Jacob Elordi - 'Frankenstein' [LIVE]

15:39Jacob Elordi:And then I drove down from up on there on Mulholland Drive to Betty May casting. And I think I had just told my manager, I was like, I've got to go home for a while. I've been here for too long. I might be like spent for a second. And then it was for Euphoria. It was to audition for Euphoria. That was going to be the last one. Yeah. It's funny. Everyone has these stories, but it's because they're true. It's just the way that it happens. so I went in just I had helped a few friends do their self tapes for it a couple of weeks before and I was like I think I would fit this What were they going out for?

16:19Jacob Elordi:It wasn't the same I'll never forget I did one read with a friend and he was convinced that he had to get drunk to do it so he just drank like 20 beers and I was behind the camera like I don't know if that's I don't know if that's the right idea I had the urge to call my agent and be like there's this show I think I'm right for it, but then I never wanted to be, I never believed in being that kind of performer. If it's meant for me, it'll be kind of thing, is what I wanted to feel. So I left it, and then eventually I got the audition, and I went in, and I remember I just butchered it. I got really nervous.

16:59Jacob Elordi:I couldn't breathe. My face went red, and I was like, it was the scene where Nate yells at Jules and he's like, does anybody here know who Jules is, you know, in the kitchen? And I was like, does anybody Jules know who?

17:16Jacob Elordi:And I was like, don't worry about it. It's cool. I'm so tired, you know. And then I was driving home and then I got a call to come back. That same day? Same day, yeah. Then I did it again and then I left and then a few days later I got a call to come back. and then I was chemistry reading with some people.

17:34Scott Feinberg:Do you remember who? I was just curious because there's such a great group of young actors in the show. I wondered who they were checking you out with.

17:41Jacob Elordi:I did my chemistry read with Hunter. Yeah. It was my, I was sort of, but I got to find out afterward I wasn't actually auditioning. I already had the part, but I thought I was auditioning. They hadn't told you. So I was like sweating bullets in the HBO office.

17:55Scott Feinberg:What I'm wondering is because when both of those shows or when the film Kissing Booth and the show Euphoria, pretty quickly they both really found a huge following. But when did that happen in relation to each other? So you get Euphoria. At that point you were not yet the guy who was now a part of this giant thing that had happened with Kissing Booth?

18:16Jacob Elordi:No, I'd been cast and then Kissing Booth came out after I found out I'd been cast. But I don't think anybody else knew, I want to say. When that came out, because of the nature of netflix it was this overnight it genuinely was because they come out at like midnight or something when the clock turns over to the release date and i woke up into like a completely different world the internet is insane it's so it was so frightening it was just social on like twitter or where were you looking it was like i could feel the internet manifesting in the real world Like I would go out to my coffee shop and I all of a sudden felt like I was in the Truman Show.

18:58Jacob Elordi:Is there a moment, though, at first where you're like,

19:00Scott Feinberg:this is cool?

19:02Jacob Elordi:I wish there was.

19:03Scott Feinberg:There was no...

19:05Jacob Elordi:It was scary. I went to immediate alarm bells.

19:08Scott Feinberg:Yeah, yeah.

19:09Jacob Elordi:But then this one really beautiful thing happened. I'll never forget this very, very small child. I was in the Sherman Oaks Galleria Mall and this small little child came and grabbed my leg and came running across the mall and was like, Noah! And then I was like, that's quite sweet. I'll take that.

19:29Scott Feinberg:I hope the kid wasn't watching Euphoria. No, no, no, that hadn't happened yet. One of the things that I wonder with Euphoria is you guys were going, it's been these gaps between seasons of quite a bit of time. I think between one and two, it looks like two and a half years, and now it's been a few since the second. It's like the longest thing ever. Is that challenging to like get back to the person you were or is it just you can it's like an old shoe. It'll still fit.

19:59Jacob Elordi:It was very stressful because I thought my hair was going to fall out between like then and now. You know, you have to think it's managed to stay. It just depends because the show has gone through so many different versions of itself. And the world changed when it came out and it felt like it was changing with the world. And then the world changed again with COVID. and then it came out again during that so it had another sort of injection of life into it. And then this last break, I don't know what was going on. That was a long time. And we'll be seeing it in 2026. Yeah, and I just finished filming that a few weeks ago and it's a completely new show again.

