AUSTRALIA-born actor Indiana Massara is taking the social media world by storm one post at a time. The 18-year-old performer has garnered a tremendous amount of attention following the release of her latest movie Hero Mode and her previous single (yes, she does it all) – Squeeze amassed over half a million streams on Spotify alone.

Massara is what generation Z is all about. Social media stats through the roof, a voice and a platform to inspire the young and a bright future ahead. But for now – her focus is cinema. Starring opposite Oscar-winning actress Mira Sorvino, Massara plays Paige in Mayfield’s Game – the love interest of a teenage coding prodigy who has 30 days to create the world’s greatest video game and save his family’s business.

Ahead of the movie’s release, we spoke to the actress about her all-encompassing career, what drives her and why cinema holds such an important space in her life. Here’s her take on it all.

What was the most important aspect of acting for you when you first ventured into the world of cinema?
When I first started acting, I was able to take the characters and portray my experiences within that, however I found that it actually started to help me come to terms with my own personal demons and grew to love it so much more for that reason. Oftentimes I would take how the character resolved situations and would apply that to my own life.  Shoutout to the writers who became therapists without knowing.

Indiana Massara. Photograph: Ssam Kim

You’ve got Mayfield’s Game coming out in cinemas soon, and it’s your most poignant role to date. What drove you to the storyline?
I thought it was a really fun script.  The cast included so many talented people and I knew I would learn a lot from being around them – and I did.

Indiana Massara. Photograph: Ssam Kim

What do you hope the audience takes away from the film and your performance?
Honestly, it’s a great, light-hearted movie.  I want them to just have a good time watching it with their families and enjoy the message behind it.  I don’t want anything more than for them to enjoy getting to know Paige as she’s really cool.

Indiana Massara. Photograph: Ssam Kim

 You’re also a singer/songwriter. What is your creative process when going into the studio?
It’s different every time and depends on the emotional state I’m in.  Sometimes it’s starting with a melody, sometimes it’s lyrics.  I like to take hold of my emotions at the time and channel that into the song.  It helps me process my feelings in a more productive way.

Indiana Massara. Photograph: Ssam Kim

Indiana Massara. Photograph: Ssam Kim

At such a young age, you have garnered a significant audience on social media in a short period. Can you name an essential thing that you want to communicate to your fanbase?
I want to communicate to them that social media can cast an unrealistic light on people’s lives. I want them to remember that we are all human and that nobody’s life is as perfect as it seems.  We can’t see the before and after in every picture that is put online.

Indiana Massara. Photograph: Ssam Kim

What was the most important lesson that you’ve learned from both the music and film industry?
Trust yourself.  Your authenticity is the most important thing.

Indiana Massara. Photograph: Ssam Kim

What drives you?
I am self-motived and my passion for success keeps me going. I would definitely say I’m competitive and I want to get to the top of my fields in terms of creativity and respect.

IndianaMassara. Photograph: Ssam Kim

by Adina Ilie 

Photographer – Ssam Kim
Stylist – KJ Moody at The Only
Make-up Artist – Melissa Hernandez at The Wall Group
Hair Stylist –  Clayton Hawkins at A-Frame
Photo Assistant –  Irene Tang
Talent – Indiana Massara

Look 4 and 8:

The post Glass interviews actor Indiana Massara first appeared on The Glass Magazine.

This drama follows a cast of teen characters through their friendships, high school lives and romances, as these high school students explore modern sexuality, testing deeply entrenched beliefs about life, love and the nature of family in their conservative community. Glass talks to Maxwell about her role in Genera+ion and what she has learnt from her time in lockdown.

Lukita Maxwell.Photograph: Robb Klassen

How have you been spending your time during lockdown? Have you learnt any new skills?
Working on set, shooting Genera+ion. We’re still shooting season one right now! Also, since moving to LA, I’ve been trying to teach myself how to surf. It’s not going well but I like being at the beach quite a bit.

What have your learnt about yourself since the world went on pause?
I’m quite dependent on human interaction. The months of isolation before we started shooting were rough. Very grateful to have been able to work, especially in a Covid-safe bubble on set.

Lukita Maxwell. Photograph: Robb Klassen

When did you decide to pursue acting as a career, was there a particular light bulb moment?
My lightbulb moment was when I started allowing myself to unapologetically chase after my dreams and not to be afraid of failing. Acting has always been the dream and I’m very grateful to have the opportunity to be working. Very excited to continue giving this my all.

Tell us about your role in “Genera+ion”?
I play Delilah. She’s a badass. She’s a Gen Z social justice warrior and outspoken activist. She’s not afraid of questioning authority and challenging the system.

Lukita Maxwell. Photograph: Robb Klassen

How similar are you to Delilah?
We’re both extremely passionate and get tunnel vision when we’re fighting a fight or working on something we feel passionate about.

What is the first thing you do in the way of research, when you approach a role?
I talk to the writers. I have conversations about how they view the character and collaborate with them on understanding the character more deeply. With Delilah, I also pulled inspiration from Gen Z activists that openly have conversations about the world and how they want to change it.

With your career in mind as an actor, is there a dream role or film you’d like to be in?
Playing Henry V in Henry IV. Or a period piece. I would love to step into another world. Also, something crazy intense, like the Joker would be the dream. I really just want to explore and push my own boundaries.

Lukita Maxwell. Photograph: Robb Klassen

Favourite movies?
Natalie Portman and Gary Oldman’s performances in Leon the Professional were huge acting inspirations for me. Also, I adore 20th Century Women.

Do you have a party trick, or any hidden talents you might care to share with us?
I can open a bottle with my teeth. It makes everyone cringe but it’s my go-to party trick.

Lukita Maxwell. Photograph: Robb Klassen

What would be the perfect day in the life of Lukita?
A balance of work and chill time I guess –  work and relaxation. I like being able to work really hard and to feel fulfilled and productive and then come home and cuddle with my cat or go to the beach or just cook and watch a movie or something.

by Sheridan Ward

See Lukita Maxwell in HBO’s max’s Genera+ion out now, all episodes are now available to watch on HBO Max.

IG: @lukitamaxwell

TikTok: @te.quita

Look 1: Self Portrait top and Misho jewellery

Look 2: La Ligne suit, Each x Other bralette, Sergio Rossi heels and Lady Grey jewellery

Look 3: Brock Collection full look and choker stylist’s own

Look 4: Emanuel Ungaro trousers, Nickho Rey jewellery and gloves stylist’s own

Look 5: Hellessy full look and jewellery talent’s own

Look 6: Dundas jacket, Faith Connexion trousers and jewellery stylist’s own

Look 7: LBV dress and belt, Lady Grey jewellery and Stella Luna jewels.

The post Glass meets rising star Lukita Maxwell first appeared on The Glass Magazine.

Already starring in Ex-Machina (2014), Ben-Hur (2016) and Wonder Woman (2017), not to mention appearing in the last season of Peaky Blinders, with all this in mind, it is clear these are the beginnings of an extraordinary career in acting.

