As I read through Paul Mescal’s journey from Maynooth to Hollywood, I can’t help but feel a sense of awe and admiration. Here is a young man who has navigated the whirlwind of fame with an impressive level of grace, humility, and humor. His story is a testament to his grounded personality, which shines through even amidst the glitz and glamour of Hollywood.
As I’m waiting for my rendezvous with Paul Mescal, eight men wearing short shorts stroll by on the street. Despite it being an unseasonably sunny late September morning in London, it’s quite chilly – not suitable for baring legs – and these fellows don’t appear to be exercising.
Upon his arrival, Mescal remarks that certain areas of London share some striking resemblances, to which I inquire if he’s encountered any doppelgängers during his journeys. With a hint of amusement, he acknowledges spotting someone who bears an uncanny resemblance – sporting similar hairstyle, facial hair, and attire as himself. The individual walked past us at a moment that seemed almost orchestrated by a film director, requiring multiple takes to achieve such precise timing. As for the surge in short shorts, Mescal claims he’s not responsible, suggesting instead that he’s merely dressing like the majority of Irish men who play Gaelic Athletic Association football. However, many remain unconvinced.
According to her close friend and ‘Foe’ co-star Saoirse Ronan, he’s amazingly transformed something that isn’t typically stylish into something very trendy. And when he sported a mullet and mustache a few years back, she thought it might go either way.
As a movie enthusiast, I’m four years into this Paul Mescal craze sweeping across the globe, and it’s clear where things are heading. Yet, the legend himself, Ridley Scott at 86, and an army of Roman soldiers in their traditional togas, are about to test if Paul has the charisma to lead a Hollywood blockbuster as the protagonist in “Gladiator II”. This epic returns to the big screen on Nov 22, courtesy of Paramount Pictures.
As a film enthusiast, I find myself awestruck, exclaiming, “That’s some serious pressure!” in the presence of the esteemed actors gracing Mescal’s Gladiator-esque character. Not only does he share the limelight with the legendary Russell Crowe, but he manages to hold his own and surpass expectations!
Scott’s dramatic comeback to the Colosseum signifies more than just a sequel; it’s the long-awaited continuation of a masterpiece in cinema history. For Mescal, it marks another milestone in a career ascent so rapid and remarkable that it can hardly be overstated. (Originally, Ronan described it as “catastrophic,” but then corrected herself, stating, “I meant ‘meteoric’! Not ‘catastrophic’!”)
Over the span of approximately four years, through a TV series, a renowned stage play, and several movies, the young man hailing from the quaint Irish town of Maynooth in County Kildare – whose parents were both educators (a schoolteacher) and law enforcement officials (a police officer) – has solidified his reputation as one of the most talented actors in the industry today.
His talent has been recognized by BAFTA, Olivier awards, Emmys, and Oscars, as well as an expanding fan base captivated by his subtle portrayals of masculinity and vulnerability in numerous heart-wrenching roles. However, he now grapples with the burden of a massive production worth over $250 million, a film that many hope will revitalize a struggling box office. He admits, “I do feel the pressure and the need for this movie to generate revenue. The box office needs a boost, and if films like ‘Gladiator II’ aren’t succeeding, it would be worrying. So I do feel a sense of responsibility.
The potential flop of “Gladiator II” in the cinemas could significantly impact not only the movie industry, but also the career trajectory of its lead actor, Mescal. Given the film’s substantial budget, it must become one of the highest-grossing movies of the year, earning over $600 million, to even have a chance at breaking even. This is a challenging goal for a movie not associated with a popular comic book or sci-fi series. If it achieves such impressive heights, Mescal will join an emerging group of young stars like Timothée Chalamet and Zendaya who can successfully launch major studio films. However, if it underperforms, it could hinder his rise and potentially limit future opportunities.
We’ll rendezvous at the secluded Nobu Hotel in Shoreditch, where Mescal has been residing during the filming of Chloé Zhao’s feature adaptation of Maggie O’Farrell’s novel “Hamnet.” In this film, he portrays a young Shakespeare (with Jessie Buckley as his wife). Although he maintains an Airbnb in the city and is in the process of purchasing a property in North London, for this project, he preferred a place with amenities. As he put it, “This production has been emotionally demanding, and there’s a peculiar comfort in returning to a room where the bed is already made, allowing you to simply relax…” He then mimicked collapsing onto the mattress, free of worries.