20:39Jacob Elordi:It's got a whole new sort of life in it and it looks different and it feels different and everyone's older now and everyone's made so many movies and has lived so much life. But what I did see was it's huge. Like it's VistaVision, spectacular, huge. In terms of the way it's produced. The way that it's shot, yeah.

21:00Scott Feinberg:This is Sam Levinson who at one... Do you want to bear in mind? No, there we go. Who at one point was doing it in like 65mm or something, right?

21:11Jacob Elordi:Yeah, this season we have. In 65mm? Yeah, yeah, yeah. Wow. Yeah, I mean, I don't know. Since the first season, he's been able to get a 35mm film exclusively for a TV series. That's a pretty massive achievement.

21:25Scott Feinberg:As you alluded to, it's kind of been amazing to watch how what was a group of relatively unknown young people was suddenly everybody kind of blew up, right? And doing a lot of movies as well, including you. Was film always the kind of ultimate place you wanted to end up? or, you know, at tech TV has certainly gotten a lot better in recent years. So it's no longer kind of treated as like a second class citizen like it was for many years. But I guess was there something about film that always particularly appealed to you?

21:59Jacob Elordi:Yes. I'm a firm believer in the movies. And I've always wanted to make movies. It's the structure of a single narrative, the way that it flows, especially when it's made by a great filmmaker, it carries a different meaning and message. And I'm not quite, I've seen great television, I've been moved by television, but the format of film, the idea of sitting in a four-walled black room and the lights go down and you all, I sound like Nicole Kidman, but it's a real thing that she's talking about. It is actually a transportation device. We talk about wanting to go to the future or the past or to be able to teleport here.

22:44Jacob Elordi:and we have these spaces that can do that if we put the right stories in them. And I'm not sure that television can achieve that. And that kind of story delivery system that is the cinema, that's the kind of art that I want to be a part of. Not to say that I just made a TV series with Justin Kerzel in Australia called The Narrow Road to the Deep North, which catered to me a bit better because it was a limited series. So there's one story, one message. But in terms of television, television, I don't watch a lot of it. And I struggle to stay engaged with it.

23:23Scott Feinberg:Let's talk about some of the films that you've done since you had that one-two punch of breaking through with Kissing Booth and Euphoria. 2022, Deepwater, Adrian Lyon. How much of this is about the way in terms of what you pick to do or pursue is about the filmmaker? Because in this case, this is somebody who's been around forever, got some real classics under the belt. Like in that case, just as an example, where you're playing this piano teacher, one of the people involved with Ana de Armas' character. What was the impetus to go after that one?

23:57Jacob Elordi:I mean, that was Adrian Lyne. I've always been filmmaker driven. I think it's, for me, it's the best way to make movies. I mean, he dominated the 80s with some of the greatest psychosexual thrillers we'll ever see. and this was his return to cinema. And it was with Ben Affleck. What's really interesting is Adrian was supposed to direct The Town and then Affleck directed The Town. It was kind of cool. Yeah, that was just to work with Adrian, to work with Ben Affleck. I had a picture on my cork board in my apartment of Ben and Matt winning that Oscar, just to work with people that I've adored for years.

24:39Scott Feinberg:Then there's this killer one-two punch in 2023 of Priscilla and Saltburn, which is a hell of a year for anybody. Let's start with Priscilla. Thanks.

24:54Jacob Elordi:Thanks very much.

24:57Scott Feinberg:Priscilla, you're playing obviously Elvis, who gets involved with this girl who's 10 years younger and has a complicated relationship with her based on the memoir that Priscilla herself wrote in 1985. She's an EP on the film. In this case, I guess it comes back to what you're saying about the filmmaker being the appeal, but Sofia Coppola, who you have said, basically you had a different kind of relationship than you'd ever had with any other filmmaker. Why was that?

