Paul Mescal and Josh O’Connor Were ‘Naughty’ While Making The History of Sound

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Since 2020, Paul Mescal, Josh O’Connor, and director Oliver Hermanus have been working tirelessly on the film “The History of Sound.” This effort began shortly after Mescal gained significant fame with “Normal People” and O’Connor with “The Crown.” Over nearly five years, common hurdles like financing issues, labor disputes, and the actors’ hectic schedules delayed the project. However, tonight at Cannes, their hard work will finally be unveiled. The film tells a poignant love story set during World War I, where Mescal plays Lionel and O’Connor portrays David, students at the Boston Conservatory who meet at a piano bar, develop feelings for each other, bond over a shared passion for American folk music, and eventually embark on a journey through Maine’s wilderness to collect and record the region’s songs.

The upcoming movie, adapted from Ben Shattuck’s short story, has sparked quite a buzz online, and viewers will be thrilled to know that the chemistry between Mescal and O’Connor is palpable and convincing. They share numerous longing gazes, find themselves drawn together in hallways and tents, and even doze off on each other’s chests. There are many moments of deep emotion between Lionel and David that remain unsaid; instead, Mescal and O’Connor deliver a compelling portrayal of their profound connection through extended singing scenes, where they harmonize exquisitely while looking at one another across a room or over a piano. A fittingly somber rain fell on the day before the premiere of The History of Sound, and I had the opportunity to speak with Mescal and Hermanus (O’Connor, who was filming a new Steven Spielberg project, was unable to attend the festival).

Oliver, it seems you mentioned that you wouldn’t be able to create the film in the same manner as you did in 2020, given Josh and Paul’s current level of fame. Could you elaborate on this statement? Also, I’m curious about how you went about casting them. How did you know they would be perfect for the roles?

Paul Mescal: Indeed, could you clarify what you meant by that?

Oliver Hermanus: How did I decide? I consider the actors I wish to collaborate with. I don’t ponder, for instance, “Will they cover the film’s expenses?” In this field, they say you need “two brains,” but I strive not to develop that second brain. Instead, I want to continually work with individuals I respect. Fortunately, Paul evolved into Paul. However, it wasn’t about abandoning or scaling down the project because we couldn’t secure our desired cast. We merely chose to be patient instead.

Mescal: My wait for this project was a lesson in patience. When I first read the script during Christmas 2020, I was eager and ready to get started immediately. However, as time went by, five years passed instead of four months as initially expected. There were instances where it seemed the film would finally happen, only to be told “no.” I learned that sometimes we need to grow and gain more experience before a project can move forward. Oliver was supportive during this period, helping me develop patience while also ensuring the quality of our work wasn’t compromised by rushing the production. In hindsight, I believe my extended wait allowed me to better understand and portray the character as I had grown both personally and professionally over those years. So, indeed, patience is a virtue that I am still learning.

Mescal: As I’ve delved deeper into the role of Lionel, I’ve come to grasp more about his character due to my experiences in the past five years, especially in this chaotic industry. It seems like I’m aging faster, perhaps because this script is intricate and challenging. It’s not a simple matter of learning from what you see or tell; instead, it requires unraveling the subtle aspects of someone’s psyche, which can only be understood through personal life experiences.

Mescal: At first, I wanted to play Lionel, but I can’t recall if you were asking me to approach it with Lionel in mind. It was a cold read. To be honest, I loved both characters. They reminded me of roles from my drama school days that I haven’t had the chance to play since. Initially, there was a bit of fear involved. I found Lionel intimidating because he doesn’t actively engage with the audience; instead, he invites them to approach him. As an actor, that can be quite daunting. David, on the other hand, is more engaging towards the audience. So, when I read it, I decided to play David, and Oliver agreed. Later, I thought Oliver was going to ask me to start filming soon, but instead, he said we’d wait until next year and asked if I would consider playing Lionel. I had to think about it for a while, and then I realized that my initial hesitation was due to fear. And I’m grateful you encouraged me to take on the challenge.

What made you decide to change them?” or “Can you explain why you switched them?” Hermanus is saying that he realized one of the actors might not be right for his role, so he had to reconsider his approach and negotiate with both actors. He was concerned about their commitment to the film and whether they shared his passion for making it a success. At the time, one of the actors was already shooting another project.

Mescal: I was photographing God’s creatures, indeed. I needed some time to ponder over it. As I was getting ready to portray David, I had to revisit the material once more and take some moments to absorb it fully.

Mescal: I believe I’ve improved over the years, but taking on a traditional lead role like this is a challenge since most of my previous films featured independent productions or shared leads. For instance, Gladiator and Aftersun were quite different. To overcome my fear, I simply gather my courage, pull up my pants, and tell myself, “You’re prepared for this.” I put a lot of faith in Oliver during the process, as he guided me through it. This role required me not to constantly display my feelings to the audience, making it an extreme example of that. Whenever I had doubts about whether the audience would understand what I was doing, Oliver would reassure me and point me in the right direction.