The beginnings of her career saw her as a model, where she appeared in numerous fashion magazines before deciding it was time to undertake training to become an actress – which ultimately she had her heart in more than being a model.

This year, Bayarsaikhan took one of the major roles as Tuva in Sky’s comedy show Intelligence, starring alongside David Schwimmer and Nick Mohammed proving that she was not bound to the drama genre, but rather a multi-faceted actress, cementing her as one-to-watch.

Gana Bayarsaikhan. Photograph: Rachell Smith

Starting from the very beginning in Mongolia. How did your childhood shape who you are, and have you been able to stay true to your roots?
I spent my school holidays with my grandmother in the countryside. She was a nomad and we all stayed in a tent and helped her to herd animals. We were told from a young age to respect nature, as connection with nature is very important to Mongolian people, and this is something which has stayed with me throughout my life.

Also, there’s a famous Mongolian saying that reminds me of my grandmother, “When you fall down, stand up, fix your skirt and carry on!” I like that, and it’s been a guiding force throughout my career. I like the whole growth mindset about it, it reminds me that mistakes lead to growth. In my heart I am and will always be Mongolian, a modern nomad, if you will.

You were a model prior to becoming an actress. How did you become a model?
I was scouted on a train in London. I guess I was in the right place at the right time.

Gana Bayarsaikhan. Photograph: Rachell Smith

Did you always want to pursue acting as a career, or was there a light bulb moment during modelling that changed your mind?
Growing up I always loved stories whether through the medium of books or films. After watching a film, I would keep playing it in my head, over and over, so that I could relive the story. Later on, during my modelling years, I was sent to various castings, for commercials and music videos, where they required me to use acting skills.

It was a challenge for me to begin with, but I like to push myself and feel out of my comfort zone, and so I started training to better prepare myself, and I soon realised I didn’t want to do anything else. In a way, it was kind of a lightbulb moment when I found acting, it was something that truly fulfilled me.

Finally, I bit the bullet and undertook four years of drama training, during which I secured work in different films, including Ex Machina, where I was able to apply my new skills, while studying.

Transitioning to acting from modelling, are there any skills that translated over the two careers?

There are a few skills that can be translated over the two careers. In a way, in both acting and modelling, you become someone else, who brings the clothes and story to life. It is this ability to present a snapshot of the character’s life that is common in both careers. Similarly, in both cases, you have to be able to work collaboratively to deliver the designers’, directors’ and writers’ vision.

From my experience, as a model, you become a master of working with camera angles. You’re not shy in front of the camera lens, which gives you a good starting point in screen acting, as you can’t be intimidated by all the equipment and the expert team around you. Secondly, one other common aspect is the resilience necessary to withstand the long hours of shooting, and the consistency to deliver the vision of the director every single take.

Gana Bayarsaikhan. Photograph: Rachell Smith

Looking at your Instagram, fashion is a common theme threaded through your posts. Are you personally interested in fashion, and do you use it as a tool to express yourself?
Back when I was about five or six years old, I started designing and making clothes for my dolls, which led to me being an award-winning teenage fashion designer in Mongolia. Therefore, fashion is self-expression for me; the body is a canvas, and clothes are the brushstrokes.

Playing Tuva in Intelligence was a good example of how fashion enabled me to communicate her essence. Her style was a manifestation of her creativity and personality, which was an enjoyable journey for me. Her eclectic fashions were fun to watch, as the series developed. In fact, when I prepare for a new character, their style is one of the many elements I study as part of my rigorous characterisation process.

In Waiting For The Barbarians, you act alongside three of the biggest names in Hollywood. What was it like to be surrounded by these actors so early on in your career? Did they give you any advice?
My scenes were mainly with Sir Mark Rylance, though I had one scene with Johnny Depp. It was a privilege to work with them both. Though once on set, you forget about who the actor is and focus on the character in front of you. I was so immersed in the inner world of the Girl’s character; I was absolutely amazed by her and learned a lot during the process.

Mark was supportive and would always encourage me on set. He is incredibly humble, with an amazing work ethic and that is something I want to take with me to future jobs. Something I never thought I would do is teach Mark Rylance Mongolian, but I did, and he is a quick learner. Great in fact, considering how complex the Mongolian language is!

Gana Bayarsaikhan. Photograph: Rachell Smith

You play an incredibly complex role in Waiting For The Barbarians, probably the most crucial character in the film. What was the hardest part in playing her? And, did you ever see any part of yourself in her?

This character was challenging in every way – I am grateful for how it has made me grow as an actor through this process. I’m naturally drawn to challenging characters and this was a great opportunity to showcase my abilities. I explored The Girl’s character from many different angles to try to understand what she was about. J. M. Coetzee’s novel was the foundation for this process, where I really worked on the physicality of the character and her emotional journey, but I also really connected to my nomadic culture.

This was quite a powerful exercise as it forced me to reconnect with nature, and indirectly made me go back to my childhood memories with my grandmother. She was instrumental in the character’s development, so I dedicate this to her.

Having acted in films and series that are closely linked to the drama genre, and now starring in Sky One’s Intelligence which is a comedy – do you prefer one genre more than the other?
I never thought I would do comedy, but my close friends think I should do more as they think I’m “a natural”. Now that I have had my first taste of acting in a comedy, I think it’s great and it’s important that I work across different genres. I think the more the merrier, so I’m happy to grow and evolve through different roles, in different genres.

Gana Bayarsaikhan. Photograph: Rachell Smith

Born in Mongolia to watching yourself on the screen of Venice Film Festival, you have been propelled into the spotlight. What have been the highs and lows of your career so far?

Playing the lead female in Waiting for the Barbarians is undoubtedly a high point. The fact that the producer, Michael Fitzgerald waited 25 years to make this film and that I was chosen by the Nobel Prize winning writer, John M. Coetzee, specifically for the role of The Girl was an indication that this was going to be a role of epic proportions – and that was definitely the case. Working with David Schwimmer on Intelligence was also a great experience, thanks to his mastery of the comedic genre. On the flipside, the resting period, that difficult time between jobs, is one of the hardest things to deal with as a working actor, without a doubt.

Gana Bayarsaikhan. Photograph: RACHELL SMITH

With your acting career in mind, do you have a dream role or film you would like to act in?

I am just really keen to keep playing different roles. Up until now, I have played The Girl in Waiting for the Barbarians, a computer hacker in Intelligence and an undercover assassin in Peaky Blinders. Looking to the future, I would quite like to play a quirky sci-fi, fantasy or action-packed role next. The more challenging the better, I say!

The teams I have collaborated with over the years have made me very proud to have been a piece of the puzzle that results in the bigger picture we see on screen. Chris Menges, an outstanding cinematographer, in Waiting for the Barbarians, inspired me every single time and in every single way, with his photographic magic. He painted with light, which as a passionate painter in my spare time, really excited me. I am eternally grateful for the people that share their passion in the art of cinema making, so I look forward to working with more of these amazing people in the future.

by Imogen Clark

Waiting For The Barbarians will be released in cinemas worldwide later this year.

