Video

Breaking the Boyband Mould, with Hits and Heart

WRITER: Patrick Grady

Thrown in at the deep end as something of a guinea pig experiment (what happens when you drop five boys from across the UK into the K-Pop machine?), the result? Utter brilliance.  They know exactly where they want to sit in the new music landscape, and they’re ready to make some noise. Not your typical boyband (no cookie-cutter choreography or matching outfits here), they’re carving out something different. In February, the lads debuted their first hit, Ariana – and a hit it was. So much so, even the namesake herself, Ms. Grande took notice.

Find the full interview in print—grab your copy now at imaginemagazine.co/shop

PHOTOGRAPHER Simonas Berukstis

VIDEOGRAPHER Jay Seba

EDITOR Archie Dalziel

STYLIST Adele Cany

HAIR STYLIST Jr Slane

MAKE-UP ARTIST Eliza Clarke 

PRODUCTION ASSISTANT Benjamin Stone

DIGI TECH Alex Kim

1ST CAMERA ASSISTANT Madison Blair

2ND CAMERA ASSISTANT Alejandro Martinez-Campos

STYLING ASSISTANT Indy Davy

STYLING ASSISTANT Savannah Jones

Ceara Coveney on Embracing the Spotlight, On and Off Screen

WRITER:  Patrick Grady

The highest of fantasies and one of its leading women: Ceara Coveney, a true force to be reckoned with. As she returns to her royal roots for The Wheel of Time season three, the actor sat down with co-star Ayoola Smart for a candid chat about what’s in store for the next installment. And if their conversation is anything to go by, we’re in for one hell of a ride.

The Swindon born and raised actor first graced our screens as Elayne Trakand in season two as the unyielding queen-in-training and immediately exuded a certain assurance. But, when you’re taking on a role with such an established legacy – thanks to the best-selling books by Robert Jordan and combine that with the fact it was her first big gig – there’s little room for learning on the job. Still, the actor has continuously found her character’s willpower and self-confidence rubbing off on her personal life, a welcome bonus! Her honesty speaks volumes of the passion she has for this particular project. As her role develops in season three, so too does her willingness to dig deeper into Elayne’s constantly evolving state of mind.

Coveney has been steadily honing her craft over the past few years, gradually building a name for herself with roles in Young Wallander and The Amazing World of Emma. Now, having earned her place at the high table, she’s acting alongside the likes of Rosamund Pike. In her refreshingly sincere conversation with Smart, the mutual respect between the two go-getters is palpable and we finally get an insight into what challenges are in store for the enchanting role that’s defined Ceara’s career thus far. If one thing is clear: she’s more connected to her character than ever before. 

Season three promises new horizons and growth for Elayne, and Coveney is here for all of it. As she looks back at how far both she and her character have come, there’s an undeniable excitement about what’s next, not just for the role, but for her own journey as an actor. Trust us, she’s one to watch.

Ayoola Smart:  Hi, how are you? How are you feeling about the show coming out so soon?

Ceara Coveney: I’m good thank you! I’m really excited, genuinely. I think we all feel as though the show has taken another huge step forward, like each season seems to be getting better and better. It’s so exciting to be able to celebrate everyone’s work this season and be able to really talk about it. Ultimately, it really feels like a celebration. Especially because we worked on it so long ago, and now the time has come for everyone to see what we’ve been up to.

AS: Yeah, definitely. As you said, we filmed so long ago, so it’s nice we get the chance to finally talk about it. It feels incredibly joyful to see season three coming out and be able to shout it from the rooftops. How have you found the shift, both in terms of Elayne but also as an actor, having been introduced last season and now we’re familiar with her –  how has that been for you?

CC: I think that’s really interesting because there’s been a real mirroring between Elayne and myself. The scenario in which she was introduced in season two was very much out of her comfort zone, and I feel like that’s how I felt arriving on set. Meeting all of these fantastic people and exploring this whole new environment because it was my first major job! Returning this season, I found a whole new confidence. There’s less navigating of new things and I think that’s exactly where Elayne is at as well. She’s really come into her own. Having survived what she felt was unsurvivable. It was exciting to be able to get into her more this season and explore what makes her tick.

AS: Definitely, you can really see that in this season.  I think as an actor, sometimes we get to play these characters that feel very close to us or feel like a huge departure from us but when you’re both going through transitional phases, you get to kind of influence each other a little bit, which is so lovely.  Have you ever played a character where you’ve felt a kinship, like, with Elaine or does this feel like a first?

CC:  I think Elayne is probably the strongest kinship that I’ve felt to a character. But every character that I’ve played has allowed me to explore a certain part of myself, I maybe wouldn’t have without them. There hasn’t been a part that’s felt vastly different from who I am behind the camera and it almost feels like there is an element of therapy within playing these characters. Elayne is so confident and holds so much strength and I feel like she continually pushes me to find my own. This season was really a continuation of that growth.

AS: Absolutely, we have to really step into the part for it to feel truthful which can force you to confront some things inside of you. We get to see more of an insight into Elayne’s background through her family this season – how did you find that?

CC: It was great to see her family being introduced. I feel like it allows the viewers to see so much more about her and what’s truly going on in her world. The family scenes are so great – they feel so rooted and I feel like you really come to understand how special Elayne is against the backdrop of all of these incredible characters. Especially in terms of the visuals as well. To see all of these gorgeous red hues and the amazing work from the costume, hair and make-up departments expands the idea people might have of Elayne. We’ve only ever really seen her in her novice whites and to suddenly see these elaborate, opulent costumes. It really is a feast for the eyes.

AS:  Is there anything from season three that resonated with you from the books, a helpful phrase, or something that stood out to you in a significant way when preparing for this season?

CC: One phrase that really stood out to me, especially for the earlier episodes was her being described as a ‘tower between two dogs’. Between the White Tower and Siuan and her mother. It’s such evocative imagery – I really drew on that. Another passage that jumped out to me was a scene where the bravery of the women around her is revealed and we see Elayne doubt herself not only as a woman, but as the heir to the throne. Her vulnerability really resonated with me. Her figuring out whether she’s ready to ascend the throne and fulfill her role as future queen or whether the path she’s been following, or the one set out for her might not be sufficient. I would say those were my main driving forces for this season. 

AS: For sure, there are so many strong female identifying characters who hold such powerful individual journeys and complexities in this show.  If you had to be one of the quote-unquote villains, who would you be in season three? 

CC:  I would love to be Moghedien. Laia Costa, who plays her, is just absolutely incredible and not only that – she just seems to have so much fun with it. Every time she’s on set, she’s really playing around with what she does because that is Magedian, you know, she’s like, this child-like creature.  I think that would be so fun to play and really exciting to explore that type of character because obviously I don’t know if they believe that they are bad people.  So, I think it would be such interesting psychology. 

AS:  Was there a particular part of this season that you enjoyed filming the most? 

CC:  I really enjoyed filming episode six because the characters go to Tanchico, which is just so vastly different to anywhere we’ve seen on the show. It’s really dangerous and dirty, and has this vibe that is just really fun to explore and be immersed in. We see all these new colours  in a really dark and twisted energy.  She also gets up to some mischief in Tanchico.  She really lets her hair down and that was just so much fun to film. 

AS:  We had a fan screening recently. How did you feel about going into that scenario knowing that all of these fans, both from watching the show and reading the books would be there. And how have you found that experience of interacting with our fans in general, does it make you cautious at all?

CC:  I actually really enjoy it. I think it’s really lovely to put faces to the people watching the show and it really helps because we’re so disconnected when we’re filming. We’re away in this bubble and we’re working so hard and doing these really long hours and everyone really wants to do their best and do justice to these characters. So to get to actually meet the people that watch and appreciate the work that we do is just really special. It really reminds you like, ah, this is what all of that hard work was for, because these are the people that are going to appreciate it the most. I think they’re the kindest audience but also the toughest audience as well. Naturally, there’s always a little bit of apprehension or uncertainty but, overall, I think those are the experiences I love the most about doing the show.

AS:  It’s such a special thing to get that live feedback from them – to be able to sit with them and watch it was really beautiful. I’m so glad we were able to do that!  Do you have any particular unexpected or funny moments from when you were filming this season that you think back and giggle?

CC: Wait, I just remembered something the other day that was actually hilarious. So, obviously my mother in the show is called Queen Morgase  and I remember there was a day on set when over the radios, someone said, ‘no Morgase on set’, and everyone got really offended because they thought they were saying ‘no more gays on set’.  Just the thought of someone on the radio being like, no more gays allowed on set is just so outrageous. And someone had to go around and explain that, the character’s literally called Queen Morgase. It was just the funniest thing. Sometimes I just remember that and I’m like, oh my god.

AS:  On days when you aren’t feeling the most confident, or when you feel like a scene may be getting away from you, is there anything that you do or any kind of wisdom that has been given to you over the years that helps you through those moments?

CC:  I think I’m not amazing at pulling myself back. I have to say, it’s definitely something I’m working on, for sure. I think in those moments,  I kind of just remind myself that I’m capable and I wouldn’t be here if I wasn’t the right person for this and it’s within my capability. And honestly maybe a bit of  tough love. I kind of tell myself, the only person who can do this is me and I have to do it or I don’t do it so I need to kind of pull it out the bag from somewhere.  The idea of being like, how sad would it be if the reason this didn’t work was just because I wasn’t willing to try, I wasn’t willing to throw myself in and see what happens. And I think that’s a good way to approach life in all aspects. Definitely, definitely on set.

PHOTOGRAPHER Conor Clarke  

VIDEOGRAPHER Bella Kemp 

EDITOR Archie Dalziel 

CAMERA ASSISTANT Billy Carr 

MAKE-UP AND SKIN Victoria Bond 

HAIR STYLIST Sophie Sugarman 

STYLIST Justin Hamilton 

STYLING ASSISTANT Lorna Lane 

STYLING ASSISTANT Katie Somavia 

The many lives of Antonia Desplat

WRITER: Chris Saunders

At 29, Antonia Desplat is living many lives at once – fashion muse, indie darling, blockbuster star, behind-the-scenes powerhouse. One minute, she’s striding through Chanel’s couture show in a leather-trimmed dream; the next, she’s stepping into the smoky cafés of 1920s Paris as Johnny Depp’s latest leading lady. Effortlessly cool but never predictable. She’s got that rare ability to slip between worlds like she’s just changing jackets (and if you’ve seen her collection of vintage coats, you know she takes that seriously).

