advice.

Looking ahead, are there any roles or genres you haven’t tackled yet that you want to try?

Interestingly, I’m doing a job in May that’s a fantasy. I have never ever been in that world before. So my answer before of wanting something the polar opposite, this answers my prayers. I’ve got prosthetic ears so that’s a new world to explore. And because of ‘MobLand’, I’m experiencing a bit of what it would be like to be in an action film or, something where it’s just high stakes like driving. I’ve done a lot of dinner scenes or characters that are much more within a domestic environment, whereas I would love to be in a car chase.

You need to manifest a car chase.

Interestingly, I did manifest ‘Operation Mincemeat’. I wrote down that I really want to do a musical. I’ve never manifested in my life, but I was like, “I really want that this year.” And then it happened. So I now fully believe in manifestation but I’ve got to get better at driving first.

caped gown. Stella McCartney
opposite
dress. Azzi & Osta

caped gown. Stella McCartney
opposite
dress. Azzi & Osta

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Credits

MobLand is out now.

photography. David Reiss
fashion. Alexandria Reid
talent. Emily Barber
casting. Alabama Blonde
hair. Michela Olivieri @ Caren Agency using Kérastase
make up. Jade Bird using Laura Mercier
creative production. Clara La Rosa
interview. Rhea Lobo

all clothing. Burberry
belt. Anderson’s
boots. Manolo Blahnik

all clothing. Burberry
belt. Anderson’s
boots. Manolo Blahnik

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Credits

Fresh off an intense five-and-a-half-hour tennis match, Jason Isaacs appears anything but drained; his enthusiasm is evident even over Zoom. Despite being deep into an exhaustive press tour — and likely having fielded every imaginable question — he’s genuinely eager to chat with Schön! about ‘The White Lotus‘. Perhaps it’s the setting — a tennis camp in Spain — that leaves him eager to fill downtime. More likely, it’s because Isaacs himself is a genuine fan. “I’m slightly marvelling that I’m in it. I’m used to being in indie movies that don’t come out – or come out and close quickly,” he laughs.

Season three of Mike White’s acclaimed dark comedy-drama transports viewers to a wellness retreat in Koh Samui, with Isaacs portraying Timothy Ratliff, a wealthy patriarch travelling with his family. Landing a role in such a coveted ensemble required Isaacs to step outside his norm and audition. “Because I don’t normally audition,” he shares, “I was the same bumbling, stuttering, insecure fool that I had been for the first ten years of my career.”

Isaacs is known for his remarkable ability to fully inhabit each character he portrays, seamlessly adopting new accents as needed. In ‘The Death of Stalin’, the Yorkshire accent felt natural from the script itself, while for ‘Harry Potter’, he crafted Lucius Malfoy’s voice to “drip with entitlement and arrogance and scorn.” Yet that performance almost didn’t happen. “I came up with his voice and they weren’t going to let me do it,” Isaacs recalls. “I did the first rehearsal, and [Chris Columbus and David Heyman] went, ‘I don’t know, it’s very, very extreme.’ Daniel [Radcliffe] was standing there, and he went, ‘I think it’s cool.’”

In his forthcoming film ‘The Salt Path‘, a poignant biographical drama adapted from Raynor “Ray” Winn’s memoir, Isaacs plays Moth Winn, a man grappling with homelessness and the devastating effects of corticobasal degeneration, a rare neurological disorder. “It’s a horrible cliché when people say that the landscape is a character in the film, but it’s a huge character in their life,” Isaacs reflects, noting the remarkable improvement in Moth’s condition during long walks. “Every audience member can guess, ‘Is it love? Is it nature?’,” he muses. “I like to believe it’s love.”

Looking ahead, Isaacs is gearing up to begin shooting several independent films, chosen as much for the creative challenge they offer him as for the enjoyment they promise audiences. “I’m not looking to build a career,” he explains. “I’m not looking to be anything that I’m not. I just want to keep having an interesting time at work.”
For now, he’s savouring time with his daughters — “Any time I can be on the same continent, my heart just settles a bit.” — and anticipating how many more hours of tennis he can squeeze in tomorrow.

full look. ZEGNA

full look. ZEGNA

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Credits

shirt. Fursac
trousers. Edward Sexton
boots. R.M Williams
bracelets throughout. Jason’s own
watch. TAG Heuer

shirt. Fursac
trousers. Edward Sexton
boots. R.M Williams
bracelets throughout. Jason’s own
watch. TAG Heuer

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Credits

all clothing. Edward Sexton
shoes. Harrys of London
opposite
full look. ZEGNA

all clothing. Edward Sexton
shoes. Harrys of London
opposite
full look. ZEGNA

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Credits

jumper. Connolly

jumper. Connolly

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Credits

‘The White Lotus‘ Season 3 is streaming on Now TV. ‘The Salt Path’ is in UK cinemas on 30th May.

Get your print copy of Schön! 48 at Amazon Globally, Amazon Germany, Amazon France, Amazon Italy, Amazon Spain, Amazon Netherlands, Amazon Poland, Amazon Belgium, Amazon Sweden and the UK Schön! store.

Download your favourite cover now at the Schön! store.

photography. Lee Malone
fashion. Gareth Scourfield @ One Represents
talent. Jason Isaacs wearing Burberry + Manolo Blahnik
grooming. Nohelia Reyes using Merit Beauty + Maria Nila
photography assistant. Jake Milsom
fashion assistant. Andrew Burling
words. Amber Louise