The post Glass interviews rising actor Gana Bayarsaikhan first appeared on The Glass Magazine.

Glass talks to Madelaine Petsch, Riverdale’s shining talent and break-out star

MADELAINE Petsch once thought she’d never make it as an actor. But talking to the 24-year-old now you’d have no idea. She radiates confidence, charm and charisma, and despite her young age, holds a distinctive maturity beyond her years. Although Petsch has been on the small screen for years, it was landing the role as Riverdale’s Cheryl Blossom that was the big break for the Washington-born star. The character is a rare find for women in television. She always speaks her mind, does what she wants, and is completely unreserved. Speaking to Petsch, you can see the subtle similarities between her and her character. Both incredibly assertive and intelligent, there is no doubt that Petsch is the perfect casting for the role.

Alongside acting, Petsch also has a YouTube channel with over four million subscribers. Giving her fans a window into her personal life outside acting, since its beginning the channel has exploded with love and support from fans. A creative in every sense of the word, alongside creating her own video content, she has dabbled with design, even creating her own signature range of sunglasses with Privé Revaux.

As season three of Riverdale comes to a close, Glass sits down to talk to Petsch on her relationship to her character Cheryl, her sudden success, and the advice she’d give to struggling actors.

Madelaine Petsch. Photograph: Heidi Tappis

You play Cheryl Blossom in Riverdale, and she’s characterised by her vindictive but hilarious mean-girl persona. What’s it like to play such an interesting and emotionally complex character?
You know it’s funny, because every time I talk to an interviewer or anyone about Cheryl, people tend to talk about the vindictive part of her personality. I feel like it’s overshadowing, apparently for the audience, this really beautiful fragile girl on the inside – especially in the newer episodes of this season. It’s a beautiful thing to play such a complex character, it makes my job never boring as I feel constantly challenged by it. I learn more about myself and her every single day. There are always 15 different things going on with her so she’s not a straightforward character. It’s a real cool character to play.

I do love the character. Do you feel like you relate to her in anyway?
Yes, I feel like I say this in a lot of interviews, but I feel there’s a point in people’s lives where they felt like they didn’t know who they were and they were fragile. Growing up I had some difficulties figuring out who I was, and I feel I can relate to that in a sense of searching and figuring out who you are.

So you gained success very quickly after Riverdale, and you’ve since won two teen choice awards and a MTV movie and TV award, which is amazing. How do you feel your sudden success has affected your life?
It feels very natural. It seems to the outside world it happened very quickly, but we shot Riverdale for a year before it aired. It felt like a very gradual slow build. It feels like it integrated into my life very easily, and also when I didn’t know how to handle things, fans taught me how to handle it. I have such great supportive people in my immediate circle, but fans are so supportive.

Madelaine Petsch. Photograph: Heidi Tappis

You’ve said that before landing your Riverdale role, you’ve had moments when you thought you’d never make it in the industry. So what advice would you give to any young or struggling actors?
There’s a couple different pieces. I think the most cliché is you know not to give up and keep pursuing it. But also people told me my entire life that if there is something else that I’d like to pursue I should pursue it instead, because if I ended up doing acting it was going to be very taxing, which is true. Acting I truly believe is my calling, and that’s what got me through. I knew this is what I needed to do, so no matter what, no matter how many noes there were, and there were a lot of noes, I got a lot of noes. I still persisted, and I think that is the most important thing. If you know in your heart of hearts that what you are pursuing is what you need to be doing in your soul, to feed your soul, then you can do it eventually. Whether it takes five years or 15 years, you just have to be comfortable knowing that it may take a long time. But keep working at it and learn to fulfil yourself in other ways.

You also have, alongside acting, your own YouTube channel, with over four million subscribers. And you’ve said before that this is where you give your fans the chance to get to know the real you outside of acting. How do you balance your work acting, producing, as well as vlogging your life?
That is a great question. I don’t even know how I balance it. I think it’s because everything I do I love doing. I don’t feel I work a day in my life because everything I do I truly genuinely enjoy. For example, I hadn’t posted on my YouTube channel in the past month up till yesterday, because I was finishing off the season. And so I don’t necessarily always have the right answer, I don’t think I’m always great at balancing, but what I do I love, and I edit all my own videos. I think it’s about keeping yourself in a world where you enjoy everything you do.

Madelaine Petsch. Photograph: Heidi Tappis

Your character Cheryl Blossom is known for her distinctively bold style. And she’s rarely seen without her trademark colour red. Can you tell us the more memorable things you’ve worn while in character?
Definitely the spider pin. I have a couple of really beautiful spider brooches I wear on the show. To me they’re very memorable. Most recently, in the finale I wore this beautiful Miu Miu see-through lace shirt with a red tie and it’s so beautiful. I have this amazing cloak that the costume designer created. It’s a long, kind of archery style cloak with a hood, and it’s bright red. It’s probably one of the most gorgeous things I’ve ever seen. Our costume designer is out of this world, and honestly, I owe it all to her. I also have some amazing flame Louboutins which are to die for. I mean I could go on for ever, I’m obsessed with my wardrobe on the show. It’s so well-tailored.

Do you feel like her style is similar to yours at all?
I think she did influence my style a bit. I think she made me more daring with colours. Growing up as a redhead, I was always told to stay away from oranges, reds, and pinks. It was so funny, because when I booked the show, they were like what colours do you not like wearing, and I was like oranges, reds, and pinks. They were like, “Oh, being red is a huge part of the character, I hope you’re okay with that”, and I said I was, “Game, whatever – yeah let’s do it”. And now I love oranges, reds and pinks, so I think it opened up my mind more to fashion in general. It made me a little more daring, and I’ve learnt to have fun with it. I think she’s influenced me, and I have also influenced her a little bit.

Madelaine Petsch. Photograph: Heidi Tappis

So, you’ve brought out your own collection of sunglasses, and I know you’ve just announced the second with Privé Revaux. Could you imagine yourself bringing out any other collections in the future, clothing wise?
Yes, of course. This has been my first test. I thought if I enjoy the design process, and if my fans enjoy purchasing the things I’ve created, then yes. It was a very big test, especially the first collection. I’ve just announced the second collection which I’m so excited about. I never thought I’d be someone to sit down and draw a design and have it come to life. But that’s how the sunglasses came into fruition, and I realised I loved that process. It’s such a cool process, getting samples, and approving certain things, and being able to nitpick. I am truly so proud of them, so I definitely could see myself doing something else.