Born in France but raised between Paris and London, Desplat grew up in a household where creativity wasn’t just encouraged – it was the norm. Her father, Oscar-winning composer Alexandre Desplat, filled their home with film scores, while her mother, a violinist, introduced her to the magic of live performance. Acting was a natural fit. She booked her first role at 10 and never looked back, training in classical theatre before throwing herself into the world of film.

Her latest role? Running the show at a high-end fashion house in Made in France, a TV drama steeped in luxury and backstabbing ambition. Fitting, considering she’s fresh off the Armani Privé runway circuit, where she mastered the art of looking both powerful and effortlessly chic. But beyond the couture fittings, Desplat is diving deep into the world of historical cinema, playing Beatrice Hastings – writer, rebel, and Modigliani’s notorious muse – in Modì, Three Days on the Wing of Madness. Spooky coincidence: she grew up in Brancusi’s studio which was visited often by Modigliani. Fate? Maybe.

And the list doesn’t stop there. Up next: a gritty turn in BBC’s The Gold, based on one of Britain’s biggest heists, and a Wes Anderson project (The Phoenician Scheme) that reunites her with her legendary composer father. As she rides this unstoppable wave, Antonia chats with us about fashion, film, and that time she got an email with “Depp / Desplat” in the subject line. Casual.

Chris Saunders: Growing up in a family of musicians, how did your parents’ artistic careers shape your decision to pursue acting?

Antonia Desplat: Growing up with a family of musicians meant that I got to witness their world from a very early age. I watched my mum get ready backstage with her violin in theatres and concert halls, and I was mesmerised by the buzz, the excitement, the nerves, the mess, and the joy happening backstage. I also watched my dad create music from film images that hypnotised me. He is a big cinephile too, so I was introduced to the world of performing arts and films very early on. I was performing all the time, and it very quickly became apparent that acting was the direction I was going to take. I got my first job when I was 10 for a French TV show, and I fell in love with being on set instantly.

CS: You’ve mentioned being classically trained in various disciplines from a young age. How have these early experiences influenced your approach to acting? 

AD: Being classically trained has really shaped the way I approach my work and my work ethic in particular. Classical music training is all about technique and repetition and rehearsals in order to be able to let go and really feel the music that you are playing. In both music and acting, you start with a music sheet/page that you dissect and analyse in technical terms, you can then bring life and emotion to it and fully embody it. It’s exactly what I do for acting; every single tool and technique that I learnt at the conservatoire and at drama school is being used in creating my characters, and then I can let it all go because that information sits somewhere in my body, and I can just be present in a scene and bounce off my partners and let the work come to life.

CS: In the French miniseries Made in France, you play the executive of a luxury fashion brand. How does this role reflect your personal relationship with fashion, and has fashion played a major role in shaping your identity over the years?

AD: I used to play dress-up a lot and would steal my mum’s clothes and parade around the house, but apart from costume playing, fashion hasn’t played a major role in shaping my identity at all actually. I actually used to hate going shopping. Some days what I wear will definitely reflect how I feel, but most days, you’ll principally see me in vintage Levis jeans and Blundstones – but with a great coat. I do have a passion for great coats. Going back to acting, costumes are so important in shaping the characters, so I guess that can apply in everyday life too, and I’ve started doing it a little bit! When I go to fashion shows now, because I get intimidated easily by the photo calls and all, I decided to play characters based on the clothes I’m dressed in, and I find that quite fun now.

CS: What specific preparation did you undertake for your role in Made in France?

AD: Research is so important to me. You need to understand the world the character lives in – political, social, historical, fashion, all of it. So for Made in France, I dove into the fashion world, learning about designers, their process, watching documentaries, going to fashion shows, and getting to know that world. I observed people a lot.

CS: If you had the chance to collaborate with any fashion brand on your own collection, which would you choose, and what would you want that collaboration to represent?

AD: I think Chanel. Chanel has this timeless elegance, femininity with a little bit of edge to it. If I could collaborate with them, I’d do a collection that would represent the power of a woman’s silhouette through coats and beautiful textiles like Fortuny. It’s not about what shape or height is underneath the coat, all you see is a strong silhouette with a beautiful textile and fabulous shoes. It’s like the cover of a book. You don’t know what’s inside in a way, but the cover alone can draw you in. 

CS: What’s your favorite piece in your wardrobe right now, and why does it stand out to you?

AD: A vintage leather coat and some high-heel Chanel boots. Both leather. I have a bit of an obsession with leather at the moment. It makes me feel powerful in some ways.

CS: You’ve worked as an actor, writer, and producer. How do you balance these roles, and do you find that one informs or influences the others?

AD: I love every aspect of filmmaking. I think having an understanding of every department needed to create a movie is incredibly useful. They absolutely do inform and influence each other. I’ve also been a camera assistant on shoots I wasn’t acting on. I just wanted to be on set in whatever shape. I’m fascinated by every facet of it. When I’m on a job abroad and I’m not shooting, I go on set and hide behind a monitor and I watch. I love it. It’s like in theatre – you come to rehearsals every day even if you’re not in the scene.

CS: What’s the most meaningful connection you’ve had with a character you’ve portrayed? Did that role affect how you view your own life?

AD: I think my character in Shantaram. Karla was such a strong and powerful character, she gave me confidence and strength. She is a loner, and I really discovered so many parts of myself in trying to understand and experience that aspect of her personality. I travelled to India, Australia, and Thailand with that role, and already just that experience of traveling and discovering these cultures shaped me in some ways.

CS: Looking ahead, are there particular genres or types of roles you’re eager to explore in your career that you haven’t touched upon yet?

AD: To be honest, I’m interested in any genre as long as the story and the character are interesting and have depth. I do have a penchant for character-building roles—I love a challenge and a physical transformation. Being interested in all types of genres and roles means it’s always different, and you learn so much by being taken out of your comfort zone every time. I strive for that!

CS: What would you say has been the most surreal moment so far in your career?

AD: Receiving an email entitled “Zoom meeting: DEPP / DESPLAT” – my heart stopped for a second. And then receiving a text from one of the producers of Modì casually saying, “Hey, Al [Pacino] wants to have dinner with you on Thursday, are you free?” Are you freaking kidding me?!. I’d fly across the world to be there. These two actors have been my idols since I was a child, and being in their orbits for the last year and a half has been pretty absurd and surreal, I have to admit. The little girl in me is still screaming.

CS: What has been your most challenging role to date – can you share a memorable lesson you’ve learned from it that you still carry with you today?

AD: The most challenging, I think, was the role I actually wrote for the short film I co-produced and created with Edward Japp entitled Held for a Moment. It’s about a young woman who has a stillbirth. We teamed up with a charity called Sands and interviewed women and families who have lost their babies to try to raise some awareness. I felt an immense need to do justice to their stories and help educate people about it. I devoted my whole being to making that film. My heart broke for these women but the impact that the film had and the response we received made it all worth it. But in the future, I’ve learnt that when I do go to such deep emotional places for a part, I need to protect myself and have the right support system in place so I can keep the process a little bit safer. As actors, we are emotional sponges, so we can easily create a trauma that isn’t ours, and our body will believe it to be ours. I tend to switch off in nature after a job now, even just for a couple of days with some good books, and it really helps me to recenter myself.

CS: Do you have any quirky rituals or superstitions that help you prepare for a role or performance?

AD: Playlists! They feed the world I create for my characters! I always have a hidden object in my pockets or bag that I attribute to my character, and I write a diary as my character during the shoot.

CS: What do you have coming in the near future? Is there anything you can share with us?

AD: I have three projects coming out in the next few months – Plaine Orientale, a new show about the Corsican mafia for Canal+; The Gold 2 for BBC; and Modì: Three Days on the Wing of Madness by Johnny Depp. The rest… I leave it to the universe! I’ll manifest in the meantime.

DIRECTOR Jorge Higgins

COLOURIST Dan Beddoe

FILM PROCESS & SCAN on8mil

LIGHTING SHL London

PHOTOGRAPHER Finn Waring 

CAMERA ASSISTANT Amy Beastley

HAIR Ken O’Rourke 

MUA Scarlett Burton

STYLIST Prue Fisher 

STYLING ASSISTANT Charlotte Kelsey 

PRODUCTION COORDINATOR Benjamin Stone

NAILS Trish Lomax 

GAFFER Chay McGill 

SPARK Joe Morgan 

LOCATION MANAGER Thomas Ridge 

STUDIO KATANA STUDIOS

Isn’t Done Kicking Ass Yet

INTERVIEWER:  Chris Saunders

WRITER: Patrick Grady

Tanner Buchanan isn’t one to sit still. Whether he’s tapping his feet between takes, pushing himself to his limits in karate, or prepping to produce his own projects – Buchanan thrives in that sweet spot between comfort and challenge.

Upon bidding farewell to Robby Keene, the angsty rebel he played for five seasons in Cobra Kai, Buchanan took the time to chat with us about the role that’s shaped so much of his career — and what it means to close this chapter. “Saying goodbye almost seems like a death, like I’m losing a friend.”The Ohio native has been an integral part of the martial arts series Cobra Kai since it first hit screens on YouTube Premium in 2018. A sequel to the Karate Kid trilogy, the series follows the same themes of redemption, rivalry, and mentorship — and people really couldn’t get enough. It wasn’t long before Netflix picked it up, where it’s been a hit ever since.

Now, after a short ‘n sweet break, he’s ready to get back to it. He’s gearing up for a project he’s been quietly working on for the past three years. Besides that, he’s probably dreaming about riding his motorcycle through the hills of Spain — who could blame him, really?

Chris Saunders: Before getting into acting, you started out as a tap dancer – do you still practice to this day? 

Tanner Buchanan: I still tap to this day, however with such a crazy schedule I don’t get to go to classes and learn as much as I would like. But I’m constantly tapping my feet around anywhere I go and especially on set when there is some downtime.

CS: How much has dance influenced your growth as an actor, especially when it comes to using movement to build layered characters? 

TB: I think it has helped so much. It helps me stay confident and relaxed – I’m able to be free in a scene and move around however I think that character might move. I also make sure each character I play has little physical things – ticks, movements – unique to them. 

CS: If you could star in any musical, which one would it be and why? 

TB: If I could do any musical it would be Singing In The Rain. Whether that be a remake of the movie or a stage production. I would love nothing more than to do a version of it because that’s the movie that made me want to start acting. 

CS: With Cobra Kai coming to an end, how does it feel to say goodbye to Robby Keene?

TB: It feels weird not being able to play that character again. Robby has been seven and half years of my life and something I have put so much time and love into. Saying goodbye almost seems like a death, like I’m losing a friend.

CS: Looking back at your first day on set compared to now, how different do you think you are from that version of yourself? Has much changed?