25:24Jacob Elordi:I think there's working with filmmakers and then there's working with Sofia Coppola, which is its own niche in cinema. She's such a specific person and her films have their own category in the sort of canon of cinema. And I think for me, just being a young man, the thing that was most exciting to me when I found out she wanted to talk was you don't really get the opportunity. It is really a once-in-a-lifetime opportunity because she's not making films that are for me me as the central sort of piece. So she asked me to go to Beverly Hills Hotel with Fred Roos. Yeah, with Fred. And just to have breakfast.

26:12Jacob Elordi:And we had breakfast. I was very lucky because there was a group of young girls there having like a, whatever it is that fancy young girls do. A brunch.

26:24Scott Feinberg:Yes.

26:24Jacob Elordi:We're doing a brunch. and they kind of had like a little moment and that really helped me get the part because she wanted to, she said to me, when she saw them kind of geek out, that's what she thought would happen to Elvis. So thank you for your brunch. That's great, yeah. And yeah, and I didn't know what it was for and then two weeks after that, I got these audition sides in my email and they said Elvis Presley and I was like, fuck. like that's too much like it couldn't just be a guy you know well and so in this case I know that

27:03Scott Feinberg:your work entailed of course but just to spell it out there's the voice there's the he wasn't as uh as skinny as you are let's say that way and also you know it's a it's a bit of a tight rope of a character because she was in ninth grade when they met, right? So I guess I just wonder if you can talk about some of the things that you had to work out in terms of physical, vocal, and just understanding what was going on in this story before you went and shot that with Kaylee.

27:36Jacob Elordi:Yeah, I think the biggest thing is Priscilla wrote such a sort of clean cut descriptive book, and that book informed the screenplay, and then the screenplay is the only thing that I have to adhere to whether it's true or false or you know whichever narrative it is I'm making Sophia's film so what I had to do in the confines of that page wasn't necessarily the Elvis Presley that everybody sees and so there was like there was a lot it was very stressful because I don't I don't dance and I don't sing and I don't love to perform unless it's very kind of insulated and so I had to kind of shake all that off and I did get fatter than I've ever been and it was incredible.

28:23Jacob Elordi:I just, because I was in Canada shooting so I just ate bacon and maple syrup and I was quite chunky and my hair was dyed black and I had this stupid bowl cut haircut and I had like leftover eyeliner every day on my eyes and stuff. I looked like I was in like Good Charlotte or something. But yeah, there was a lot of physical stuff and the voice and everything and there's so much information about him that you can sort of draw from. But the thing that was most interesting to me is I'd watch these videos and it would be him walking off stage and the Super 8 would follow him into his car and then into his car and then he'd be driving to the hotel or whatever and then he'd disappear somewhere behind the door.

29:02Jacob Elordi:And I realised that the film that we were making and the liberty I had in Elvis Presley was that no one's seen him when he goes into that room and behind that door. So I had all the stimulus and the footage leading up to Behind the Door, and then the film that Sophia made was Behind the Door. So we got to kind of invent in there, because even the way I'm speaking now, this isn't my voice when I'm talking to my mom at home. You know, so just little tweaks and things like that.

29:29Scott Feinberg:And then Saltburn, this is Felix, the Oxford student who's essentially admired, but almost, then we find out it's not only wanting to be with him, but be him in the case of um barrya kilgan's character uh emerald finnell's follow-up to promising young woman and she had been at oxford herself she was class of 06 i believe uh or no class of 07 you guys are set in 06 so theoretically uh this could have happened when she was there and she's probably i would imagine able to be on the script offer you a little bit of uh insight into what she was thinking but talk about her and also whether it makes any difference when your director is also your writer and when your director is herself also an actor well I personally think that Emerald is one of the smartest filmmakers working today in in sort of in modern cinema I

30:31Jacob Elordi:think she I think she's a genius just flat out across the board and when we met for salt burn I just fell in love with her and and she was very vague about what the movie was and she's like there's a guy and he's good but he's also bad and there's a bad guy who can be good but he's very bad but nobody's bad yeah we're all people right and I was like you're sick I'm in right and uh it was the first time sort of since COVID that I had been back in the room auditioning with like a camera on a tripod and a reader and the casting director so the whole experience for me felt like I was being like taken right back in time to what I thought acting was always about and then yeah she had so much insight on that world and she was very specific about what the film needed to be and what the character needed to be and the tightrope that needed to be walked between being you know a deplorable sort of piece of shit and also being a ray of sunlight And making that film was one of those moments, it was a summer in England and it was sunny every day and we were shooting out at this castle and we were all very aware, important and wonderful that summer would be to us.