It was revealed two seasons into Riverdale that your character Cheryl is a lesbian, and the show has since shone a light onto the ethics of gay conversion therapy. What was it like to act the coming out of a character?
The coming out was by far the favourite scene I’ve shot on the show. It’s such a beautiful moment to have a character, who seems to be the most angry and the most hurt and fragile, to come out and realise this is who she is, and realise something she has hidden from herself for so long, and realising this is why she doesn’t love herself. It creates a big shift in Cheryl, learning how to love herself, and it was such a beautiful scene to shoot, and I had a great scene partner. The outpouring of love and support we got for that was amazing. Being able to bring the representation of lesbianism to that scene is a true honour. We really worked hard to bring it to justice.

Madelaine Petsch. Photograph: Heidi Tappis

The theme of our summer issue is “purpose”. How would you define purpose for yourself?
I think that’s a very interesting and loaded question. I think a number of things. I think there are different kinds of purpose. I think my purpose on this planet is to try to bring happiness to other people, and to entertain, and create, whether it be five minutes or an hour of content that can help someone escape from their problems. I think purpose can also mean taking care of the environment, reducing your carbon footprint, and being conscious of what you’re doing. I think purpose is also taking care of other people. I mean, purpose is a huge question. I think my purpose in art is to entertain people and help them escape to different worlds, or enjoy different worlds, or experience different worlds.

I think my purpose as a human is to bring as much love and happiness to as many people as I can. I think my purpose on this planet is to bring awareness to environmentalism and taking care of our planet, so it can be sustained for a long time. I think purpose is a beautiful word and there are so many ways to describe it, and those are the three things that are barely scratching the surface.

by Emma Hart

From the Glass Archive – Glass Magazine, Decade, Issue 38, Summer 2019

To make sure you never miss a copy of Glass Man, subscribe here

Photographer: HEIDI TAPPIS
Stylist: ANNA SCHILLING 

Hair: ANDRE GUNN at ART DEPARTMENT
Makeup: STEPHANIE G-M at ART DEPARTMENT
Photography assistant: LISA FLORY
Styling assistant: LEONARD MURRAY
Talent: MADELAINE PETSCH

Look 1
Top, skirt: FENDI
Shoes: TAMARA MELLON
Diamond earrings: BULGARI High Jewellery

Look 2
Shirt: GUCCI
Top diamond necklace: BULGARI High Jewellery

Look 3
Vest, skirt, shoes: DIOR
Bracelet: BULGARI

Look 4
Dress: SCHIAPARELLI
Diamond earrings, bracelet: BULGARI High Jewellery

Look 5
Top, skirt: FENDI
Bag: GUCCI
Diamond earrings: BULGARI High Jewellery

The post Glass interviews break-out star Madelaine Petsch first appeared on The Glass Magazine.

This bold move paid off as it landed him his first role as an understudy to Strindberg’s Miss Julie, from where his career took off. The 42-year-old actor has appeared in numerous American and British hit series such as BBC’s Upstairs Downstairs, HBO’s Westworld and the Amazon Prime series Absentia. Jackson also made quite an impact on the big screen landing roles in films such as Push, Quantum of Solace and more recently Welcome to Marwan, starring alongside Steve Carrell and Diane Kruger.

Glass spoke with him to find out more about his past acting experiences and future projects to come.

Neil Jackson. Photograph: Liam Bundy

How did you first get involved in performing arts and acting?
I was studying sports science in University and boxing competitively and working as a bouncer in clubs and, ultimately, not happy. I had acted in school plays when I was younger and remember enjoying that so much, but I had no idea how to course correct to get back into acting and so was advised to write something that could be performed.  I started writing a play, that became a musical.

Over the course of about eight months I would write the script and come up with songs (sung mainly into a dictaphone while I was working on the door of clubs), and then I would take the train from Cardiff to London to record the music with some friends. We submitted the finished script and CD of the musical to a writing contest and it came third. This caught the attention of a producer who asked to see a prepared read through in London, so I rented a hall and got some actors together and a piano and we read and sang the script to the producer.

His name is Michael Armstrong and used to teach acting at RADA before starting his own acting course. He offered me a scholarship to his pert-time acting course, which was every Sunday for two years. So I moved to London and studied with Michael. Upon graduation, I got an agent from the showcase we performed.

Neil Jackson. Photograph: Liam Bundy

Starring in multiple hit series with Absentia being the most recent one and bigscreen movies including Push and Nocturnal Animals, which one was the most memorable and why?
Every job is memorable for completely different reasons.  Fighting James Bond in Quantum of Solace was a childhood dream come true. Push was an amazing action movie and I got to do some really cool fight scenes. It was fun meeting Amy Adams and working with Tom Ford on Nocturnal Animals. But my most memorable job will always be my first ever TV gig, working on a British Sunday night show called Heartbeat.

I had watched this show with my family as I was growing up, so to be cast in it and standing on set with those actors I had grown up with was a very special and nerve wracking experience. They were so welcoming and helpful.  That job gave me the confidence that I could have a career in the industry; that I could belong.

Neil Jackson. Photograph: Liam Bundy

You’ve worked with quite a lot of impressive people such Amy Adams, Chris Evans and of course Daniel Craig in Quantum of Solace. Is there anybody else you would love to work with in the future?
At this stage in my career I just want to work with good people. Impressive people are lovely, but it means nothing to me if they’re not friendly and kind.

Neil Jackson. Photograph: Liam Bundy

What’s the funniest thing that has ever happened on set or while filming?
I was doing a scene with Dominic Monaghan in Flash Forward. I was supposed to be intimidating him and then open a fresh bottle of gin and drink a very large glass. We’d rehearsed the scene with a bottle of water and the director wanted the “gin” pour to be sizable; maybe three shots worth. I then got handed the prop bottle and walked on set for the first filmed take. The scene went great. I then cracked the seal on the new bottle and poured a hefty amount into a glass. I finished the scene and threw the glass of liquid down my throat and my eyes crossed. The prop master had accidentally given me the bottle of actual gin. I barely held my composure for the rest of the take, and then burst out laughing. I was certainly a little looser on the next takes!

Neil Jackson. Photograph: Liam Bundy

Working on both British and American productions, what’s the most obvious difference between both?
The food. I was working on an American TV series that had a permanent sandwich truck outside the sound stage, as well as a coffee van for constant lattes and cappuccinos. There was also a donut bar full of pastries and such, and a juice/smoothie counter. And then there were the meals on top of that, which were lavish. I went straight from that to the UK to work on a BBC drama where the craft services comprised solely of a tea urn. If you were hungry mid-morning before lunch, have more tea. Then, around four o’clock, they would bring round some biscuits. A very different experience.

Neil Jackson. Photograph: Liam Bundy

You’re a man of many talents as you’ve also been involved in screenwriting and directing, which aspect of the industry do you prefer working in the most?
Each present different challenges to me. I get the most complete creative satisfaction from directing something that I’ve written. But I love that feeling of turning up on set as an actor and working with the other actors and director to hone a scene over hours and then walking away feeling like we created something honest and authentic.