TB: So much has changed from the first day until now, we all grew up on this show and went through such formative years of our life. This has been the best experience and wouldn’t have wanted to be anywhere doing anything else other than Cobra Kai. 

CS: You earned your black belt while working on Cobra Kai, which is an incredible achievement – especially since your mum earned hers back in the ‘80s. What did that moment mean to you? 

TB: It meant the world to me. We have really been training over the past seven years and to have the opportunity to receive my black belt was a true honor. I have so much passion for karate and want to continue to do it for the rest of my life. 

CS: Filming the final season must have been an emotional rollercoaster. Was it tough to keep it together? Were there any tears once it all wrapped?

TB: It was so hard to keep it together all season. Each and everyone of us were feeling the big emotions and nostalgia the entire time we shot and just tried to soak everything up. My last day there was definitely a lot of tears. I ended the day with a series wrap and as soon as it was announced I just broke down and started bawling and didn’t stop for a couple hours. 

CS: What’s been your most memorable scene or moment from the entire series?

TB: Honestly everything about this show is so memorable it’s always hard to pinpoint just one moment. But if I were to pick one now off the top of my head it would be the last fight of the show watching Billy get to fight in the tournament and win. 

CS: Now that filming is over, what will you miss the most about being on set?

TB: I’m gonna miss how much everyone hung out. The cast and crew were around each other for months on end and we never got tired of each other – we all worked together and hung out 24/7. Obviously we all still hangout, but can’t day-in and day-out now, so that has been a little weird – not just having access to being with everyone at a moment’s notice. 

CS: Has it been difficult adjusting to a new routine after Cobra Kai? Have you had much downtime, or have you already jumped into new projects?

TB: It definitely has been hard adjusting. We had such an intense schedule that I have definitely taken time to relax and allow my body to rest but I was eager to start working again. I probably only rested for a couple months and that was enough for me, I was ready to jump right back into something else. 

CS: You’ve mentioned wanting to work behind the camera more, especially as a producer. What about that side of the industry excites you?

TB: Well as an actor you are introduced into projects halfway through the process and get to see it through to the end. However I would love the opportunity to produce and be a part of projects from the very beginning. Getting to experience and create fun meaningful stories for the world to see!

CS: Would you say you put a lot of pressure on yourself, or are you more relaxed when it comes to your career?

TB: It’s interesting because I would say both. I am constantly sitting in comfortable, uncomfortably. If that makes sense. I always want to do better and continue to learn and challenge myself not only in life but in terms of this career and the only way to do that for me is to sit in an uncomfortable spot that isn’t too uncomfortable but just right. That perfect sweet spot.

CS: I read that you’re into motorcycles – do you have a dream bike, or have you already found the one?

TB: I actually don’t have a dream bike. I am more of a collector of bikes. I want to experience everything. Each bike has its own feel and ride and I just love it and I love getting to experience the differences within the feeling that you get from each and every specific motorcycle. 

CS: If you could take your bike on a road trip anywhere in the world, where would you go? 

TB: The next place I would like to go and see on motorcycle would probably be Spain. We got to go there for Cobra Kai but we were only there for three days and I found it so beautiful. I would love to ride around the country and see all of the amazing sites. 

CS: What’s next for you for the rest of 2025 – anything exciting coming up you can share with us?

TB:  I’m currently working on a project that I’ve been working on for the past three years. We still don’t know when it is going to come out, but it should be soon and I’m so excited for people to get to experience it. 

PHOTOGRAPHER Harry Eelman 

VIDEOGRAPHER Tyler Rabin

VIDEOGRAPHER VHS Jabari Browne

EDITOR Archie Dalziel

PHOTO ASSISTANT Isaac Schell 

STYLIST Britt Mccamey 

STYLING ASSISTANT Eliza Jane Flynn 

STYLING ASSISTANT Gaia Menichini

GROOMER Isaac Davidson

PRODUCTION ASSISTANT Laura Brunisholz

Finding peace and purpose with Pauline Chalamet

WRITER: Chris Saunders

Pauline Chalamet is in a season of her life where peace is the priority. As a new mother, it’s no surprise that she’s embracing a slower rhythm – one that, for her, is best found in Paris. When she joins our Zoom call, settled into a chair that radiates ease even through the screen, there’s a quiet assuredness about her. With political unrest gripping the U.S., France – though not without its flaws – offers a stability and sense of community that resonates deeply with her values.

Though Paris is now home, Chalamet’s career has taken her across the world. Best known for her role as Kimberly Finkle in The Sex Lives of College Girls, she quickly became a fan favourite, striking the perfect balance between comedic awkwardness and heartfelt sincerity. But while the HBO series introduced her to a wider audience, her creative journey has been anything but conventional.

Raised in a family steeped in the arts, Chalamet’s first creative discipline was ballet – a world of rigorous precision and unrelenting passion. Yet, it was acting that ultimately captured her imagination, offering a space to explore different perspectives and embody complex characters. After studying theatre and political studies at Bard College – a place that, as she later jokes, “taught her how to read” – she gravitated toward independent cinema, drawn to its intimacy, rawness, and unpredictability.

Her early career unfolded in a patchwork of short films and experimental projects, where she honed her craft both in front of and behind the camera. That hunger for creative autonomy eventually led her to co-found Gummy Films, a production company dedicated to telling offbeat, audacious stories. Even as her profile grew, she remained committed to projects that felt personal, seeking out filmmakers who shared her vision for nuanced, unconventional storytelling.

Now, fresh from collaborating with French fashion house Patou on a series of short films, Chalamet finds herself in conversation with one such filmmaker: Janicza Bravo (The Listeners, Zola, Lemon, Atlanta). Known for her razor-sharp storytelling and singular visual language, Bravo’s work – spanning film, theatre, and television – has long been a source of admiration for Chalamet. What follows is a conversation about art, ambition, and the unexpected ways their creative paths have intertwined.

Pauline Chalamet: How did we first meet? I think it was the time I went to the first fashion show [Patou] ever had, and I met Deborah, who was their PR. She was talking about who were friends of the brand, and she said you were. And I said, “Janicza is my idol, the person I want to meet more than anyone”. And she said, “Oh, I invited her to the show – hopefully, you guys will be able to meet.” But I think you were working, and we didn’t get to meet at that first show. But then we met at someone’s birthday party. And then we saw each other again at the next Patou show. You don’t understand how much I was freaking out.

Janicza Bravo: So this interview for you is actually just you telling me that you like me?

PC: Exactly. I actually just finished watching The Listeners. But I think the first things I watched of yours were short films that were on the Criterion Channel. And I was like, “Who is this person?” And there was Pauline Alone. They were all so good. And I was like, I need to meet this person. Lemon had already come out, so then I watched Lemon, and then my whole life energy was going toward meeting you. And then we met at the thing, and you thought you were meeting Kimberly Finkle.

JB: No, I mean, I was meeting the real person, but I was just so excited because I really love TV. I OD on TV. I remember Jeremy O. Harris telling me, “Oh, I think you would really like this show.” I think I had asked him, “I just need something. I need content”. 

It was also really wild to be watching it as the political climate was changing in the U.S., because the show paints a picture of a very inclusive world. And I found it was making me a little sad. Because I thought, there’s been this question of “Is the work going to change over the next four years?” due to what’s about to happen.

PC: Yeah, I think that’s very interesting. I think it was a very big wish of how a college campus could be. Because even though I believe that through it all, we will continue to make progress, pendulums swing from one extreme to the next. And it’s very easy to feel like this has never happened before, but that feeling is actually kind of dangerous. Because things like this have happened before. And I think that what Justin and Mindy did with the show is, they really created what Justin wished his college experience had been like. But the truth is, no college campus is as inclusive, as joyous, and as filled with as many incredible themed parties as Essex. But it gives you this utopia, in a way. It’s weird to exist in this space where we’re so accepting of all these things and then go back to reality, where Donald Trump is about to start a second term.

JB: It created a real bubble. It was already a bubble, obviously, but it really felt like one. It felt like I was watching a daydream. I was like, “Oh, that feels imagined.”

PC: Yeah, it felt that way when we were doing table reads, too. Because there’s so much acceptance, and anything is possible, and then instant contrast to the outside world.

JB: What was your actual college experience like?

PC: I went to Bard, upstate New York. It was nothing like Essex, but it was very small. No parties, no frat or sorority life. The parties were house parties. Very rural. I actually became a good student in college.

JB: Were you not a good student before?

PC: No, I got by. I didn’t dislike school, but I didn’t care about it. In college, I really got into academics. I believe I learned how to read.

JB: This sounds like an advertisement for Bard. “Bard taught me how to read.”

PC: [Laughs] Bard taught me how to read Reading comprehension. I remember reading Paradise Lost. It gave me a community where I had to read a few chapters or stanzas, come back, talk about it, analyse it. 

But college is weird. It’s this weird part of the American dream where you’re told anything is possible. Then you get to college, and they say, “Take your time figuring out what you want to study.” But you don’t really have that time. Let’s be real. You graduate, a lot of students have immense debt, and you have to spend those years figuring out what you want to do just so you can start making money to pay it back.

JB: Do you feel that’s the North American relationship to higher education? You’re in Paris now, you live there. Among your French or European friends, does it look similar?

PC: It’s completely different. The cost of school in the U.S. is unfathomable anywhere else. Take our northern neighbors in Canada, or our southern neighbors in Mexico. No one is paying as much as people do in the U.S. No one is paying as much for daycare or boarding school. There’s this very strange relationship between money and education.

JB: Is that part of why you left? Why did you leave home?

PC: Why did I leave home? Ah… I don’t know. I think part of me understands the value system in France more.

JB: Can you define what that value system is?

PC: I don’t know if I can. It’s more about what matters in life, right? You can be someone who is work-obsessed, who loves their work – and that’s amazing, and you should be rewarded for that. But the gap between those who work just to live and those who are workaholics shouldn’t be so big that they can’t even communicate anymore. When you’re in a place with more of a social system, that communication still happens on a more level playing field. It’s changing across Europe, but there’s still much more communication. Also, I just learned this: The taxes you pay in France and in California? Exactly the same. And in France, those taxes give you healthcare. Free daycare. Schools with good education, including meals. So many things that serve the system. I just like the idea of a social system. I like it. I think it’s nice. you make more money, you pay more in taxes to help those who don’t have as much.

JB: You’re pro-socialism.

PC: I’m really pro-socialism. Sure, maybe you make a little less personally, but I think you’ll be happier.

JB: Has motherhood changed you? Obviously, it has, but I mean in terms of how you view the whole world?