Today, however, he’s noticeably cheerful (and surprisingly different from his usual style, dressed in loose, light brown jeans, a maroon Kappa sweater, and a thick grey trucker jacket). Yesterday marked the wrapping of “Hamnet”, and this afternoon he’s preparing for his first-ever world tour of “Gladiator”. This tour is being widely anticipated by Oscar pundits as likely to continue throughout the awards season. He has experienced such recognition before with “Aftersun”, but due to his performance in “A Streetcar Named Desire” (for which he won an Olivier), he missed out on the usual fanfare. As he puts it, “I couldn’t campaign, so it provided a sort of shield from that thing that would make me anxious – when it feels like ‘You’re in the mix!’, whatever that means.
It’s strange hearing Mescal talk about anxiety. While he may play tortured souls like few else, he comes across as someone who has ridden the intensity of the past few years with remarkable calm. But chill, he says, he isn’t. “If you ask anybody close to me … zero chill, zero fucking chill, manic, mental,” he says. Just two weeks after we meet he’s being honored by the Academy in L.A. alongside Quentin Tarantino and Rita Moreno. “I mean, talk about imposter syndrome!” he says, wide-eyed in near-bewilderment at the prospect. But he acknowledges that the “imposter syndrome is diminishing a little bit.”
There shouldn’t be much left after “Gladiator 2” finishes its campaign.
He wonders about his endurance, he says. “How often have you watched the original ‘Gladiator’ movie?” he asks. “When did you first see it?” Mescal chuckles, adding humorously, “You didn’t actually ask that exact question!
At thirteen years old, Mescal first saw the original “Gladiator” while at home with his father. He recalls that for many fathers, this movie seemed significant, almost as if to say, “Son, let’s enjoy ‘Gladiator’ together!
In 2009, discussions for the sequel of the critically acclaimed first film were already underway. However, it had gone through numerous tough stages in development. Ideas such as Nick Cave’s controversial “Christ Killer” script, where Maximus was resurrected to kill Jesus and his disciples, were discarded. This script featured scenes of Maximus fighting in various wars like the Crusades, World War II, and the Vietnam War. Luckily, it was abandoned. By early 2020, when Mescal gained popularity as a romantic lead in “Normal People,” a script was being developed for the sequel, which was set two decades later and focused on Lucius, the nephew of Commodus, the abhorrent emperor played by Joaquin Phoenix in the original. It was also revealed that Lucius was secretly the son of Maximus.
Scott first noticed the young Irish actor during his small-screen debut as a troubled teenager, and he immediately stood out to the director. As the director put it, “There was something about him that reminded me of Richard Harris.” With the final draft of the “Gladiator II” screenplay approaching, Scott revealed that the actor had been on his mind ever since.
In late 2022, Mescal had already made a significant impact on the independent film industry. His breakout role was in Maggie Gyllenhaal’s 2021 film “The Lost Daughter,” where he captivated audiences as a charming hotel pool attendant. The following year, at Cannes, he received acclaim for his portrayal of a troubled young father in “Aftersun.” It was during this time that they had their conversation over Zoom.
In simpler terms,
“Gladiator II” wasn’t the first major Hollywood role to come Mescal’s way. “Other quite big studio, franchise-y” offers had been sent over the years, he says, although he won’t say what (nor will he confirm whether any were in the superhero world — “Don’t start!” he warns when asked). But most blockbuster movies didn’t interest him the way “Gladiator” did. “I wasn’t like, ‘I need to do this.’ It was really just Ridley and ‘Gladiator,’ and I felt like I was ripe for this kind of big film,” he says. “I played sports growing up; I know what it is to throw myself around. I look Roman. All of those things. And it’s Ridley Scott!”
There was still some apprehension regarding the grandeur of the upcoming event. “After all,” he jokes, “it’s quite a leap from ‘Aftersun,’ which is all about peering into people’s souls and understanding humanity, to something entirely different.
Delving into the script, I uncovered layers beyond swords, sandals, and a heavy toll of casualties. “Lucius endures an emotional rollercoaster,” I found myself saying. Throughout the movie, Lucius experiences devastating losses and feels betrayed, even by his own mother. “I was captivated by this profound character development,” I thought. The film offered me ample chances to perform, to bring life to the role that I adore.
Indeed, another performer who excels in action might have been considered for the part, an admission by Mescal given his limited background in such roles. However, he points out, “there’s a lot of hidden pain beneath the surface,” and he feels particularly suited for portraying that aspect. With a smile, he adds, “and I’m the right actor for that.
I had the privilege of starting my involvement with a groundbreaking project in June 2023, right in the heart of Morocco. Kicking things off was an outstanding 14-minute opening sequence that, as I see it, is one of the finest battle scenes director Ridley Scott has ever captured on film, according to Mescal’s assessment.