31:49Jacob Elordi:As we were enjoying it, we understood that it was, well, I understood anyway, that it was very, very, very special.

31:57Scott Feinberg:And again, a group of people who have, you could watch it and know everybody here going on to great things. I mean... Fantastic actors, yeah. This brings us to one that didn't have as much of a profile as those, but Cannes Film Festival world premiere is not nothing, and that is O Canada. Paul Schrader, who wrote Taxi Driver and Raging Bull and directed... Mishima. Mishima and a whole bunch of others and just quite a character of a person in addition to a great filmmaker. you're in this one playing the younger version of a character that Richard Gere plays as an older dying man who a documentarian who gives a last interview kind of opening up about his life and the flashbacks are showing you as him first of all Paul obviously be curious to know what your takeaway was from working with him but also wondering what the degree of coordination there was with Richard, because when you're playing a younger version of somebody like that, I imagine it's something that occurs to you.

33:03But also, Paul, who had directed Richard 44 years earlier in American Gigolo, I want to

33:11Scott Feinberg:read what was said by Paul here, quote, I certainly could have made American Gigolo 40 years ago with Elordi. He is a throwback in a way to the kind of old time, to a kind of old time movie star, close quote, which is nice, nice praise. but just uh any you know paul and richard just how you worked with those guys i mean yeah paul

33:33Jacob Elordi:schrader is when that came in the email and it said you know read for interest paul schrader yeah yeah i'm gonna i'm definitely gonna go make whatever that film is and then and then it was to play young richard gear and i was like fuck again like i was like why is it always like this why can't it just be a guy it was it was it was a treat I um working with Paul is like you just better be good at it that's it so you get you get the screenplay and he's not gonna yeah no you might I don't I don't think I would ask him a question an acting question it's just you know be on your be on your game and and trust the filmmaker and and um the work that I did with Richard beforehand was actually watching American Jiggler.

34:21Jacob Elordi:Yeah. He said, yeah, was watching how he moved. I mean, the way he moves in that film is everything that I needed. And he was just, he was close to my age that I was when I played in the film in that movie. So I could really just kind of take a lot of what he was doing in there. And then Paul had also written, he'd adapted this book, foregone by Russell Banks, who is his friend, who is what the movie is based on. And the novel itself is one of the most astonishing things I've ever read on grief and regret and memory. And then Paul sort of misheathed the O 'Canada script and had it all broken up into different memories and false memories and true memories, and he would change the aspect ratio or the sort of colour specs in the scene or the way that it was shot or the style that it was shot in to show sort of truth or false narrative or memory or...

35:18Jacob Elordi:Yeah, because Uma Thurman, who's the wife of the present day,

35:21Scott Feinberg:is showing up in your part.

35:22Jacob Elordi:Which is how your memory works. And he had this spreadsheet that was colour-coded for each sort of section of the film based on what the memory was and the style that it was going to be shot in. So it was like a mind-blowing experience. And he knows exactly what he's shooting for his edit. I shot my bit in that movie in like 14 days, and I think they finished the movie in 20, maybe. Wow.

35:47Scott Feinberg:Yeah. Also that year, 2024, was on Swift Horses, where you're also on EP, which I think seems to be maybe something you'll be doing more of. I don't even know what that means. Well, I guess you can be an honorary. I didn't have too much say in that. Do you have a desire to be producing, directing, or are you fully focused on acting? I don't think about it very much. I mean, I would love to make movies.

36:12Jacob Elordi:Yeah. But I don't know. You don't get it off? I don't know. I just really kind of just... If it means that I can stay making movies in a certain capacity, then 100%. Yeah, certainly.