PC: No. You’d think it has, but I don’t think it has…

JB: You don’t think motherhood has changed you?

PC: No, I don’t. I don’t know.

JB: Oh my God. Breaking news! It hasn’t messed with your brain at all?

PC: No. Just my sleep [laughs]! But no, I don’t feel that way. I feel very natural in this role. I always knew I wanted to be a mum. So it was just like, okay, now I have that thing I wanted. Like, I really wanted that dress for a while, then I got the dress, and now I wear the dress.

JB: The baby’s the dress?

PC: The baby’s like the dress.

JB: That’s a dress for a long time! You say you knew you wanted a baby for a long time. What did that look like?

PC: When I was young and playing, I only cared about what was real. I never wanted to play House because it wasn’t real. I didn’t care about fake babies. I put on plays with friends, and I didn’t want to pretend to put on a play – I wanted real performances, with real audiences.

But we played house, the only thing I cared about was being pregnant and pretending to give birth. But I wanted it to be real. And I also knew that I loved my work.I have so many different types of projects I want to work on and roles I want to play, and I also knew it was very important for me to have a family. I wanted to do it as quickly as possible, to be honest, so I could grow both things simultaneously. That was my thinking. It’s also really hard because, out of my closest friends, I’m the only one who has a child.

JB: Has that been alienating? I’m so curious about this. I’m in my 40s now, and a decade ago, a lot of my friends were having kids, but many didn’t. Now, I have girlfriends having children, and I wonder – does it feel isolating, or do you find a new community? 

PC: Oh, interesting. I’m going to bring it back to France because this is what I’m realizing. In our industry, with all the travel and last-minute work calls, you need a good amount of money to maintain the career and lifestyle you want – especially as a woman. I see how easily you could give up your career to raise a child because it’s a full-time job.

JB: You mentioned making a handful of shorts with Patou. What did that look like, and how did it come to be?

PC: We went to the last show in June. We saw each other, went to eat. It was very fun. The show was inspired by the French New Wave. I left with Rhys, my partner, and we thought, “Is there something we could do with Patou’s clothes and film?”

We had this idea to shoot a short film using all Patou’s clothing. We pitched the idea to Guillaume, the designer, and it just so happened that they were brainstorming how to promote their next show. So we combined the ideas – this short film and a promo for the new outfits.

Rhys came up with three separate stories and scripts. Then we reached out to actors we wanted to work with, and Patou helped us contact them. Everything came together, and we shot these three shorts. It was really fun.

JB: Had you and Rhys worked together before? Beyond, you know, family life and making a child.

PC: I don’t know because he was at AFI, still in school, and then it happened very naturally. We got to work with Irène Jacob and Ruth Negga, and I was just like, “Pinch me”.

JB: Do you feel like it’s the beginning of something?

PC: I think so, yeah. We’ll see how life unfolds.

JB: It seemed like a synergistic thing, not forced, right?

PC: No, it was just fun. It was great to get the creative juices flowing. This was a project we could do while we were here, so we thought, “Okay, let’s do it”.

JB: This connects to what we discussed about College Girls. Do you and Rhys think about how to maintain artistic integrity while also being aware that we’re in a business – one that’s selling to an audience?

PC: I know, but that’s where you’re my role model. It’s so hard. I don’t really get it. I don’t speak the language. I look at filmmakers like you—individual voices who built their work from the ground up. But as projects grow, the business becomes part of it, right? Bigger studios, bigger producers.

It’s hard. That’s something I struggle with in L.A. The business of it all can feel intimidating, and I sometimes worry I don’t know how to navigate it. But then when I leave L.A., I wonder – Am I missing out?

Photographer ANDREW ARTHUR

Videographer MAX HULL 

Make-up Artist  CHRISTYNA KAY 

Hair Stylist JEANIE SYFU   

Stylist ARUT ARUSTAMYAN 

UNFILTERED

WRITER: Lauren Dickson

INTERVIEW CONDUCTED BY: Chris Saunders

The actor has been on the come up for a while, but with The Sex Lives of College Girls, she’s firmly in the spotlight – British charm and razor-sharp wit intact.

Confidence isn’t just a quality Mia Rodgers possesses – it’s something that feels innate, stitched into the way she carries herself both on and off screen. With natural charisma and a knack for delivering sharp, unforgettable one-liners, she’s been quietly making waves for a while now. From her debut as Jasmine Marks in BBC’s Trauma, where she held her own alongside heavyweights like John Simm and Adrian Lester, to her captivating performance in Caroline Hajny’s Diary of a Ghost, Rodgers has steadily carved out a space for herself as an actor with depth, nuance, and a magnetic screen presence.

But it’s her role as Taylor in The Sex Lives of College Girls that has truly put her on the map. As a character who effortlessly dismantles fragile male egos while navigating the often-overlooked struggles of being a queer college student, Taylor resonated with audiences in a way that felt both refreshing and necessary. And for British fans, there was an extra thrill in seeing Rodgers fully embrace her London accent on screen, grounding her performance in something that felt unmistakably her own.

At just 24, Rodgers has already established herself as an actor with staying power. She’s effortlessly cool but refreshingly self-aware, delivering humour with razor-sharp precision while never shying away from the emotional vulnerability that makes her characters feel real. There’s an ease to her performances – something warm and familiar – that makes it feel like you’re watching a friend on screen, someone you’ve always known.

Before Rodgers found herself playing Taylor in The Sex Lives of College Girls, she had dabbled in just about everything – fashion, prop buying, retail, even singing. But acting, she says, always felt the most natural. Now, with her first major role under her belt, she’s reflecting on what it means to step into the spotlight, navigate new experiences, and find confidence in her own voice – both on and off screen.

Chris Saunders: Hey Mia! Let’s start easy. We obviously know you’re British – where in the UK are you from?

Mia Rodgers: I live in North London, like the Arsenal bit of North London. I love it. I’ve lived here my entire life. I don’t think I could leave it. I’m bad at change.

CS: So, does that mean a future move to America is off the cards?

MR: I mean, I’ll go wherever the wind, or work, takes me. I love traveling, I really do, but it’s always nice to have a base. I spent some time there last year. I feel like it’s a process of becoming comfortable with your surroundings in a new place. When I first arrived, I thought, I’m never going to feel comfortable here, but of course, the longer you stay somewhere, the more natural it feels.

CS: It’s interesting, growing up in London. I feel like it gets such a bad rep. I grew up here too and feel I was super lucky in that aspect to be in such a vibrant city.

MR: We won the lottery already. It’s amazing. It’s my favorite city in the world.

CS: So, I read that when you were growing up, you were performing at first – you used to sing and then switched over to acting. I also read you tried to get into fashion for a little bit at some point. Tell us about that?

MR: Yeah, I’ve had so many careers. I’ve done fashion, prop buying, waitressing, the whole singing thing, retail – like, honestly, you name it, I’ve tried. Acting kind of felt like a natural trajectory from singing. I feel like most actors can sing, or dance. I have two left feet, so dancing was never for me. I can sing, but I felt way more comfortable acting than singing. I find singing extremely exposing and revealing. I used to get such stage fright when I would sing, but acting, on the other hand, is so freeing. I didn’t have to be me whatsoever, and over time it’s worked out, but it definitely took some time to get here.

CS: Would you say overall there’s less pressure on acting in comparison to singing?

MR: I don’t think so in the grand scheme of things at all, but for me personally, yes. I found I was very insecure when singing because I went to an all-girls school, and there was always shame put on you for trying something new. So, as a pre-pubescent teen, naturally my acting just kind of flourished over the vulnerability of singing. In more recent years, I’ve gone back to singing. I’ve missed it so much, and I’m glad that I came back on my own accord rather than – because you know when you’re slightly good at something half the time, you resent it in a weird way – and now I’ve gotten to a place where all I do is miss it and want to be back there, but I have to start from the beginning. So, I’m slowly getting back into it, which is nice.

CS: What would be your karaoke song?

MR: Oh my God. For years, it was ‘Creep’ by Radiohead. Such a classic. However, I’m no longer allowed to sing it because I had a really drunken incident during karaoke one Christmas, where I had to be pulled off stage, and I told everyone to “fuck off” because they tried to take the mic off me. I apparently followed that with a rendition of ‘Teenage Dirtbag’ as well, which I have no recollection of. So, I’m slightly scared of karaoke nowadays.

CS: And in terms of being a creative person, were your parents also creative, or were you the complete opposite?

MR: Yes, my family are all creatives. I think if I turned around and said, “Hey, I want to be a scientist,” they’d be extremely confused. My mum worked in advertisement photography for years, and my dad studied as a tailor, and now owns his own creative agency. Then my brother is an artist and prop maker – so, kind of in the same field, but an extremely creative household.
My dad’s agency is very fashion-oriented, so it’s a big part of my life, and it will forever continue to be. You asked earlier if I’d tried fashion at some point, I wanted to be a designer, a journalist, a fashion buyer, and then I just decided that I didn’t want to do fashion. I love it as a hobby, I don’t think I can make it my career. Luckily, a lot of what I’m doing now brings me into the fashion world slightly. So it’s kind of the best of both worlds.

CS: It’s probably nicer that way, you’re still part of it but don’t have to worry about going through the whole super intense academic route.

MR: Yeah, the idea of going to Uni was never for me, even when I was in primary school.

CS: What was the first thing you wanted to do when you were younger? Was it singing?

MR: No, actually, I wanted to be a teacher when I was a kid. I just loved school. I used to come home and make my mum play teachers and students. She would be the student, and I’d be the teacher. I’d read the register and sit on my little chair, and she’d answer in different voices, being like, “here” or “absent.” And then it was to be a fashion designer, and then it was to be a singer. I’m not very good at making decisions.

CS: Moving to more modern times, you’re starring in The Sex Lives of College Girls. Now that the series is aired, have you had much time to reflect on the whole experience?

MR: Yes, definitely. With the show being out in America first, airing from October, I had time to internally process it being out. When I go over to America, people would say, “Hey, I watched it,” which is just nuts in itself, but it wasn’t yet in my daily life, whereas now my friends and family have watched it, and all of their responses are making it more real, especially as this is my first big job. For my family and friends to see it and have such a positive opinion of the show made it all more real.

CS: I can imagine. Did you watch it with your family and friends?

MR: I did. I had a watch party with my parents and my girlfriends on the day that it was released. We had drinks and pizza and watched the first couple of episodes. We caught ourselves fast-forwarding and rewinding to see my parts, which was really funny.

CS: Amazing, assuming they all have very positive things to say?