A massive Roman naval force, headed by General Marcus Acacius portrayed by Pedro Pascal, overpowers Numidia, the last autonomous city in Africa. This event was marked by fleets, troops, flaming projectiles, arrows, swords, and ultimately, destruction. Lucius, who as a child had been transported to safety in Numidia, is later forcibly returned to Rome, now an adult and in chains, and sold to Macrinus – a former slave who climbed the ranks and now owns gladiators, and dabbles in both arms manufacturing and young male companions.
twenty years after Maximus’ Rome, as portrayed by Crowe, this city has transformed into a wild, decadent scene filled with lust, wine, and bloodthirsty fervor. Now ruled by twin emperors, Joseph Quinn and Fred Hechinger, who are grappling with their own inherited madness, tainted by syphilis.
In Morocco, it was just Mescal and Pascal (accompanied by hundreds more), which gave them ample opportunity to bond. “Being with him from the outset felt like we embarked on this adventure side by side,” Mescal shares, “and as a result, we grew extremely close.” Mescal describes Pascal as radiant, gifted, and genuinely good-hearted, adding that he is truly one of the best people.
From the very beginning, it’s evident that Lucius and Marcus are going to engage in a fierce battle, a scene that Mescal describes as something they “had both been eagerly anticipating – I believe we were quite cognizant that, from the viewers’ point of view, it was a pivotal moment in the movie.
As a movie critic, I found myself awestruck when the “rest of the gang,” as Mescal referred to them, joined the production a fortnight later in Malta. There, they’d meticulously rebuilt Rome and the Colosseum, a sight that left me equally breathless. Unlike the green screens and tennis balls I’ve encountered before, Scott’s set was astonishingly real and life-sized, alleviating any apprehensions about our on-screen battles being merely illusions.
In order to create realistic wild encounters, stunt performers were taught to mimic baboon movements for certain scenes, while for others involving a charging rhino, they used a large, radio-controlled and 3D-printed model. “Yet remarkably lifelike,” he comments. “Simply mind-boggling.
In Malta, Mescal found himself meeting Washington for the first time on set, and he took a moment to psych himself up, silencing the inner voice shouting, “Wow, I’m acting alongside Denzel!” He went on to explain, “The experience could have been overpowering, but I decided within myself that it was perfectly acceptable to regard him as an icon. However, during our work together, I needed to treat Denzel just like any other actor.
In a nutshell, Mescal shared that their professional bond was very harmonious. For a couple of weeks, he had Washington to himself, providing an opportunity for them to chat about Shakespeare and theatre during breaks. Mescal claims he persuaded Washington to come back to the stage, saying something along the lines of “You’ve performed Othello before; you should do it again!” His encouragement seems to have paid off because Washington will portray Othello alongside Jake Gyllenhaal’s Iago on Broadway in February.
Washington praised Mescal’s knack for returning the ball effectively. “He’d go in there and send it soaring back over the net,” Washington recalls. “I can smash the ball quite powerfully, but he’d promptly return it to me. So I found myself thinking, ‘Alright, kid!’
Despite the enjoyable atmosphere, the impending SAG-AFTRA strike couldn’t be avoided, and it disrupted “Gladiator II” production five weeks before wrapping. On the day everything halted, Mescal wasn’t present, but he recalls that people were still in makeup chairs when the announcement came – around 8 a.m. local time. The production set was abruptly closed, much like the Colosseum gates slamming down. “I’m grateful we went on strike now,” Mescal said, “for its impact on the industry. But at the moment, all you could think about was ‘Damn, five weeks left.’ “He lingered in Malta for a few days but then returned to his London Airbnb, spending each morning checking trade publications to stay informed about the situation.
Toward the finale of “Gladiator II,” there’s a scene where Lucius, played by Mescal, pursues Macrinus on horseback after enduring multiple rounds of violence. Although not the movie’s most intense action sequence, it demanded a high level of expertise. Eager to perform as many stunts as he could, Mescal prepared rigorously for months. However, as shooting time approached, Scott decided against letting Mescal execute the stunt himself.
About two weeks prior, Ridley stated, ‘You’re definitely not going to do that,’ and I replied with surprise, saying essentially, ‘Really?’ We then had a heated discussion,” Mescal recounts.
Scott’s hesitation didn’t stem from his fame, but rather traced back to horse-riding advice he received during the filming of his 1977 debut movie “The Duellists”. He was instructed for insurance reasons to only start shooting actors once they were already mounted on their horses.
