‘History of Sound’ Director Oliver Hermanus on Paul Mescal and Josh O’Connor’s Deep Romance, Gay Sex Scene Discourse and His Alexander McQueen Biopic

Renowned filmmaker Oliver Hermanus (“Beauty,” “Living”) returns to the Cannes Film Festival following nearly 20 years, armed with a rich romantic drama brimming with Hollywood-level glamour and capable of eliciting deep emotions. This captivating production features Paul Mescal and Josh O’Connor in lead roles.

The Evolution of Sound,” initially brainstormed around early 2020, prior to the coronavirus outbreak, sparked a flurry of interest on social media upon its unveiling. During this period, Mescal and O’Connor were rising stars, sharing screen time on hit TV series “Normal People” and “The Crown.” Fast forward five years, and they are among the most sought-after actors in the entertainment industry.

Based on a compilation of brief tales penned by author Ben Shattuck, the movie traces the journey of Lionel (Mescal), a promising singer from a rural Kentucky background nurturing grand aspirations. In the year 1920, he enrolls at the Boston Music Conservatory where he encounters David (O’Connor), who later gets conscripted for war. Their connection is immediate and develops into a profound yet transient romance that remains in Lionel’s memory as he reflects upon it throughout his distinguished life and musical career.

I had a chat with Hermanus while we were both on the ground in Cannes, where we talked about the exhilarating journey towards film production, the present portrayal of gay relationships on screen, and his upcoming biographical movie.

You were last in Cannes 14 years ago, when you won the Queer Palme for “Beauty.”

14 years on, I find myself remarking at how eerily familiar it all seems. Wealth abounds, cacophonies echo through the streets, and prices continue to climb steeply.

How did you recruit two of the hottest actors in the world for this indie?

Josh and I share the same talent agents in the UK, and we both read that short story roughly at the same time. We had a chat, but then the world was hit by COVID-19 lockdown, causing me to return to South Africa. Josh asked me to remember him when I come up with a screenplay. It wasn’t difficult to do so. I first encountered Paul when I cast him for “Living,” although he ultimately couldn’t make it. Both Josh and Paul met around the same period. The project was always on the verge of collapse, but in an unexpected turn of events, things worked out well for us. Their careers have since experienced significant growth.

That had to help when you went for financing.

I personally visited numerous locations, showing the film at each doorstep. Countless individuals ran the financial calculations. It seems there’s an automated system at A24 that spits out a figure – $8 million is what it always shows. Frankly, I couldn’t accept such a sum for this project. Sara Murphy joined us as a producer towards the end of 2020, and we attended events like AFM to secure funding. People frequently commented about Josh and Paul, who were stars on “The Crown” and “Normal People” respectively. Then, Josh landed “Challengers” and Paul got cast in “Gladiator.” Around the time of the Oscars in 2023, both Paul and I found ourselves at the event, discussing this movie with anyone willing to listen. Remarkably, everything fell into place before they became too old for these roles.

You have a tonal versatility as a director—

Do you think? I make really sad movies.

I do. But this feels like the most you’ve ever stepped into genuine romance.

Absolutely, this is a heartwarming tale that explores the idea of nostalgia in a unique way, using sound as a symbol for emotions we hold onto. Prior to the 20th century, this concept was unimaginable. Can you imagine the emotion of hearing your parents’ voices even after they have passed away? It’s also about desire, something often misconstrued as obsession or unrequited love. However, longing for someone can stem from more than just their physical absence. It’s a fascinating concept to ponder over. We tend to mix up yearning with obsession and unfulfilled love.

This film is set in 1917. You’ve said the short story was very progressive, because these two men aren’t caught up in how to confess their desire for each other. They dive right in.

In the year 2025, there’s a growing demand from LGBTQ+ viewers for more diverse and nuanced stories. Tired of the recurring tropes, particularly in biopics, I’m currently developing a film about Alexander McQueen – a gay man, HIV positive, artistic genius, battling addiction within the fashion industry, who ultimately took his own life. After watching shows like “Halston,” I can’t help but notice the pattern of queer individuals achieving success and acclaim, only to meet a tragic end. This narrative leaves a lasting impression that our lives might follow this same dismal path, given the inherent dangers and sadness associated with our sexuality and lifestyles. Shrouded in secrecy and repression, I’ve already created one film titled “Beauty.” However, I aim to provide audiences with an alternative queer narrative – a different, more optimistic experience.

How do you feel about the state of gay sex on screen? We’re still in the afterglow of Season 3 of “The White Lotus,” and Mike White has said that he misses a time when gay sex was transgressive in our culture. That he wants to restore it.

Can you fix it somehow? It’s no secret now. I’m quite fond of films brimming with raw passion; it would take something significant for me to be disturbed or feel threatened by explicit queer scenes. Back in 2023, I produced a TV series titled “Mary and George.” On set, we were constantly brainstorming new sexual positions. I’d often nudge Nicholas Galitzine and ask, “What haven’t you explored yet?” To which he’d respond, “I was penetrated that way yesterday. I recently had an orgy with that actor the day prior. I dominated one guy while submitting to another.” The intimacy supervisor would then approach us with an iPad displaying various positions. At this stage, I found myself trying to discern the nuances between a French and British orgy, almost like sorting Lego sets.

So you’re not going for shock with love scenes between Josh and Paul?

In my perspective as a passionate viewer, I made a conscious effort to avoid using sex scenes as turning points or catalysts for their relationship development. The film is more about their unwavering bond that forms from the moment they meet. What truly captivates me is the sequences leading up to those intimate moments and the aftermath that follows. There’s an enchanting element in Josh’s character, who gathers every feather that falls from Paul’s pillow and carefully replaces them. To me, this act symbolizes a profound romance.

Josh and Paul set out to chronicle folk music in this movie. What did your process teach you about America?

The richness of tradition in America is truly captivating. While it’s often perceived as a young nation compared to Europe, its history runs deep and uncovers intriguing origins. For instance, consider the songs sung by artists like Ella Fitzgerald, Nina Simone, and Joni Mitchell – these melodies are not just pieces of music but threads woven from diverse cultures converging in America. This cultural tapestry has its roots traced back to immigration waves from Ireland, England, Africa, and beyond. The music carries a deep historical and racial context, with strong ties to the past, particularly the era of slavery. This musical heritage underscores America’s identity as a nation built by immigrants.

How far along are you in the McQueen biopic?

I took over this project after it had been in progress for numerous years. From the ground up, I’ve started anew. My friend Harry Lighton, director of the current Cannes entry “Pillion,” penned the script for me. Creating a biopic about a man like Alexander McQueen is challenging. How do you make a traditional biography about someone who transcends such a format? It requires pushing boundaries in form and genre.

And costume becomes the most important thing, in a way?

Working closely with the renowned Sandy Powell on the film “Living,” we’ve had numerous discussions about McQueen. Given that the cinematic art form is fashion, it’s a particularly self-referential milestone for a designer like Sandy to excel in this area. It poses one of our most significant hurdles. If you were making a movie about Da Vinci, would you simply reproduce the Mona Lisa? Or would you commission someone to recreate it? Instead, you’d strive for an interpretation or reimagining.

2025-05-19 17:47