MR: Yes, and if they don’t, they’ve definitely not told me!

CS: What was it like joining an existing series? I can imagine it’s a bit like being the new kid at school?

MR: Definitely. I got the role within days of auditioning, so it happened so quickly. Then, getting the official green light, getting my visa, and actually heading to shoot was about 6 weeks. I didn’t really have time to think about the grandeur of it all. My main focus was just getting there and knowing my lines. Then I arrived on the lot [of Warner Bros.], which was just iconic. There’s history everywhere you look. I got hit with such impostor syndrome. But everyone was so nice and really took me under their wing. But yeah, now you mention it, it was totally like the first day at school. The show is a lot of sex, drugs, and rock and roll, but the story follows the girls’ friendship, and the cast felt the same. They gave me instant advice and made me laugh, which was so comforting.

CS: Being British, we always look over to America and see that crazy college experience, and I kind of wish I could do that. You obviously didn’t get to experience it authentically, but you had a taste of it. How was that experience?

MR: 16-year-old me would be so gassed to be in a frat party, holding a red cup. The sets are so realistic, so yeah, it was so fun to have that American college experience. Also, looking at it from a British 24-year-old’s perspective, I was just thinking, “This is mad, if half of this is real, how on earth do they get any work done?”

CS: Did you go to any American parties beforehand to prepare for your role?

MR: Unfortunately not. When I was there, I was a bit of a hermit because everything was so crazy, and I equally didn’t really know anybody at the beginning. As time went on, the girls in the show took me out, and I made some really nice friends. But definitely no frat parties, that’s for sure.

CS: You said in an interview Taylor being unapologetically herself was inspiring to you. I wondered if you find it difficult to be yourself unapologetically sometimes, and did playing Taylor awaken that part of you?

MR: Yeah, I think it’s such an interesting one, because I moved there not knowing anyone, so naturally I had to step out of my comfort zone. Like I said earlier, I’ve lived in the same area my whole life, so to turn that on its head and do the complete opposite was something I didn’t realize I would struggle with. My character Taylor is unapologetically herself – open-minded, strong-willed, super sarcastic – all these incredibly strong traits. I thought I was as Mia, and I am, but it was conflicting. Taylor and myself were both taking on new parts of the world, starting new journeys, and it was a weird, serendipitous crossover. After a while, I was able to process those insecurities alone.

CS: You were also recently in a short film called Diary of a Ghost, which is massively different from The Sex Lives of College Girls. What was it like jumping between two such different genres?

MR: So, Carrie, the director of Diary of a Ghost, I’d met briefly 6 years before. When I finished drama school, she messaged me telling me I’d be perfect for the role of Hayley in her short film. I read the script and loved it. Short film is just such a great medium, and something that I think every actor needs to do to get their foot in the door. The biggest difference when it came to shooting, in comparison, was most scenes just took one take, unlike The Sex Lives of College Girls, where it’s like 30 takes per scene. I also think the differences between American and British sets are very apparent. The way they run is so different. But it’s a piece of work that I’m really proud of. It’s hopefully going to be made into a future film. It’s just all about funding, but it’s done really well in the film festivals.

CS: I also wanted to have a quick talk about Trauma, which I read is the first role you ever got booked for. Looking back now, how did that experience help shape the person and actor you are today?

MR: Honestly, when I got that role, I was so ecstatic. I thought I’d made it. The BBC, John Simm, Adrian Lester. I was like, “I’m a big deal.” It was amazing. I cried! Small roles on big productions are good – you just learn so much because there’s less pressure on you, and you have more time to take everything in and learn. I’m such a fan of John Simm and Adrian Lester too, who I used to watch with my dad. I just thought he was the coolest guy in the entire world. And then to go to running lines with him, that’s when I was like, “This is exactly what I want to do.” And I think getting to know what you want to do for the rest of your life at such a young age is such a privilege.

CS: What are the rest of your plans for 2025 – not just career-wise? Any new skills you want to learn? Anything you want to tick off the bucket list?

MR: Yes! I want to learn to drive so badly. I’ve tried a few times, but I’ve never actually sat my test. I’ve also fallen out with two driving instructors for saying women can’t drive. My reaction, I think, is totally fair. So, I would like to learn that skill, definitely. And focus more on music and singing. 

Photographer BARTEK SZMIGULSKI 

Videographer EWAN MCINTOSH

Stylist JUSTIN HAMILTON 

Styling Assistant LORNA LANE 

Styling Assistant ANAIRN KAINES

Make-up Artist KELLY CORNWELL 

Hair Stylist JOSH KNIGHT

Isn’t Chasing Fame – He’s Chasing Feeling

WRITER: Patrick Grady

Lucas Bravo is a refreshingly chill guy. Though he may be known as the misunderstood, brooding  chef Gabriel from the show everyone (and their mother) first binged back in the lockdown days – Emily in Paris – he’s now looking beyond job security, in pursuit of a career that feels wholeheartedly successful.

The French actor joins me on a spontaneous Zoom call where he spills the beans on the show that put him on the map, the projects he’s been a part of in between seasons and offers a peek into the kind of person he is behind the scenes — all while eating his breakfast on a rare grey day living right under the Hollywood sign (which he kindly attempted to show me… still waiting on that picture, Bravo.) 

It’s abundantly clear, he takes the whole fame thing in his stride. Unfazed, even, by the madness constantly encircling his industry. For him, satisfaction lies not in the spotlight, but in the quiet privilege of being able to work on projects that strike something deeper – something true. As he puts it, “I don’t want to feel safe. I want to feel alive.”

As for what’s next? Don’t stress, ‘hot chef’ will be gracing our screens once more and in Bravo’s eyes, he’s hoping to bring back the very charm and charisma that made us all fall for him in the first place. In the meantime he’s got some things up his sleeve that will keep us all on our toes. 

Patrick Grady: Hi Lucas, how are things in LA?

Lucas Bravo:  Gloomy – but always nice to be here.  I used to live here, I moved when I was 18, stayed for five years before moving back to Paris.

PG:  Wow. So you actually lived in LA – how did you find the industry compared to Paris? 

LB: When I first moved here, I wasn’t in the industry at all. I just moved because I wanted to experience a different culture and speak a different language. 

PG: What about LA was calling your name in particular?

LB: I always wanted to go to New York, but a friend of mine had a friend in LA. I was in law school in Paris, and he was like, “Do you wanna come to LA, and we’ll just stay there for a week and see how it goes.”  I just never left. I liked it that much. I guess there’s the magic of LA – mostly what it used to be because I feel like it has changed a lot. But also I was 18 and it was my first experience of freedom and being away from home without having to justify any of my actions.  I was kind of intoxicated by the idea of being free in this crazy city.

PG:  Now that you are acting. Would you be tempted to move back at any point? 

LB:  I might. I come back pretty often for press and also to see my partner. She’s in LA, so I tend to visit a lot.

PG: Looking back, when did you know acting was it for you? 

LB: I think first as a kid, it’s as close as it gets to playing doctor and nurse, you know, and getting paid for it. Life is a game and this is the game within the game and it’s just fascinating because it’s the only job where you get to play human, while actually living. Also, it was quite therapeutic because as a kid I was traveling a lot –  my father was a professional soccer player and would be transferred a lot. So every city I would visit, I had to reinvent myself. At a certain point, it just became an emergency. Because when you look for a part –  when you’re looking for a character –  you also use tools that you then can apply to yourself to know who you really are.

PG:  So did you first start navigating the industry while in Paris? 

LB:  I started in Paris with improv class. Which I loved. I’m an introvert and was very, very shy, so to have the occasion to be on stage and be humiliated on a daily basis? It really made me. Now, fear is more of an indicator where I’m supposed to go. I really rely on it. I started in Paris;  I was in a commercial agency, so I would do commercials to pay the rent. Little by little, little role by little role, until the big break with Emily in Paris. 

PG:  Do you remember exactly where you were when you found out you landed Emily in Paris?

LB:  I was in my kitchen having breakfast like I am now. I got a call from the casting director and I remember feeling very peaceful. I thought to myself – if I had gotten this news five years back, I would’ve jumped everywhere and called everyone. But, you know, I feel like life doesn’t give you what you want unless you’re ready to receive it. I wasn’t [necessarily] ecstatic about getting the role. It was more like, “Okay, so now I’m getting a chance, let’s make something out of it – because getting it is not enough.”  I remember putting some music on and I went for a five hour walk through Paris. I wanted to look at everything and everyone through that different prism. The prism of everything’s going to be fine for a while. It’s one of the happiest memories of my life.

PG:  That’s a really lovely and refreshing way of looking at it! Did you know much about the project at the time?

LB:  I had read episode one and I knew that Darren Star was involved. I was a big fan of Sex And The City. I knew that Lily Collins was in it. I was a big fan of Lily – I really love her movie To the Bone. I was also aware it was the first time Paris was going to be filmed from an American perspective. I wasn’t sure how accurate it was going to be – but I knew it was going to be beautiful. 

PG: Now that we’re approaching season five – can you believe people are still obsessed with the show? What do you make of its success? 

LB:  I’ve hardly digested season one. It’s the fifth season and sixth year because we started in 2019 and then there was covid. It’s crazy how time flies. Typically it’s five months to film a season. It’s very demanding. It’s like half a year with that one character. By the time the season ends, you’re like, ‘Who am I? What do I do in my free time? Who are my friends?”  Emily has taught me a lot about the industry and about myself. It’s the best school I’ve ever had. Definitely. 

PG:  We left Gabriel in a pretty inconclusive way in the last season. What do you, as Lucas, hope he’s able to find in the next season? 

LB:  I just hope he finds peace. He’s been on a journey for a while. He has been intertwined with a lot of dynamics that weren’t necessarily his own. He’s been in the middle of a lot of crossfires and I just hope he finds peace. In the first seasons he was kind of cheeky and happy and I hope he finds his smile back.

PG:  You’ve obviously done other projects since and in between – are you excited to continue to play roles beyond ‘hot chef’? 

 LB: Emily in Paris has made a lot of noise because it’s on Netflix, so it’s international and there’s a lot of visibility, which I’m beyond grateful for – but for me it’s just one project. As an artist, I want to challenge myself. I want to explore different things. I want to do a western, I want to sword fight, I want to go to space. It’s a game and I want to play it fully. 

PG:  Working alongside huge names like George Clooney and Julia Roberts – do you ever feel intimidated or are you able to completely compose yourself?