36:24Scott Feinberg:Last one before Frankenstein that I'm going to ask you about is The Narrow Road to the Deep North, which was a limited series. Also came out earlier this year. Five-part limited series available for Americans on Amazon. on, but this was an Australian production in which you're playing a medical student doctor who we see before World War II, where he gets involved with his uncle's young wife, but then we also see him as a prisoner of war, kind of being sustained by memories of that relationship. and I think it might be the first time, correct me if I'm wrong, where you got to act in Australia and in your own accent and telling a story about your own country.

37:14Scott Feinberg:Is that the case and was that part of the appeal? Yes.

37:18Jacob Elordi:When I was 17, I did a quick little thing in this movie called Swinging Safari with Guy Pearce and Kylie Minogue, which was very cool. But I didn't really speak. I just wore like a speeder. That was it. That's it. But, yeah, this was my first time going home to make something. And it was also, Justin Curzel has been one of my favourite filmmakers since I was about 15 years old. He made this film called Snowtown, which if you haven't seen it, certainly watch it. It's not for the faint of heart, but it's a brilliant piece of Australian cinema. And I got an email again, and it was his name, and it was a letter asking to work, which was my actual real-life dream come true after sort of all these years.

38:06Jacob Elordi:And then it just so happened that the book that he sent, Richard Flanagan's book, The Narrow Road to the Deep North, was this incredibly beautiful meditation on memory and the building of the Burma Railway in World War II and it was exactly what I wanted to go home to make. It was physically demanding and mentally, and it required something that I hadn't had the opportunity to do yet. So I got to develop that with Sony and with Justin, and we got to create something that I'm pretty proud of.

38:40Scott Feinberg:Yeah, it's amazing because there's no faking this. You have to be the healthy guy that's in the memory, but also skinny, starving prisoner of War, which I think was, from what I read, you shoot the flashback scenes, right? And then you go and figure out how to lose a lot of weight.

38:59Jacob Elordi:Yeah. I mean, when you work for Justin Curzel, his requirement is that you leave all of yourself in the film, and you kind of know that going into it. I mean, that's what the appeal was for me. So I sort of started losing weight beforehand throughout the year, and then sort of played the pre-Prisoner of War camp bit a bit thinner and then we broke for six weeks after that and then we went into what we called the death camp portion of the show and everyone went away and sort of starved themselves for six, seven weeks. And then when everybody came back healthily, when we came back, everyone had a different look in their eye and there was a different tone on the set.

39:42Jacob Elordi:there was like a, it felt like there was a ghost over the whole production. Justin does, has this amazing way of shooting where he'll do 30 minute takes and we were in this 360 round jungle camp so he would play different scenes out all at the same time so you could never sort of stop acting. You'd move from one scene into the next scene and he would just roll. So the fact that he cut something together that I think is really pertinent and beautiful is astounding. Yeah.

40:10Scott Feinberg:Okay. So with Frankenstein just because it can never be easy, right? You hear about this how many weeks before go time?

40:20Jacob Elordi:I was shooting in the death camps and then I got an email maybe about nine weeks before their production saying that I had to read Guillermo scripts but I wasn't going to be finished for another five weeks. So I had about four weeks of freedom to be able to figure out how to get into Guillermo's movie.

40:43Scott Feinberg:And what I guess we should set this up by saying is that Guillermo obviously is a lover of genre movies. And for him, there's usually some personal connection to the story that he's telling. And in this case, maybe more than before ever. Can you share if he ever kind of articulated to you why Frankenstein is such a personal thing for him? The original is obviously film version is 1931. The book goes back to the 19th century. But for him, it's very personal.