Mescal: Our talks often revolved around the singing. It wasn’t a musical in terms of staging or style, but it had roots in Irish culture, which I was familiar with due to my upbringing and love for that kind of music. So, it wasn’t something that made me anxious in itself. In fact, I was excited about it. However, when the set goes quiet and you stand up to sing “Silver Dagger”…

Hermanus: Day two.

Messcal: Oh yeah, on day two!

You were singing live?
Mescal: Oh yeah, the whole time. The film would really suffer without that.

In the movie, there’s a profound, largely unsaid connection between you and Josh. This bond is more often expressed through physical gestures, songs, and meaningful glances. Could you share some insights about how this unique relationship was cultivated and developed between the two of you?

Mescal: When I first watched the movie, there was a palpable tenderness and an intellectual synergy between them that propelled their relationship forward. If viewers are anticipating a grand, romantic narrative, they’ll find it to be far more intricate and engaging than that. It certainly embodies romance, but it’s also a meeting of minds. When you encounter someone who shares your deepest interests, you know the feeling – it’s like discovering a kindred spirit.

Absolutely.
Mescal: It’s a mix of love, admiration, mental stimulation, and physical attraction. These elements often overlap, but can also become tangled or torn apart. David is hiding something from us. On the other hand, Lionel has an intriguing quality – he’s content to be a clean slate. He’s so open and truthful. This contradiction is evident in our complex discussions.

Much of it, as you pointed out, is in quick, meaningful glances. Building chemistry between us feels effortless, like Josh and I just enjoy each other immensely. Although the movie carries a heavy atmosphere, Josh manages to make me feel incredibly youthful and carefree. This sense of playfulness might not seem fitting for the film’s tone, but it certainly exists.

Hermanus: It was a really strong bond. And they were naughty.

Mescal: Say more!

How so?Mescal: Yeah, how so?!

Hermanus: They were running around! Where are they?

The scene features an expansive, overhead view (possibly still in the movie). Leaving the boat is now part of our plan.

Hermanus: It is!

In a nutshell, Mescal is describing a scene where Josh is conversing with a teacher, and they both start laughing uncontrollably as they walk uphill, their shoulders quivering with laughter. Oliver then jokes, “Are you going to do it right this time, like you’re getting paid for your roles?” Implying that they thought the cameras wouldn’t catch them.

Hermanus: And he forgot all his lines.

Mescal: Indeed, he delivered every line. He approached me without any hint of stopping. He handled all the scene-setting. I found myself questioning, “What on earth is your intention here?” I do believe it was crucial. The level of authenticity depends on the dynamic with the actor you’re collaborating with; occasionally, raw intensity proves beneficial, and Josh and I never opted for a lighter approach. When necessary, we dove into much deeper realms.

Hermanus: That’s a testament to the talent.

Is it possible for them to join and leave as they please without affecting the calibration or intensity?
Hermanus: Absolutely! And what I observed from a third perspective was an inexplicable closeness, manifesting in various ways. For instance, commuting to work together, something that often caused me stress.

You and Josh?Mescal: Yeah, we’d drive to work together. We’d drive ourselves.

Hermanus: A director’s worst nightmare.

Why?
Mescal: Well, because if we die there’s no film. That old chestnut.

Hermanus: You want to, like, pad their lives. I’m like, “Let’s not drive!”

Mescal: “At what hour should I come to get you?” During our filming, which lasted around six to seven weeks, Josh was present for the initial three. An intriguing experience for both Lionel and me was when Josh departed; I truly felt his absence. With independent films, budget limitations can cause scheduling issues. However, our first assistant director did an impressive job of arranging Josh’s schedule in such a way. Since he left, I genuinely missed him.

Hermanus: I was like, “Is Paul going to be okay?”

Just as Lionel was encountering each character, so did I, only to say, “You’re delightful, yet not Josh. I yearn for my friend.

Mescal: Did you two already know each other prior? Well, we crossed paths in 2020. I expressed my excitement about our upcoming film, and Josh humorously corrected me about the exact timing. However, it was after his work on ‘Normal People’ that he contacted me via Zoom since we shared an agent. He was among the first to reach out just to say hello. He’s a genuinely nice person. Although we had some acquaintance before, this was the time when our friendship truly blossomed and grew stronger.

Are you currently socializing?
Mescal: Yes, we do. Unfortunately, he won’t be able to join us tomorrow due to his schedule extending on the Spielberg project. We spoke with him yesterday, and he’s understandably upset. It’s difficult because it represents a significant chunk of our lives.

Mescal: It seems Spielberg can’t let him go just yet! However, in our attempt to calm Josh down, we were suggesting that it was only May and the release date wasn’t certain. We assured him that if and when the film is ready, we would work together on its promotion.

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2025-05-21 20:55