 LB: Once you’re on set, you have to get into character, so you forget about all that. But I have to say – when I first stepped on Ticket to Paradise in front of Julia and George, that’s the first time I was completely starstruck and intimidated. Luckily, they happened to be the nicest, kindest people I’ve ever worked with. The most generous – they really take it upon themselves to make everybody comfortable. And when you have examples like them, you just want to perpetuate that.

PG:  I read that you badly injured your shoulder when you were filming Freedom. How did you keep going? Because you continued filming didn’t you?

 LB:  It was a big scene where I’m like falling backward into a big giant inflatable mattress. They wanted to do a test to see how I fall in between the scenes, so they made me climb a few stairs. It was super high but It looked okay once I was up there. I was supposed to jump and kind of fall on my back, but I messed up my jump and started plummeting head first. So, I put my hands first to protect me, and my shoulder just went straight back. Then I had to shoot the rest of the movie for a month with a hanging shoulder, which was crazy because I had so many action scenes. 

PG: Wow, that sounds so intense. If something like that were to happen again, would you continue filming or would you take a little breather?

LB: I would. I don’t really care about injuries. I care much more about the truth of what I’m shooting and the character and what I can bring to him beyond feeling safe. I don’t want to feel safe. I want to feel alive. We redid that jump, it was the last scene we shot. I really prepared myself for it. I warmed up correctly and worked out a lot beforehand.  I really wanted to succeed.  I think I jumped about 16 times in a row that time. They were like, “Okay, that’s a wrap. The movie’s wrapped,” and I was like, “No. Just one more. Just one more.”

PG: Ten years down the line – what do you want people to think of when they hear the name Lucas Bravo?

LB:  He was a good man, and he never left anyone behind.  I just want to be there for the people I love and ultimately want people to have empathy and consideration. It’s not so hard.  I wish that was sexy again, you know, to be just kind. 

PG: Couldn’t agree more. Where can we expect to see you in the coming months?

LB:  I have a movie coming up in Canada with bears, which I’m excited about. I’m heading out in April, for a month to get accustomed to the little cubs. Then we start shooting for two months. Then I’m doing a Second World War movie in Paris, and then I might do a Western. I don’t know yet. We’ll see. I’m having a lot of fun.

PHOTOGRAPHER  / DIRECTOR Theo Gosselin

CAMERA ASSISTANT Jules Pandolfi

DRIVER / CAR Lasko Show

DOP Gwendal Peron

FASHION DIRECTOR Justin Hamilton

STYLING ASSISTANT Lorna Lane

STYLING ASSISTANT Rhia Kapoor

The Sweet Disposition of Fred Hechinger

WRITER: Dio Anthony

When Fred Hechinger left his home in New York for summer camp some umpteen years ago, he had high hopes. S’mores by the fire, sweaty nights full of chatter, and the beginning of a profound and indestructible bond with all those he’d share these experiences with. “I realized I wanted the movie
version of things, which has happened a couple times in my life.”
Today, at 25 years old, this facet of his personality remains. He is still seeking this version—except now he’s creating it too. In what seems like a love letter to his younger self, Hechinger is a bona fide actor—adding to an invisible reference list of “movie versions” with every role he takes on and every cinematic universe he helps build. There is a common thread to his it factor, a throughline of sorts. A glimmer that lives within, peeking through with every performance. Talking with Hechinger, I can surmise that this glimmer is one of curiosity, a sensibility that propels him forward, all the while managing to carve out a space for him and only him.
A quick search of his social media profiles quickly reveals that he is part of the rare crowd of young people who are choosing to live offline rather than on. Preferring to create experiences in person and using his phone as a means to do so. This isn’t to say that he’s been formally excused from the tight grip
technology has on us and our attention spans. He simply recognizes it is not where he wishes to spend his time. Lucky for us, he’s too busy being inspired by film and by the collaborators that surround him. Lending his talents and all-consuming love for storytelling to anyone who will listen. And reader, when he’s talking, you really ought to listen.

Fred Hechinger: How’s it going?

Dio Anthony: I’m good! Hanging out. I’m excited to talk to you today. I watched your new film this morning, and I loved it so much.

FH: Thank you so much for watching.I’m so happy about that.

DA: I am too! I instantly had a question about the movie. Those photos in the film of a younger Jason, your character, at camp, they looked exactly like you. Those must have been your actual photos, right?

FH: The ones where Jason is looking kind of wistfully, yeah, in a cabin—there’s one or two that we tried to take. Oh, but actually, no, the ones you’re talking about are from when I was really at camp. I only went to camp as a kid for one summer. It was a fun experience, but I don’t think it meant as much to me as it does to Jason. I kind of wanted to have this relationship with summer camp like that, but in reality, I didn’t feel like it was that way. So, it’s funny that those photos got repurposed within the story.

DA: That’s actually hilarious to me. I know that sometimes productions can alter a photo to suit the story. However when watching this scene you just mentioned I felt that this had to be a real moment–an actual photograph from your life. I’m curious why you only attended for one summer? And What sticks out to you from that whole experience in general?

FH: That’s a great question. I thought of this romantic idea of summer camp, and then I got there, and it was more sporty than I am. It felt more varsity sports centered. I wanted to be around the campfire. I think what I realized, which has happened a couple times in my life, is that I really like the movie version of it, you know? I wanted to go to the movie version of a summer camp. Then when I got there, it was all these sports and I couldn’t even watch movies. I remember being like–oh, I kind of miss home. I will say though,
a fun highlight of using those photos in the in the film was that my friends from that summer camp, who are really wonderful, both my friends and then the great counselors from that time, I reconnected with them in getting the rights to use the photos, which was funny, because we had a reunion through securing this photo for the movie.

DA: That’s so interesting, I also feel like I would have probably had the same experience if I went to summer camp and it was more sports in a big way. I’d think, this isn’t the vibe. I don’t know if I love this. Much like you, I feel like I also always think things are going to be like the movie versions of things. Which is a very movie lover thing to say. Something else I want to talk about is, I’m fascinated by this idea of you not really having an active instagram. It got me thinking–are you spending much time on your phone at all? Or are you very anti-phone use?

FH: I mean, I admit it feels hard to live in the modern world without some contact on my phone. And I waver between having periods where I’m working and probably use the phone significantly less than normal. But I do use it. I try to just use it a pragmatic amount. I use it as a way to contact people to create experiences in person. As a means of doing that you could say. It’s nice to keep in touch with people. But I really like making things and I find that when you are able to tell stories, you are able to kind of craft longer things that take a while to make. For that reason, I probably care less about making stuff on the phone because it’s shorter.

DA: I feel that when people aren’t spending as much time on the phone, specifically on social media, you have a greater abundance of time. Time that would usually go to hobbies. Time that would have been already free if the element of social media wasn’t there to begin with. Is that the case for you? What could you be found doing at any given day when you have some downtime?

FH: Something I love about acting and telling stories, is that I think it allows for a general curiosity of the world. I feel very lucky that I can follow my curiosities and go down different rabbit holes of interests. Actually, that’s the kind of online phone stuff that I probably am most partial to. The curiosity of–what is this building? After seeing a building on a walk. Why is it a landmark? And suddenly you’ve read everything that architect’s ever done, and it’s like four hours later. I do remember when I went to summer camp, that even though we weren’t allowed to bring phones, I did sneak in a Game Boy at the time.

DA: Classic!

FH: Yeah, [laughs]. And we would share this Game Boy, passing it around camp, playing Super Smash Bros in the wee hours of the morning.

DA: I read that you mentioned 2024 felt like a reflection year for you. Now that we’re a few months into this new year, how do you feel it’s shaping up for you personally—not so much in terms of your professional life, but just in general?

FH: I think I said the reflection part because I had a lot of different work come out, that had been made over a longer period of time. It all serendipitously came out around the same year. I feel very grateful to
do what I do. I guess I feel focused at the moment to build work that speaks to me at least, and I hope speaks to others.

DA: I love that. I feel like I’ve just been reading a lot about you…

FH: [laughs].

DA: One thing that I read about was that you were a kid reporter growing up. I don’t know how accurate the internet is sometimes, but it stood out to me, and I thought it was very fascinating. What exactly was that about?

FH: You know, It is true. When I was in middle school, there was a–do you remember Scholastic?

DA: Of course, the Scholastic Book Fairs. They were amazing.

FH: Exactly! Well, it was through Scholastic. At the book fair thing, you could apply to be a kid reporter. I didn’t think it would ever happen, but I wanted to talk to artists and write. I’ve always wanted to write or tell stories in some way. So I applied, not knowing what would happen with it, and then I had the opportunity to do it. It was just this funny thing because I was truly a child. They send all the kid reporters the trademark red shirt that you would wear to these junkets and stuff. I’d go to these press junkets and interview actors. Or I would write articles for the Scholastic blog and website about issues and things that were going on. For that, I would go around with a tape recorder and ask people questions.

DA: That’s amazing! Honestly, I’m kind of jealous that I never did anything like that as a kid.

FH: Well, look, maybe it’s good you didn’t, because now you’re a professional.
DA: [laughs], Thank you. I’ve gathered that you are a movie lover, outside of your life as an actor. What movies do you feel like you can watch over and over again and never grow tired of?

FH: That’s another great question. There’s so many. Just the other week I did a rewatch of Steven Soderbergh’s Ocean’s trilogy, and they’re just wonderful. They’re so impeccably made and so fun, and also a really great example of a trilogy where each of the films are completely different, even though they
fit perfectly as a trilogy, none of them are doing the same thing. Rewatching it the other night I was very impressed by that mix of expertise and risk taking.

DA: Did you by chance catch his latest film Presence?

FH: I’ve yet to see it, but it’s at the top of my list. I’m a little behind on new releases. But I love his work and I’m really eager to see this one.

DA: Oh, it’s a good one! I think you’ll love it, especially if you’re already a fan of his. There are so many little tidbits to it. I spoke to an actor from the cast, and I was told that the crew was very small—Steven was actually behind the camera the whole time. Really fascinating, cool stuff. Okay, so the second part of that question, which you kind of touched on is: How long after the first viewing do you usually rewatch a good film? I’m a movie lover myself, and even though I know I’m going to rewatch a movie a lot after seeing it the first time, it’s still so clear in my head that I’m still riding the high of that first viewing. I don’t feel the need to see it super soon. You know what I mean? What do you think?

FH: I do know what you mean. For me, it’s more emotional than it is intellectual. I remember seeing Magnolia for the first time–on the big screen, and then it was showing again the next week at the same theater, and almost without thought, as if my feet were just leading me back there, I went and saw it again. I couldn’t resist not seeing it a second time. It’s just one of those film experiences where you feel so inspired but also connected to life. Oh! A movie I saw recently, which I can’t wait to rewatch is Hard Truths, Mike Leigh’s new movie.