Neil Jackson. Photograph: Liam Bundy

Aside from acting you were also quite a talented boxer, correct us if we’re wrong but this led to your initial break into the acting world as well?
I was a competitive amateur boxer for five years, boxing out of Cardiff, where I went to university to study sports. My younger brother, Iain, was also a professional boxer, having fought in 50 professional bouts. The musical that I ended up writing that got me in to acting was about boxing. Then my first TV role, on Heartbeat, was playing a boxer. I have also written a feature film about boxing called After The Lights that I will be directing next year. So boxing has always been a big part of my life.

You’ve also been dipping your toe into music with your debut album The Little Things, how would you describe your sound? If you’d have to choose between music and acting, which one would it be?
My music is very singer/songwriter and that album is very dear to me.  After a rough experience in the film industry, I wanted to create something that was solely my creative voice, my creative vision, without any external interference or pressure. The album was produced by a dear friend, Nick Mailing, and was all recorded live and acoustic. It turned out great and it means a lot to me when I hear from people in Germany or Japan or wherever that they are listening to my music and it’s bringing them some sense of joy.  I contemplated taking time off from acting to tour with the album and play music, but acting drew me back in, so my music took more of a back seat … for the time being.

You’ve been in the industry for quite some time, what’s the best piece of advice you’ve ever received?
To set my own personal level of compromise for each job, each moment.  To know what I want to get out of each moment and where that line is for me that I will not cross. That could be creatively or financially, but it’s important for me to know what my level of compromise is always.

Throughout your career, what are the biggest challenges you have faced?
Uncertainty. There is no natural maturation in the film industry. I can have an amazing year, working on incredible projects, and then, for no apparent reason, not book another job or work for a year. My mentor, Michael Armstrong, calls them Champagne and water days. One day I could be on the set of a huge project and the next I could be without a job and without the prospect of one on the horizon. Managing that sense of uncertainty is, for me, the biggest challenge of being in this industry.

What have been the high points of your career so far?
In 2017 I was living in London. I hadn’t worked for almost six months when I got a call saying that Robert Zemeckis wanted to talk to me. I had taped an audition for him several weeks before and he wanted to chat on the phone about the role. So, on a rainy Monday, I sat in my flat in London and waited for him to call. I’d been a huge fan of his movies since first seeing Who Framed Roger Rabbit when I was 10 years old. My phone rang and I had the most wonderful conversation with Bob. I then found out a week later that I had been given the role in Welcome To Marwen. I burst into tears. It had been a rough year for me and to get that news was just incredible. To then stand on set and be directed by one of my idols was incredible. I now proudly have an original Who Framed Roger Rabbit Poster signed by Bob that hangs on my wall.

What does the future hold for Neil Jackson? Are there any new projects on the horizon? Can you tell us about your experience on Welcome to Marwen?
Welcome to Marwen was like being a kid and stepping into the biggest of sandboxes. It’s a beautiful script about a very harrowing and beautiful story.  Every morning, Bob would stand in front of all of the cast and crew and “act out” the scenes we were about to create using a model set and action figures.  His wonder and enthusiasm would ignite us all. He’s a very collaborative director and welcomed creative input from all of the actors.

There is one pivotal moment in the film where I am having a heated moment with Steve Carell’s character. We had improvised some dialogue that brought us to this point and, just as this pivotal moment happens (I’m trying not to give too much away) I did this very broad comedic voice on a line. I didn’t know if it would work, but it felt right and so I went for it. They called cut and I waited anxiously for the verdict.

Bob came walking out from video village with a big smile on his face, chuckling. He loved the voice and moment so much that he decided he would give it its own special shot. There’s a huge vulnerability to trying new and challenging things on set. Sometimes they work, sometimes they don’t. To have that moment work and get validated by Bob meant the world to me.

Neil Jackson. Photograph: Liam Bundy

by Lupe Baeyens

Photographer: Liam Bundy
Styling: Thomas Ramshaw
Grooming: Meredith Lacosse

Image one and two:

Jumper by SANDRO

Trousers BOTTEGA VENETA

Image three, four, five and six:

Coat AMI

Shirt LANVIN

T-shirt LANVIN

Trousers AMI

Image seven:

Jumper LOUIS VUITTON

The post Glass interviews British actor Neil Jackson first appeared on The Glass Magazine.

How did you come to start out as a hairstylist?
I started out in a salon back in London which is where I’m from, and released very quickly that there was more to it.. and after one random email to an agency, I landed my first show at LFW working under the incredibly talented Sam McKnight (who I hadn’t actually heard of at that time).

I was terrified, but I must have done OK as they asked me back to help the following day. At this point, I now knew who Sam was and realised he was huge deal. I was even more nervous the following day and six years later we were still working together as part of his core team, traveling the world and doing such shows as Chanel, Fendi, Tom Ford and Westwood.

Sheridan Ward. Photograph: Ssam Kim

You worked for many fashion houses. How was the experience?
Working backstage was amazing experience seeing all the looks and how the different artist collaborate to create these numerous styles that influence the world of fashion – experiencing these shows first hand and traveling the globe, seeing how the designers work close up, as well as all the amazing make up teams. you’re basically getting paid to learn from the best in the business in three words – motivating, inspiring, fabulous.

You started your career in London. What made you move to LA?
After working my socks off and building up my editorial portfolio back home in the UK, it seemed a shame not to put it all to good use, so I decided to take myself off and see how the other side of industry was getting on and Landed here in LA. I have been here five years now, working with Hollywood’s finest, it has been a dream come true working with some of my fave actors that I admire from the big screen.

Ward’s work-station. Photograph: Sheridan Ward

You have an editorial background, but are now based in LA which is very hollywood. How do you balance runway with red carpet?
Thanks to my editorial background it was a smooth transition..  runway and high fashion hair works very well on the red carpet, you have to make it a little more wearable, but the vibe is still there, its nice to give hollywood something a little different. The beach here is my haven and having the ocean only a short drive away it really helps me to stay  balanced and focused on whats ahead and clear my mind.

What is the most challenging part of being a hairstylist in LA?
I guess the most challenging thing for anyone creative is to stay current and keep you finger on the pulse, fashion and trends change so often, so it’s always good to play and create and keep coming up with different ways to do things and being aware of whats happening in the world and be able to adapt are key. i always recommend travel as my top tip for inspiration … so go, do it, go look and really take it all in, be interested and interesting.

Ward’s editorial for Glass Magazine. Photographs: Ssam Kim

Where do you find your inspiration?
I often find inspiration from film and tv, especially the classics, the old Hollywood styles of golden age of Hollywood are still relevant now. But I have to say I love to people watch, that really is the biggest inspiration. I remember seeing a woman on a train in paris, and being transfixed at her hair, the casualness of which she had thrown it up into a style was so clumsy and off set,, but so incredibly beautiful and whimsical all at the same time, there is so much magic in the unknown. It inspired many a look for me that day.