41:21Jacob Elordi:He's an incredibly open man and he's been incredibly open sort of throughout this press process as well about what the film means, which is really beautiful to listen to. but he tells a fantastic story because he was raised Catholic and he was with his father on a Sunday and they went to the cinema and it was James Wales Frankenstein. He never understood the church. He didn't understand the seriousness around it or whatever it was and then when Boris Karloff backed through that door and turned around, he knew he'd seen Jesus for the first time and he went home and he wrote his own version of it and then made a Super 8 movie of it when he was however old and this this image it sounds like I shouldn't be quoted here but it sounds like it it burned itself into his uh into his brain so after you know years of making films

42:13Scott Feinberg:that you know this was one that he'd been thinking about making for decades gets to make it he said first of all the thing that made him think of you was your eyes quote Jacob's eyes are so full of humanity, I cast them because of his eyes, close quote. Did he talk to you beyond that about what he was looking for from you specifically, I mean, and maybe not looking for from you in terms of how much did he want you, if at all, to think about the very large, you know, looming thing of Boris Karloff or anything else beyond the script? Like, and how much of this was just, you interpreted the way you are.

42:52Jacob Elordi:I think we spoke on FaceTime the first time that we met and I think it was understood very quickly that we spoke a similar language, that we understood the world in a similar way. So I think he trusted me. And the one thing that he stipulated was that the prosthetics were going to be hell, but you needed to approach them as if you were at the altar and you were sort of doing some kind of like sacrificial rites. It had to be a biblical experience. And when he said that I understood completely what that meant and that opened up the process for me to not even think about the prosthetics and just think about the screenplay and the character and uh and I asked him about the movies and the and the book and I said what do you think like should I watch should I watch the movies and he said my friend they're just movies they can't hurt you and I was like it is it's so self-serious to sit back and be like oh I don't want to be influenced you know It's just like, just don't be.

43:49Jacob Elordi:There's this amazing script there, which is entirely singular. And it's Mary Shelley's biography and his biography. And all you can do is bring your own biography to that and to try and make your own mark in that and to do everything you can to bring it to life.

44:07Scott Feinberg:I mean, I know you're saying he wanted you to not focus on this in the moment, but people should understand that what the makeup and prosthetics here actually entailed the degree obviously it's the the human that comes through as he says the eyes and the walk and all the things that you had the decisions you had to make but just just for context like how would it work with with uh makeup trailer on this one what was the process

44:32Jacob Elordi:it was about 40 something pieces uh constructed like a puzzle and it took it took it was head to toe i don't know if anybody's seen the movie but head to toe when he's sort of naked took 10 10 hours, 10, 11 hours. And then sometimes when he has clothes on, it was anywhere from four to six hours just to do his head. But it was an incredibly cathartic sort of process. And by the time I got out of the chair, it felt like the way that my blood flowed, I had like changed direction because you've been sitting for so long or standing for so long and sort of going in and out of these trances. You end up coming out in like a monastic kind of state

45:13Scott Feinberg:by the time you get to set. And I guess you then walk onto a Guillermo set, which is an increasingly rare type of set in the sense that even on a large scale thing like this, he really insists on real construction and 360 degree sets for a lot of his films, right? A lot of, or at least a lot of this one. You weren't acting opposite green screens and tennis balls, right?

45:40Jacob Elordi:No, you stepped into the studios in Toronto and it was like you'd walk into a room like this and there would be a castle with snow falling down and you can go inside the castle and there's a running stream in the castle with leaves in it and there's moss on the walls. And he used single source lighting to make the film so they would decide where the direction of the light was coming from. so there were no sea stands or anything holding lights or sort of things from the crew. You'd go in the room and it was really the inside of a castle. So you didn't have to, I mean, I didn't want to leave. I would just kind of get a little corner in there and sit and fester over the whole thing.

46:24Scott Feinberg:Was there a scene, I mean, I can think of a bunch of different ones I could bring up, but was there a scene or sequence in this that challenged you the most or demanded the most of you when you think back on it?

46:36Jacob Elordi:They were all quite intense. There's two different sides of the creature. There's a physical side and then there's an emotional side. There was a lot of the emotion felt quite weighted and everything. But I think there was a moment when I was chained in the basement, in the cellar. And the chains were really like chained. They were real chains. And I was trying to break this bar to escape. just physically the kind of fight or flight thing that came over my body was felt kind of it felt like that all that all the time like you were constantly in a state of fight or flight which was really I'm really grateful that my nervous system did that because it was really pertinent to the to the part you

47:22Scott Feinberg:know so this movie you get done with it however many months pass and then you you get an invitation to go to Venice. You go there for the world premiere with Oscar Isaac and Guillermo and everybody. And this movie got a, I understand that these days things are getting crazy with numbers at film festivals, but this is 15 minutes is a, that's not a fluke for a 15 minute ovation for a film. And you have said that, obviously that was a powerful thing, but overall, just looking back at this whole experience, you've said you feel that you are a changed, actor and a changed person as a result of Frankenstein.