DA: Oooh, yes, I’ve been reading about that film. But I have not watched it yet.

FH: I’m so excited for you to see it. It’s so moving and brilliant and funny and wonderful. And Mary Jean-Baptiste’s performance, everyone’s performances in that film are incredible. But that’s one where, the moment it ends, you know that it will live with you. It’s so connected to life. It’s so connected to the
practicalities and the difficulties and realities of life—that you know it will walk with you after the movie ends. And also makes me want to go back to.

DA: Also–what a great title, no? It makes you think. I could be speculating, but I feel like you have an affinity for horror. Would that be an accurate thing to say? What do you like about the horror genre?

FH: Something I really love about Horror films, and something that I really love about comedies is that both genres are meant to be experienced in the movie theater, you know what I mean? They are made for an audience. Laughing and screaming are both reactions of an audience that as an audience member, you don’t have control over–so there’s this communal aspect to them. With Hell of A Summer, we really made this movie for the theater. We made a movie that’s a horror-comedy meant to be experienced that way with people. I really like going to the movies. You meet up on a weekend and plan with your friends to go see this thing and have this shared experience together. It was also really exciting because the characters in the movie remain themselves in all their messy, strange ways. Even though these horrific things might be happening to them, it doesn’t turn them into traditional horror movie heroes—it just reveals more deeply who they actually are; at their best and at their worst.

DA: That’s a really good point, and I think partially why I enjoyed it so much. How did it feel? Was it any different at all, working with two filmmakers that are so young and close to your age? I think that’s one of the coolest things I love about the movie–you have these individuals making films for their actual
demographic, and that’s not always the case. Did you feel like there was a different feel with the process or on set? Versus your experiences working with a director that is maybe 10 years your senior.

FH: I’m so glad you felt that and picked up on that. Finn [Wolfhard] and Billy [Bryk] and I were in our early 20s when we made this movie, and they’re both experts. They live and breathe movies, and both of them being actors themselves, they both really understand what an on-set environment can be in its best form. Honestly, we filmed this during the summer time and at an actual summer camp where we all stayed. So it was this familial, really beautifully designed production. So much of our cast and crew were young
filmmakers and that was a really major aspect of making the movie. It felt very homegrown and really fun and personal in that way.

DA: Another thing I picked on was how sharp the dialogue was. It makes sense that it was, since this was coming from people that were very close in age to the characters on screen. Not that you have to be of a certain age to be able to write well for other walks of life. It just felt very real and reflective to those behind the words. I thought it was very funny.

FH: To that point, I think no matter what the subject or the characters are, the worst thing you can do in a movie is condescend your characters and by extension, your audience. I think every character in a movie deserves the full dignity of being a person. And I think with any audience member, their meter for this type of thing is pretty good, and it goes up if the characters we see are doing stuff, not because it’s true to the character, but rather serving a story or an idea of an age or whatever it may be. So I think it’s really important to do right by your characters.

DA: I love how you put that.. The idea of an age. That’s very true. I really like the choices you’ve made as an actor in terms of career trajectory. A lot of my friends are actors, and I feel that when writers or reporters ask actors questions like, ‘What brings you to a role?’ The answer is often just–It was a job. But I feel like it might be a little different for you. I’m wondering if there’s a certain element that draws you to a role. I thought your role in Hell of A Summer was really funny—it just felt so right for you. I also loved your
role in Fear Street, I thought it was hilarious. It felt like a different variation of Jason. With roles like that, I wonder: Is there something specific that attracts you to them? Is there a common thread, or is it more
random?

FH: I think I follow original filmmakers. That’s what I get most inspired by. Scripts and stories that are written with a creative personal edge. I don’t mean autobiography when I say personal, but I mean more that thing of–oh, the person that’s going to make this movie feels it in their gut that they need to make this movie. They have something unique to themselves that they want to say, but it’s hard. It’s a weird alchemy sometimes–what you gravitate towards at each moment in your life as an artist. I try and follow
the people who inspire me. I also think there’s an element of risk that’s important, where you’re always trying new things. I think it’s no fun to yourself or anyone else, if you’re repeating yourself. I think you want
to pave your own path and push your head in those specific ways. It still sounds a little vague, but I will say there’s no plan in place. It’s more about which artists really inspire me.

DA: That’s really great. I really enjoyed hearing you answer that. And no, it doesn’t feel vague at all. I’m curious about your role as producer on Hell of A Summer–at what point in the process did you come on to
the film?

FH: Interestingly, Finn and Billy wrote the script, and they’d been writing it for a long time, and sent it to me. We then met in person for the first time. We went to this Thai restaurant and sat there for like four hours or something. I think I had like three kettles of tea, [laughs]. We just talked for a really long time about the story and how they wanted to do it. We talked about it a lot and sort of built it in that way together. It was a really, really fun way of working. It contributed to what you asked earlier, about how it
felt. We built a real summer camp in a way. Every actor lived in the same Bed & Breakfast that we took over, right next to the camp. Sometimes we’d even sleep at the camp. It was a real close-knit crew and we were in the forests of Ontario in the thick of summer. We all left home to film this like we were going to actual summer camp.

DA: I’m so glad I asked because these are such great anecdotes to how this all came about. You guys were basically the counselors in a way and then slowly brought everyone else in.

FH: Totally, yeah [laughs]. Another thing that stuck with me about this is that it’s a story about young people, but it’s also, to me, about the first time that a young person realizes they’re starting to get old. It’s
that first stage of the feeling. You’re like, I’m still technically young, but I can’t live in this summer camp forever. The feeling of—I might be a little bit old for the first time. I have to jump onto another train now and keep moving. That coming of age aspect of it, I think, was something that was personal to all of us through making it.

DA: I felt like that was a really important bit too. I got a real kick out of the line where they have Jason tied up and say something like–you’re like 45 and you’re still here. He’s like, I’m only 24! I thought it was so
funny but also held so much hidden heart and meaning. Jumping back to the topic of rewatches– I actually just rewatched Eighth Grade recently with my niece, who’s in eighth grade.

FH: Oh wow!

DA: Yeah, I really wanted her to see it and watch it with me. I hadn’t realized how long it had been since I last rewatched it. That was your first official credit, right?

FH: Yeah, the first time acting on film.

DA: That’s amazing. I’m so curious about that mall scene. Was that improvised? Can you speak to that a little bit?

FH: It was so fun. We filmed that at this mall in White Plains, New York. Someone recently told me that the mall actually closed. I don’t know if it’s true or not, but I just heard that recently. It was so long ago, I’m trying to remember what was improvised. Bo Burnham wrote the most brilliant script. I remember reading that screenplay and crying and thinking, I so want to be a part of this film. I think what happened was, in casting, we wanted to build that group, and even though it’s just one scene, we kept adding more people.
There may have been some improv, but by the time we got to filming, it was pretty tightly scripted. We improvised a couple of things, maybe at the beginning or end of the scene. That was also one of those
experiences where we got close with the other actors. We all felt really happy to be there and to start out that way. I was very inspired by that group of actors. I remember that so fondly. Also seeing Bo as a young person directing that movie was really inspiring to me. I felt like he gave us a great kindness. Both in sharing the story with us and letting us play those parts. But also I remember feeling like he kind of pulled back the curtain of how he was directing the movie as well. I remember when I was doing a little bit
of ADR for that scene. I think he could tell that I was interested in the practicalities of editing itself. He then let me stay around and watch him edit the next scene. He was really open about the process, and that left an impression on me. Because he was someone that was as young as he was, he was an inspiration to a lot of young people. So to see him direct his first film was really, really awesome. What were your niece’s thoughts? What did she say about it? Sometimes kids in that age, it’s almost too close
to home, but I’m curious how she felt.

DA: I think it was too close to home, too. I think she just didn’t really resonate with Kayla and kept saying, “Well, why isn’t she doing this?” or “Why is she being weird?” And I’m like, “She’s not being weird, she’s just awkward.” And she’s like, “Okay, well, that was weird.” But I feel like that’s exactly what the people at the school shown in the film would think—they’d be like, “Stop being weird,” or “She’s being weird.”

FH: [laughs]

DA: I’m like, it’s more than that, you know? Like when she goes up to the two friends at school, or the two girls she wants to be friends with, and just tries to start a conversation with them—she was like, “See, that was weird.” But she’s too in it at the moment. I think if she watched it a couple of years from now, she would probably feel slightly different, maybe even just one more year later. Eighth grade is so specific. That being said, she did like it. I enforced a no-phone rule for it. We just had to watch—no phones allowed, and she was intrigued. She just thought Kayla was weird. And I’m like, “You’re not getting it,” but I think that’s probably because it was so good, you know? That it felt too personal. But it also speaks to what we talked about earlier—how I feel like it speaks to the genius of an original filmmaker. Because, I mean, Bo wasn’t an eighth-grade girl, and he was able to write this and make it feel so real, and to really have it pass the test of time. That’s really cool.

FH: Yeah, I love that. I’m so glad you watched it with her, even if she didn’t love it.

DA: We’ll re-watch again soon. I’m determined to make her love it.

FH: Yes, and call me. Call me in a couple years and tell me how that goes.

DA: Deal. On another note, I have to ask, because you’re a true born and raised New Yorker. What are some of your favorite places in all of New York? Little things that really feel like home to you?

FH: I love this city so much.

DA: One thing I love about New York is the random one-liners you hear while walking down the street. They’re always so different, especially in the summer when people are on the phone or chatting with friends. These passing lines are always the craziest things, and you can assume so much about their
lives just from that one moment.

FH: I had an acting teacher who said, when you’re preparing a role, just walk around New York, sit at a coffee shop, sit outside on the corner and just listen. The amount of details and the kind of overflow of lives that you’ll pick up, it’s like a radio. Everywhere you turn, you’re catching a wave of a person’s life. It’s
very inspiring. I love all of it. There’s this bench in Central Park that my grandmother used to sit on. It was very meaningful to her and my grandfather, who I never met. He passed away before I was born. But I
would walk with her, and we would sit on that bench sometimes. Every time that I’m biking around the park or taking a jog, and I pass it, I sometimes will just stop and sit there for a little bit because it’s wild to think that this one bench is a place that he also sat, so many years ago. New York’s just filled with that. I heard a Martin Scorsese thing once, where he talked about how New York is an incredible place to film, because you could put all of the money into building a soundstage–millions of dollars, and it won’t even
come close to what you get if you walk down the streets of New York and started filming for free. The amount of truth and life that would just immediately be captured by that camera is significantly more
impressive than anything you could build.