How would you describe your styling aesthetic?
I love all styles, from sleek, sharp and chic to soft textured and modern, but it all depends on the occasion and the dress. I am an extremely visual person so once I see what is being worn the ideas flood in and I know right away what styles will work or not for that particular look.

Ward’s editorial for Glass Magazine. Photographs: Ssam Kim

What makes you different to other hairstylists?
We all have a different eye and aesthetic, it believe it’s not just your actual skill but your personality, passions taste and sensibilities which all make you the artist that you are. Be you be true.

Can you tell me more about hair trends this AW18 season?
I feel this season there will still be a lot of surprises in store, but what I love is that hair is going back to beautiful basics a.k.a “model-off-duty” look’ clean healthy hair, one colour, glossy with a relaxed texture, done but not too done, wearable, beautiful and natural.

Where do you see yourself in 10 years time?
I would like to have a product hair line out by then, I have so many ideas for products and tools over past 10 years. Still working and happy and making women and men look and feel beautiful in front of the camera. Maybe with a home outside the city for weekend getaways, a dog, a husband and a little garden. That would be quite lovely.

Sheridan is on Instagram @sheridanwardhair

by Ssam Kim

The post Glass meets the London-born, LA-based hairstylist Sheridan Ward first appeared on The Glass Magazine.

Meaden was born in Calgary, Canada, and developed an interest in film at a young age, watching the greats of the cinema, actors like Robert Redford and directors such as George Lucas on the silver screen. He admires and is inspired by these men to this day. He pursued this career across the globe and moved to Prague in the Czech Republic, where he studied writing and directing at one of the oldest and most prestigious film schools in the world, FAMU.

Now he lives in Los Angeles, the actors’ mecca. He’s currently filming his next venture, Pacific Rim 2, which is a sequel to the blockbuster sci-fi monster film by Guillermo del Toro starring Idris Elba. The action takes place in the future in a time when human kind is at war with the Kaiju alien monsters that came to Earth through a portal at the bottom of the Pacific Ocean. Meaden portrays one of the new generation of training pilots of the Jaegers, mechanical giants controlled by people inside, created to defeat the Kaiju monsters.

Glass talks to Meaden about why he chose acting, his characters, what he dreams of – and his dogs. He has three of them.

Levi Meaden. Photograph: Ssam Kim. Leather jacket SANDRO, T-shirt
CALVIN KLEIN, Jeans DIESEL

How and why did you become an actor?
As far back as I can remember, I have always loved movies and have been obsessed with filmmaking. I grew up just after Steven Spielberg and George Lucas had become legends and just as the indie hot shots like Steven Soderbergh and Quentin Tarantino were taking over Hollywood. So it was a pretty great time to be a movie fan. I’ve always been a little dramatic so I started acting when I was young. Eventually, I moved into writing and directing for a few years, but while I was studying in Prague we found that there was a lack of English-speaking actors so I ended up acting in some 30-odd films and it re-ignited my passion.

You studied writing and directing. Is that still something you’d like to do in addition to acting?
I love writing and directing and it is something I still want to pursue. I just haven’t been able to put my time and energy into it yet because I’ve been focusing on acting, but I do plan on it in the future.
 
Who do you look up to? And why?
I look up to a lot of the naturalistic actors from the 1970s and ‘80s like Dustin Hoffman, Robert Redford or Jeff Bridges. These are guys that made the work seem effortless and natural. There was also a less selfish air to their work in comparison to some of the work I see today. And they gave a lot on screen.

From the characters you’ve portrayed so far, which one was the easiest for you to identify with? And which one was the hardest?
There are a lot of my characters that I can relate to on some level. Sometimes it just so happens that the character on the page and who I am line up perfectly. The hardest was probably AJ from The Killing. He was such a horrible guy and I had to find some sort of humanity to these heinous acts he commits.

Levi Meaden. Photograph: Ssam Kim. Blazer, shirt  THE KOOPLES,
Jeans DIESEL, Boots BOTTEGA VENETA

The TV shows you star in are often very intense and dramatic, such as The Killing or Aftermath. How did it feel filming them? And is there a reason why you choose this kind of dramatic genre?
I would love to do comedy but I just haven’t ventured there yet. I love drama because it puts me in direct conflict with barriers in my own life.

What do you like to do when you’re not on set?
I love cooking and taking care of my dogs. We have a Samoyed, a German Shepherd and Doberman mix, and we just added an Australian Shepherd to the family. And I especially love having fun with friends, because in this business you never know when you’ll get time off again.

You are currently working on a new film, Pacific Rim 2. Could you tell us a little about the film and your role? And what is it like on set?
My character in Pacific Rim 2 is called Ilya and he’s a cadet, training to be the next generation of Jaeger pilots. We had a lot of fun on and off set and trained like athletes. It was intense and schedules were pretty busy. But when we were in China, we all got to climb the Great Wall together as a cast which was an incredible experience. At one point, we had to get back down on this rickety old ladder that was placed with seemingly no worries about safety standards. It took a lot of team work and laughs to get us all down safe.

Levi Meaden. Photograph: Ssam Kim. White shirt THE KOOPLES

What are your dream projects, filmmakers and other actors you’d like to work with in the future?
I have a list of directors I want to work with. I lucked out working with one early on when Jonathan Demme directed the last episode of The Killing. But the list seems to keep getting bigger and bigger. Number one would probably be a tie between David Cronenberg or Martin Scorsese. I would really like to do a spy role, perhaps something like John le Carré’s espionage novels. There’s also a huge list of actors I would love to work with. Because he is my dad’s personal favourite and one of mine too, I have to say Jeff Bridges is at the top of my wish list.

by Sara Hesikova

All photographs: Ssam Kim
Styling: Nana Acheampong
Grooming by Sheridan Ward at The Wall Group using Batiste
Photography assistant: Evan Woods

The post Destined for drama – Glass meets the Canadian actor Levi Meaden first appeared on The Glass Magazine.

He clearly feels at ease there, and knows his way around. Tall, with a swoop of blonde hair and a defined, kind face, James is very clearly leading man potential. It’s fitting then that he is starring as the lead in the production, brought to life by the theatre company Cheek by Jowl, portraying the maniacal king Leontes in what was one of Shakespeare’s last plays. James has also appeared on television in a range of roles including Doctor Who and, more recently, the BBC series The Six Wives of Henry VIII.  Our conversation covers everything from James’ long-running affection for the bard, to training alongside Emilia Clarke, to his under-the-radar music career.

Orlando James. Photograph: Camilla Glorioso

Going back to a time before all of this began, how did you first get into acting?
I had some really great teachers in school and they really pushed me to give it a go. I was quite young, but I’m glad I was bitten by the bug so early because I had all sorts of things I had been interested in but nothing I was really passionate about. I don’t know if I had that absolute penny drop moment, I think it developed over time. When other people start to validate that you actually do have a talent for something, it changes things.

Because even if you are just 16, you can think, “I would like to do that, I’m good at it and I’m passionate about it”, but when other people start saying you should think about actually pursuing something, it sets you thinking about the actualities of that career. And as soon I started to do that I recognised that this is what I wanted to do.