At the wrap-up of the filming, Scott mentions, “For our final take,” Keith [Carradine] queries, “May I hop on that horse now?” About twenty minutes after, the horse collided with a tree, resulting in Keith fracturing his femur.
About five decades later, another prominent figure was equally persistent. “I kept bothering him all the time,” recalls Mescal. “The day before, he finally agreed, ‘Alright, you can perform the stunt, but if you fall, it’ll cost you two Bentleys.’
In a daring move, Mescal opted to complete the costly scene swiftly, wrapping it up within just a few tries. “Luckily, no luxury cars like Bentleys were necessary for this,” the actor remarked with relief.
Absolutely, playing a gladiator isn’t merely about staying on a horse; Mescal needed to build his physical strength for the part. In his own words, he felt it was essential to be “larger in size.
He aimed to reach a weight of 22 pounds. Since Mescal had bulked up for his role as Stanley Kowalski in “Streetcar,” he was already quite muscular, weighing approximately 194 pounds. To achieve the additional weight, he dedicated six months to rigorous exercise and arranged for four meals, primarily consisting of meat, particularly chicken, to be delivered daily to his home. His workout sessions were brief but intense, happening six days a week. “I don’t have much endurance,” he admits, “so it was tough, fast-paced training followed by recovery before starting again.
During the shift in the new regime, Mescal’s stage performances seemed fitting. He would rise and train around 11 in the morning in Soho, then head to the theater for the entire day, return home, and retire for the night. The question is whether the other actors observed a gradual transformation in Stanley’s body? Toward the finale, they likely thought, “Ah, he must be eating his greens now!
After completing “Gladiator II”, Mescal’s next role required something even more demanding. This came shortly after he started preparing for “The History of Sound”. At that time, he had to get rid of all the extra weight he had gained and then some. He needed to lose a total of 26 pounds in just two months. As he puts it, “It was incredibly tough.” He shakes his head and takes a puff on his second cigarette of the day, adding, “It wasn’t about getting emaciated – it was simply to lose muscle mass. Just pure misery.
It was a misery he endured for a good cause — namely, Oliver Hermanus’ upcoming drama about two young men who become romantically involved as they travel through rural New England in 1919. “Of all the scripts I’ve ever read,” he says, “that’s the one that broke my heart the most.”
Mescal became deeply passionate about the project and not only appeared in it, but also took on the role as an executive producer for the first time, earning a producer credit. This marks a step towards establishing his own small-scale production company, which he describes as being heavily focused on writers. He’s kept details under wraps, but he has acquired options for two books that he holds in high regard. When asked if they deal with intense emotions and hidden trauma, he confirmed, “Absolutely, that’s the type of material I’m drawn to!
“The Sound’s Chronicle” features Josh O’Connor from “Challengers,” and brings back the actor, Cosmo Mescal, to the realm of indie cinema – an environment he confesses holds a more intimate connection for him. He expresses, “Independent films form the heart of my career, with everything else stemming from it. Yet, it’s where I will always return.
Actor Mescal has filmed two parts of Stephen Sondheim’s extensive musical “Merrily We Roll Along”, which director Richard Linklater intends to film over a period of 20 years to accurately portray the tale of art and friendship. The remake features Broadway veterans Ben Platt and Beanie Feldstein. “I enjoy singing,” Mescal notes, “I may not be as good at it as Ben and Beanie, two of the finest voices out there, but I’m doing my best to keep up.
Following that, “Streetcar” is set for a return to the West End in early 2025, marking its initial appearance in the U.S. later. Washington approves of Mescal’s swift return to the stage following “Gladiator II”: “It’s an appropriate move and demonstrates his genuine, serious acting abilities and sound judgment.
Additionally, conversations continue between him and his “Normal People” co-star and close friend, Daisy Edgar-Jones, discussing potential future collaborations. They’re playfully exploring various ideas about what their next project might entail.
Mescal has a packed schedule for at least the next two years, not because acting is just a job for him, but because it’s deeply personal. He considers it one of his greatest passions, something he thinks about as soon as he wakes up each day. Moreover, it serves as a means to cope with the chaos that came after his role in “Gladiator.” Acting provides him with a routine and shields him from the noise and tumult of his post-“Gladiator” world.
Leaving brief glimpses aside, strolling through London with Mescal is an amusing adventure. People passing us on the street often give us double takes, exchange knowing smiles, and gently tap our elbows. At a cozy corner café where he orders takeaway coffees (he’s a fan of flat whites with one sugar), when he gives his name as “Paul,” the cashier who was already smirking struggles to suppress her laughter.