DA: One more thing. What are some Fredisms that those closest of you would agree with, but those who aren’t wouldn’t know about you? One thing for me is that I’m always losing things. I lose glasses all the time. I’m always having to get new ones because I either lose them or break them. And those are very
Dio things. What are some of yours?

FH: There’s a great Jazz Standard song called, Why Try To Change Me Now? And there’s a line in it that goes–I go to the corner, I end up in Spain. The idea being, I’ve one little mission, I’m just gonna go down the block, and then suddenly I’m miles and miles away. Sometimes I feel like that, where I just get lost in whatever is happening and kind of follow the instinct or the impulse or something–and suddenly I’m miles
away.

DA: That’s really poignant—I love that. My last question honestly feels like it connects back to the film in a perfect way. How is life feeling for you today at 25? How would you describe how you feel?

FH: I feel that I love telling stories. I love the community that I’m building. I look around at the friends and collaborators in my life, and I feel very moved to be able to work closely with them. Right now I’m scared for the state of the world. I feel that there’s a real responsibility to protect people who are in need and tell stories with full humanity on display. The full dignity of every person. It feels to me like there’s so much violence, and I think we need to tell stories that don’t overlook that. So that you can feel the cost of all of it. I feel very protective, and I feel like we all have to be very protective of communities in need right now.

DA: This was a really great conversation. I had a lot of fun, and I feel like I’m leaving a little bit more inspired, and I can’t wait to watch the movie again.

FH: Thank you for that rewatch, Dio. And thank you for your questions, it was so lovely talking to you.

PHOTOGRAPHER Brendan Wixted

GROOMING Jess Ortiz

STYLIST Britt McCamey

STYLING ASSISTANT  Eliza Jane Flynn 

TAILORING Ying Chu

VIDEO  Mynxii White

Thanks to Dylan Bachelet, Baking Has Never Been This Cool.

WRITER: Chris Saunders

When you think of The Great British Bake Off contestants, “cool” is probably the last word that comes to mind. With an average age of 37 and a premise built around, well, baking, the show isn’t exactly a breeding ground for trendsetters. But that’s what makes it all the more fascinating when a contestant is cool – it’s like spotting a penguin in the desert. Unexpected, a little out of place, but undeniably intriguing.

Enter Dylan Bachelet. The 21-year-old who became an overnight sensation on the show’s 15th series in 2024, finishing as runner-up but cementing himself as its breakout star. His culinary talent was undeniable, but it was his aesthetic that really set him apart. With his flowing locks, signature goatee, and a bandana or baker boy cap perpetually perched on his head, he was quickly dubbed “the Captain Jack Sparrow of baking.” He didn’t just bring skill to the tent – he brought style.

Bachelet is far from just a pretty face, though. Throughout the series, he won two Star Baker accolades and three technical challenges – record-breaking numbers. When it comes to his culinary skills, he takes heavy inspiration from his family heritage, with his mother being Indian and his father Japanese-Belgian, alongside pulling from his experiences travelling during his gap year. His inventive approach saw him push the boundaries of Bake Off’s typically cosy creations, delivering ambitious, high-concept bakes that blended global flavours with bold artistic vision. From an Egyptian canopic jar cake to a gravity-defying hanging masterpiece inspired by Murano’s crumbling plasterwork, his work was as much about storytelling as it was about taste.

Rather than cashing in on his reality TV fame with cookbooks or influencer deals, Bachelet has opted for something more hands-on. He’s now working as a Chef de Partie at The Five Fields, a Michelin-starred modern British restaurant in Chelsea. Known for its meticulous attention to detail and emphasis on seasonal ingredients, The Five Fields is a far cry from the playful chaos of the Bake Off tent. Here, precision is everything, and mistakes come at a cost.

It’s a steep learning curve, but one Bachelet is embracing. Unlike the tent, where he had the freedom to experiment, professional kitchens demand consistency, speed, and an ability to perform under relentless pressure. But for someone who thrives on pushing himself creatively, it’s the perfect environment to refine his skills. He’s swapped the pastel workstations and gentle encouragement of Paul Hollywood for the adrenaline of a fine-dining brigade, where every dish must meet the exacting standards of both head chefs and discerning diners.

Chris Saunders: So, to start off, I wanted to get a bit of a gauge on the first moment you realised you had a passion for cooking. What was that moment for you?

Dylan Bachelet: I think I really noticed that I had an inkling I wanted to do it during lockdown, but then I did my A-levels, went to uni, and then I dropped out – that’s when I knew I really wanted to do it. I didn’t want to carry on working and doing a degree only to end up in a job that I knew I didn’t really want to do.

CS: Do you remember the first dish you ever made?

DB: I remember one of the first things I ever tried to make by myself – my mum used to make this thing called lemon sauce when I was a kid. I just used to have it on everything. It’s lemon, garlic, and olive oil blended up to make almost like a dressing. And because I loved it, I just thought, “Oh, I’ll make it myself.” I was pretty young at the time, and I didn’t peel the garlic properly – I left a lot of the skin on, so it tasted horrible. There were just all these chunks of garlic skin that wouldn’t blend up. But that was probably one of the first things I remember making by myself.

CS: Things have definitely improved since then! You were the runner-up in Bake Off – what pushed you to apply for that?

DB: With Bake Off, I just applied on a whim. I was at uni, and everyone was saying, “Why don’t you just apply?” I didn’t think I would even make it past the first stage, to be honest. I just kept going, stage after stage, until I got to the final audition. And then they said, “If you do well on this, you’ll be on the show.” I didn’t really think of it as a big decision at the time. I wasn’t like, “Oh, is this the right decision for me?” It was more like, “This is a rare opportunity – I should go for it.” Looking back, it was one of the biggest decisions I’ve made, but at the time, I took it really lightly. I just did it. And because I kept getting through the stages, I carried on with it. It was a very spontaneous decision.

CS: Now that the show is over, you’ve gained over 200,000 followers on Instagram. How has it been adjusting to all these new eyes on you?

DB: At the beginning, I didn’t think about it at all. I just thought I’d carry on as normal. But now that time’s gone on and the show’s ended, now it’s just me – I have to create my own image. There isn’t a show doing that for me anymore. It’s weird because I wouldn’t say it showed a different perception of me, but I never really used social media much before. Before I went on the show, I never posted pictures of myself – I wasn’t a very public person. And then suddenly, I was on TV, and people had an idea of who I was. And it is fun, I do enjoy the social media aspect, but it’s so different from what I would have done if I hadn’t been in this situation. I’ve tried to be as authentic as possible, but I also realise now that people have an image of me from Bake Off that isn’t 100% me.

Other people talk about how social media is idealistic and that you shouldn’t try to live up to it because it’s not real. I never really felt that before when looking at other people’s profiles, but now I feel it when I look at myself. I see my own social media and think, “Bloody hell, that guy looks perfect.” But I know that’s not the reality [laughs].

CS: I can imagine it’s an almost impossible task. You can’t go too much one way or the other – but it’s all a learning process. I read in an interview that you’re working at The Five Fields in Chelsea. Are you still working there now? And were you there before Bake Off?

DB: Yeah, I’m still working there. I think I applied for this job before the show even started airing, but I did my trial as the show was coming out.

CS: And what’s the biggest difference between working in a kitchen like that compared to Bake Off?

DB: The difference between here and Bake Off is – the show is very calm, right? I mean, it’s not that the kitchen isn’t calm, but Bake Off comes with different expectations. The expectations were all my own. If things didn’t go right, it was annoying, but it wasn’t the end of the world. Whereas here, if things don’t go right, it’s not just my own expectations – it’s the restaurant’s. That’s why it has a Michelin star. You have to uphold those standards, and there’s pressure to do that. That’s part of the job. It’s not like Bake Off, where you can turn up and mess up, and it’s fine. Here, if something goes wrong, it really matters.

The Bake Off tent, for me, was really calm – I was just having fun. But in a professional kitchen, it’s much more intense. It’s still fun, especially once you start getting to grips with things, but when I first started, it was a real challenge.

CS: I think it’s fair to say you gained a bit of a sex-symbol status on the show. How do you feel about fans and the media putting that label on you? I imagine it’s not something you expected when applying for a cooking show!

DB: I didn’t really expect it at all [laughs]. I suppose that’s probably the right answer to say, but it’s also the truth. I didn’t think anything like that would come from it. I didn’t think people would pay much attention to me in comparison to the other contestants. I remember being on the show and just being myself, but all this stuff started coming, like you said, all this “hot heartthrob” kind of thing. I don’t mind it, but I wouldn’t say I enjoy it or lean into it. Nothing’s come of it that’s been creepy or anything, so I don’t have a problem with it. But I don’t see myself in that way.

CS: Have you ever used your culinary skills to impress a date?

DB: I haven’t, actually. I’m honestly really bad with girls. I haven’t cooked on a date – ever. And I barely ever meet up with girls to do that kind of stuff [laughs]. So no, unfortunately, I haven’t!

CS: You mentioned earlier about dropping out of your degree – how did your family feel about that? Were they always supportive of you pursuing cooking?

DB: They were very supportive. My mum was a fashion designer, and my dad actually dropped out of uni when he was younger. So they understood. My mum always told me, “Whatever you do, just do it to the best of your ability.” And that really stuck with me, especially when I was deciding whether to drop out. They could see I was miserable at uni, even when I didn’t realise it myself. My mum would visit me and be like, “Are you sure you want to stay here? You don’t look happy.”

CS: So, in terms of the future, what does that look like for you? You’ve got an amazing job in the industry, you’ve been on TV, you’ve got a big social media following. But is there one sort of avenue you’d like to focus on?

DB: My plan is very much not a plan, but I have a goal, which has been my goal for ages. I want to open a restaurant, get some [Michelin] stars, and just make some really good food. But my immediate plan is just to take things as they come – which is proving to be a worse strategy than I originally intended. Taking things as they come is very hard when things come in quickly, without much time to deal with them. But the opportunities that Bake Off has given me have been amazing, and I’ll always be super grateful for that. My focus will always be on food. Any opportunities I can get from the show to improve my cooking and knowledge of food – that’s where I want to position myself. That’s my main goal – just learn as much about food as I can and be able to create it.

PHOTOGRAPHER Bartek Szmigulski 

VIDEOGRAPHER Bohdan Rohulskyi

STYLIST Justin Hamilton 

STYLIST ASSISTANT Lorna Lane

HAIR STYLIST Lee Patrick Devlin 

GROOMING Rosie McGinn 

STUDIO MANAGER Karolina Wielocha

STUDIO The Nook