So after leaving school in Battle, East Sussex you went to the prestigious Drama Centre London, which counts actors like Tom Hardy, Pierce Brosnan and Colin Firth as alumni. How did you find that?
It’s an amazing school and it lives up to its reputation. It’s based on very intensive training. A lot of people have very personal relationships with their drama schools and I think that the Drama Centre is no exception. It somehow creates this magical familial bond among its students. Graduates from 40, 50 years ago would meet up with us whilst we were there, and we would talk for hours about drama. There is a real unseen bond between the community of that school and I think it is down to the intensity of the training, and the fact that it is a very collaborative space you are all marking together.

My best friends in the world are from that time in my life, because those are formative years and they form you collectively. And it is also great fun, the entire thing was an incredible experience. I had just moved to London, the big smoke, I was living in a big flat share and just enjoying everything London had to offer.

And you were in the same class as Game of Thrones actress Emilia Clarke, were you close?
Oh, we were all really close in our year. You all get really really close together at the Drama Centre, it was a very open plan sort of place so you’re all off to ballet together in your tights and such, there’s not many places to hide, and that’s a really comforting thing to be that close with people. And yes, people go on and are very successful in very different ways. Some people catapult to stardom and some have a much slower ascent. I think that everyone’s journey is different even though you all came from the same place, and I like that.

Orlando James. Photograph: Camilla Glorioso

You seem to be very drawn to working with Shakespeare in your career. Where does that come from?
When I was at school we did a lot of Shakespeare in drama and we also studied Shakespeare in English literature. Some of my best teachers were my English teachers, so even before I started acting properly I had a real interest in his works as literature. It’s one of those things that people are scared of because they think it’s not for them, they think it’s way too high brow which I can understand, but actually I think it’s one of the most universal bodies of work that I know because it has such a real, human truth to it. I know I said people shouldn’t be scared of it, but it is really challenging, and I find that challenge really thrilling.

Why do you think people are so apprehensive of Shakespeare?
People put a lot on top of Shakespeare, trying to make sense of it and trying to make it accessible and actually that’s just muddying the water. Yes, it is written in a strange, old language, but it talks about things that are very universal and very pure, and if you get rid of all of that extra construct, you get to the nub of the story. That’s when you arrive at something that is very understandable and I think that’s the goal with any Shakespeare production and certainly the way that Cheek by Jowl works, which is to clear away the rubbish. As a result, one of the main things you can say about their productions is that they are incredibly clear and they tell a story, and that story is one of the most important parts of the experience.

The archaic language definitely plays a part in people feeling overwhelmed by Shakespeare, so how do you find working with the dialogue?
It has lots of limitations, like the verse and the pentameter and all of these big scary words. But actually, they’re your friends, they’re the things that really help you, if you stick with the rhythm of the text, and the poetry of it, the way the words are crafted, all the hard work is done for you. If you give yourself to those rhythms and you are technically supported, then it will make sense. It’s so different to the way you talk normally, but it’s not difficult to get into if you’re prepared to go to the text rather then trying to drag the text to you. Trying to make it modern won’t make it easier, you have to be the one that takes the leap to it, then you and the text are working together.

Orlando James. Photograph: Camilla Glorioso

In The Winters Tale, you’re portraying a character that does terrible things due to his own ego and insecurity. How do you identify with a character like that?
When you look at the story of play and you look at not only what Leontes goes through, but what he drags everyone else through, the stakes are so high it’s unbelievable. He destroys his Kingdom, his marriage and his children and so there are very destructive elements to him, but I think when you approach a character like this, or any character that’s acting in the way they shouldn’t be, you can’t judge them.

You need to find  the logical, instinctual reasons why this person is behaving this way. As soon as you start judging the character, as an actor you won’t be able to communicate them properly. You need to find the reasons why these terrible acts are good decisions and you have to find the logic behind your character’s choices.

Leontes commits some terrible acts in this play. Since you have to embody him wholly night after night, do the effects of that ever stay with you?
Sort of. I think, in order to access these emotions, you have to bring parts of yourself to the table. You have to investigate your own life and find things that you’ve experienced that you can then endow your performance of what this character is feeling with. You have to put yourself in the mindset of the character. There are residues of that when you go home, but you sort of have to shake it off and understand that it is part of the job. The rewarding joy of it is that you only bring it out on the stage in the moment with other characters telling the story. If you give yourself that licence to just let it go when the curtain falls, that’s actually doubly rewarding. It means that you can keep yourself and your character separated.

What was it like to tour this play around the world, how did the audiences differ in their engagement with the performance?
It’s an inexplicable thing really, we opened the show in Paris almost two years ago and we had our previews there, so you are still forging what your production is going to be, but with a French audience and a French sensibility. Then before you know it you’re going off to Italy, then you’re in Spain, so you’re constantly having to shift your understanding of how the play is being received. Audiences in different countries react differently en masse to ideas that they see in a play, so it’s interesting to see what changes from country to country. The most ready reaction is laughter, if you get that you can hear and feel it, it’s tangible, and so different cultures laugh at completely different things. It constantly keeps you on your toes because you can’t play to a certain thing every time as you don’t know how it will be received. 

We were in America just after the election, and this play is about a tyrant who is a misogynist and acts on impulse, someone who is very childlike in his reactions, and that’s not judgemental, he just has very little filter between what he believes is true and how he acts. Those parallels are something that didn’t exist when we rehearsed and opened the show, so it’s kind of weird that our production has become more relevant than it was a year ago. It is sad but also interesting. At a time when conflict seems to be the most prevalent thing in society, this play is ultimately about hope, and if people who come and see the show take that away from the experience, then I guess that’s a triumph in itself. 

Orlando James. Photograph: Camilla Glorioso

Whereas many young actors gravitate towards screen acting, and you have appeared on television several times, you’ve mainly stuck with stage performances. Why is that?
I think it’s certainly what I have more experience in, and the opportunities that have come my way have mainly been stage work. I do feel like there is something unbreakably magic about theatre, about performing live in a room with an audience who are there sharing the experience with you at the same time. That’s not to say acting on screen is any less rewarding, but it is a different thing. I don’t put a barrier between the two because I think to be an actor is to have a varied career and have work that spans all the mediums, for example I do a lot of voice work and radio as well.

Outside of acting you also sing – what influences your music?
I’m a kind of modern folk singer, I take influence from Irish music and traditional English music, but it’s very much in the singer songwriter vein of the the gaslight years in New York. I like rambling songs about romance and I try to be very lyrical and poetic, I love people like Jackson C Frank, who is a really unsung hero of folk music. Thats kind of where I come from, I do have a big blues influence as well but in general I do light story-based songwriting.