He could be any handsome young man strolling the streets of Shoreditch. But he’s not. He’s someone who has already reached such a level of fame that his personal life is now under the intense microscope of social media, every sighting of him within arm’s length of a woman now fuel for relentless online speculation.
Regarding my personal life, I prefer to keep things private, as I believe I hold the strength in choosing when and what to share. Consequently, I’ve chosen not to discuss my past or present relationships publicly, such as the rumored ones with Phoebe Bridgers and Gracie Abrams. The recent images of me and Gracie holding hands in London have sparked speculation among tabloids, but I remain silent on the matter. I choose to focus on my music and let that speak for itself.
He’s not catching the part where Paul was conversing with someone and so on, he comments. To me, it seems like a risky path to tread as I aim to maintain some semblance of mental peace. A few years back, he deactivated his public Instagram account, but now he has a private one that he uses exclusively among friends.
However, the main query – the colossal, 3D-printed, radio-controlled rhino that’s hard to ignore – is what existence seems like following “Gladiator II.” There’s a gap between being admired for your work in a peaceful Irish TV series and becoming the embodiment of a gigantic Hollywood blockbuster. Mescal takes a moment to ponder about his future.
He expresses his confidence that things will not become excessively chaotic following this point,” he states, with a hint of doubt in his tone. He explains that the period between before and after “Normal People” was the most tumultuous. Can anything surpass that, he wonders? “I have an inkling that it won’t feel as steep after ‘Gladiator’ is released. However, I might be overly optimistic.
But there’s potentially a point coming soon where we couldn’t, for example, sit here quietly drinking from cardboard cups on a London park bench, uninterrupted. Or where he can’t dance to Coldplay at Glastonbury with Ronan and Edgar-Jones, as he did last summer. Or where we won’t be able to experiencing the joy of a Mescal lookalike walking casually past. He reiterates his prediction. “It’s something I really don’t want to happen. And I’m 95% sure that’s not going to happen. But if it does, I’ll figure it out.”
There seems to be a strong indication that he will proceed. Despite the rapid pace of events over the last four years, Mescal maintains his relaxed and thoughtful demeanor, characteristic of a young man. If there’s anything that can help him navigate what lies ahead, it’s his down-to-earth nature.
He’s polite, friendly, thoughtful and unpretentious. He giggles and mocks himself one minute and eloquently philosophises about the importance of independent film the next. He swears, a lot. He says, “That’s gas!” about things he’s excited about. Like “Anora.” “I’d fucking love to work with Mikey Madison,” he exclaims. And “Wicked.” “I cannot wait to see that… I just love musicals.”
Significantly, Mescal’s “The Lost Daughter” costar, Olivia Colman, asserts that he is “far from being an inconsiderate individual.” Instead, she describes him as “exceptionally considerate, kind-hearted, and thoughtful,” adding that his attractiveness is undeniable.
Ronan says she has discussed fame with Mescal — but claims “he’s too much a part of the real world to ever give it more importance than it deserves.” For his part, Mescal describes Ronan as “the benchmark” in terms of how to navigate it all. “She has a beautiful life of friends and family and continues to produce amazing work.”
A couple of weeks following our encounter in London, I speak with Mescal once more, but this time it’s over the phone since he is now in Japan. His tour is thriving, and it seems like the lad from Maynooth is popping up everywhere. Posters featuring him in his gladiator attire are prominent all around the globe, from Shibuya Crossing in Tokyo to Sunset Boulevard in L.A.
I inquire once more about his emotional state, as his remaining anonymity seems to be gradually eroding. It appears he’s come to terms with his situation: A return to the way things were is improbable; whatever personal privacy remained is now gone. “I understand that being part of such large films can sometimes entail a loss of privacy,” he remarks, “and I have absolutely no regrets about making ‘Gladiator.'” [In this paraphrase, I’ve aimed to make the sentence more conversational and easier to understand while still preserving its original meaning.]
But what about his prediction?
“Yeah, I think I’m going to drop that to 85%.”
Styling: Felicity Kay/The Wall Group; Grooming: Josh Knight/A-Frame Agency; Location: The Hollywood Roosevelt; Look 1 (bathtub): Suit, shirt, tie and shoes: Saint Laurent; Earring and chain: Cartier; Look 2 (cover): Shirts and trousers: Zegna; Earring and chain: Cartier; Look 3 (green curtain, tuxedo): Suit and shirt: Ferragamo; Earring, watch and chain: Cartier; Look 4 (lying in pages): Shirt, shoes and tie: Gucci; Sweater: Gimaguas; Trousers: Craig Green; Earring: Cartier
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2024-11-13 19:20