48:01Scott Feinberg:And I think, you know, you're still in it in the sense that we're talking about it. You're going to be on the, I guess, on the road for a little while longer, getting people to see the movie and all that. But are you removed enough to kind of, or can you step outside for a moment and look at it and figure out what it is that has changed here? That aside from the fact that the rest of us, as are reflected in some pretty unbelievable reviews and things today and awards like the one you're getting tonight. Obviously the response is pretty amazing from the outside, but what is different for you?

48:36Jacob Elordi:Something happened when I finished the film. I felt like something had shifted, like something had come unstuck in between my ribs. I felt kind of free. And then something happened when I was in Venice. I was there with my sister and my mom and my dad. And during that invasion, I saw them standing behind me and I saw my agent, who I've known for 10 years now. And I realized, I think, I kind of looked around and I realized I was exactly where I was supposed to be my whole life. And every day sort of since making that movie in this industry, I've felt so, I've felt a kind of great calm that I'm in the right place.

49:20Jacob Elordi:I'm meant to be here. And that's been a really sort of profound feeling. And it's a great comfort in an industry where you usually feel quite alien.

49:30Scott Feinberg:That's great. Well, just as a last question, because if people weren't already very interested before in you and your career path, they certainly more and more are now and will be as they see this movie. So I've got to ask you, we've said that Euphoria is coming back in 2026. also in 2026 in February people will see you reuniting under the direction of Emerald Fennell with your countrywoman Margot Robbie in Wuthering Heights we will also which is very exciting we also I believe in 2026 we'll see you in Ridley Scott's maybe this is 2027 I don't know. 26 as well. The Dog Stars, which is apparently a sci-fi post-apocalyptic thing.

50:20Scott Feinberg:Maybe you can say a word about that and just where you where you hope this next chapter goes. Yeah.

50:26Jacob Elordi:Yeah. Well, I got I got to make Wuthering Heights, which I just saw a small trailer for. And it is so beautiful. I'm so excited for that to start to happen. It was an incredible experience. Again, it was one of those ones where it's like Wuthering Heights. It's aye, aye, aye. Just Laurence Olivier. Yeah, yeah, okay. It's like, okay, let me see. Let me see what I can think of. And then Ridley was just, Ridley Scott has never auditioned a lead of his film. He just decides based on what he feels. So when that email came, it was like, you know, take me. I'll be there. And that was an incredible experience as well, just to watch someone who has essentially pioneered the cinema that we love and know still making a movie and to be able to be in that movie, it's unbelievable.

51:16Jacob Elordi:And then I'm going to make another film next year with Laszlo Niemes, who's an amazing filmmaker, called Out of Dark with Lily Rose Depp, which I'm really excited about. It's like a gothic American fairy tale and it's beautiful and terrifying. And I love that script. I've loved it for like four years. And then I hope, I'd love to be able to go home again and make some movies at home. But I mean, as long as they let me keep trying to make cinema and pretending that I'm a part of it, I'm just happy to be here, really.

51:50Scott Feinberg:That's great. Well, thank you so much for being here. Thank you. And we'll see you down the road.

51:55Jacob Elordi:Thank you. Thank you.

52:15Scott Feinberg:Thanks for listening to Awards Chatter. We really appreciate it and would really appreciate you taking just a minute more to subscribe to the podcast and to leave us a rating and review on your podcast app. And to follow us on Twitter and Instagram, where our handle is at Awards Chatter. On those platforms, we announce upcoming guests and provide details about special live recordings of the podcast that you can attend. Until next time, thanks again for tuning in.

53:06Scott Feinberg:Safe! With Visor Steuer.