I couldn’t find any examples online to listen to – do you plan to record anything soon?
I am planning on recording something this summer when I’m done with this show but in general I prefer to just have things heard live in the room. There’s just something about performing live that a recording can’t compete with. I’m much better live than I am in the studio tracking something down, and also because of the storytelling nature of the songs I write, I operate best when I’m looking at people and telling them the story, whether that’s on stage or with a guitar. Maybe that’s a bit analog of me, but I prefer to not have much recorded and just have an experience with the people who come and see my shows.

The way in which I work, I focus very much on what I’m doing at that moment in time. So whilst my most productive time of writing songs is actually when I’m working in theatre or film and have breaks to fill with songwriting, that is also the time when I can’t perform because I’m either on stage every night or filming. I tend to go in cycles but I think I’m quite happy with it as a hobby, it’s just another form of self expression and another form of being an artist.

What are your aspirations for the future of your career?
I would like to bring everything in my career up to a level playing field. I would like to ideally do some film work, I’ve been obsessed with movies since I was a kid so to be in films would be amazing. I also love the way in which television is moving now, with these very long-form shows and with Netflix. We will just watch hours and hours of television in one sitting, binge-watching what is essentially a massive film, and I love that because it gives the actor the opportunity to really go into detail. Its the perfect combination of the quality and drama of film, but with the scope of a television series to do it in. I’d love to do that. Also, more theatre, more tv, more radio, more of everything! I’m very hungry for it.

When you first graduate as an actor, you spend a period where you’ll take anything, and then you cool down a bit and think, “what are my steps forward”? I’ve now come full circle and I’m in a place where I’ve got this hunger again, which I really don’t want to ever lose. I want to be 80 years old and be hungry to do some theatre, you know? I think that would be a good way to go.

Orlando James. Photograph: Camilla Glorioso

by Thomas Marrington

Cheek by Jowl’s production of The Winter’s Tale will be showing at the Barbican, London until April 22, 2017. Book tickets here.

The Winter’s Tale will be streamed live from the Barbican Centre on April 19 at 7.30pm. You can watch here.

Orlando can be found on twitter @_OrlandoJames_

The post Glass meets young actor on the rise – Orlando James first appeared on The Glass Magazine.

TO the Western part of the world, Lee Byung-hun is most notably known for his role as Storm Shadow in the action sci-fi G.I. Joe: The Rise of Cobra (2009) and its sequel G.I. Joe: Retaliation (2013). However, his career spans well beyond Hollywood blockbusters. On the other side of the world, in his native South Korea, he is the acting royalty.

The Seoul-born actor has starred in four of the highest-grossing films in South Korean history. Masquerade (2012), a historical biopic set in the 17th century about king Gwanghae and his acrobat look-alike filling in his place while he is recovering from a poison attempt on his life, where Lee Byung-hun portrayed both of the leading characters, ranked at number eight.

Elsewhere, Inside Men (2015), in which he played a former political henchman seeking revenge, is the most successful R-rated (restricted below the age of 17) Korean film to date. The range of his characters is immense and ever-expanding.

But even as a Korean in Hollywood, he has achieved things others of his nationality haven’t, such as presenting an Oscar for Best Foreign Language Film during the Academy Awards this February or having his hands and feet imprinted on the Hollywood Walk of Fame.

Byung-hun is passionately flying the flag for Asian actors in Hollywood and talks to us about the current hugely popular and respected South Korean cinema and his role in the film industry on both sides of the Pacific.

Lee Byung-Hun. Photograph: Ssam Kim. Suit and shirt, Dior homme

What are your earliest memories of encountering cinema and what initially drew you to it?
I have encountered cinema earlier than most. I think the first time was when I was four years old. My cousin took me to a cinema to watch a movie called Papillon (1973).

I was too young to remember what it was exactly about, but I remember two scenes that were very shocking – when the actors were eating bugs and when they were escaping from prison. There were no reserved seats back then and the box office would keep selling tickets even when the theatre was at full capacity.

People would have to sit on the stairs or even stand. Papillon was a very popular movie at the time so we had no seating and my cousin carried me on his shoulders for two hours straight. After that I started watching films more often. Opposite my childhood home was a board for movie posters and every time a new poster went up I would beg my father to take me to watch the film.

The first movie I watched was with my cousin, but after that it was always with my father. I have a special nostalgia for cinema.

Who are your screen heroes and what have you learnt from them?
It is very hard to pick one person because there are so many admirable screen heroes. But if I had to pick someone I have personally met or worked with, it would have to be Helen Mirren and Al Pacino. They are two of the most spectacular actors of all time.

And there is no doubt that their acting is legendary but the reason that brought me to believe they were admirable was the humanity and personality they portrayed. I wanted to see myself become like them when I grew older.

The common thing that strikes me about all those great artists is a childlike innocence. Even when they are 80 years old, they still seem to retain a childlike personality and very humble. I think that is just amazing.

Lee Byung-hun. Photograph: Ssam Kim. Jacket, Gucci

How would you describe ‘star’ quality in the present day?
I think it is a person’s allure. No matter what they look like or how talented an artist they are, the ability to make the audience want to see you over and over again is the basic quality a star should exhibit. To make you think, ‘Why do I keep wanting to see this person even when he or she is not particularly handsome or beautiful?’ At least to the person watching. I do not believe that it is someone’s outer appearance that attracts viewers. I think it is rather the personal allure that would keep an audience wanting to see more, which in my opinion is the quality of a star.

Your presence on the screen has been defined by a certain charisma. Do you derive this allure from anywhere or anything in particular?
I am quite an optimistic person, so whatever comes my way, I can call it fate and accept it easily. On the other hand, I am never satisfied in anything I do. Whether it is a TV drama, film, or just a day in my life, there is always an inkling of disapproval, thoughts such as ‘I could have done better’.

Those are the thoughts that keep me going to try to be the best. This allure, if you could call it that, is derived from my desire for perfection.

Lee Byung-hun. Photograph: Ssam Kim. Suit, shirt and shoes, Dior Homme. Sunglasses, Saint Laurent

Fitness and health are of huge importance to the star image you project through social media and you make great effort to maintain an idealised physique. Could you talk us through your health and fitness regime?
It depends on the different roles I play. It was such a challenge to maintain my physique when I played the role of Storm Shadow in G.I. Joe, but I endured it through the whole process.

But except for the times I take on those kinds of role, I just eat anything and everything I want. And I love drinking wine.

Hollywood is frequently criticised for its typecasting of Asian actors. Do you feel that Asian actors are allowed to show their scope and depth in Hollywood or are they automatically associated with action roles?
In Korea I have a certain position so I can choose the kind of scripts I want, and I feel very lucky to be in that position. But most actors are chosen for the roles rather than them choosing. No matter what the role is, they have to take it when it comes because they have to earn a living. My dream is to be an actor that can always pick and choose my roles.

When I first got cast in Hollywood, I was not in a position of choosing my role. I had to seize whatever came my way and be thankful for it. But these days I see a small window of opportunity for me to start choosing roles.

I am not sure if I will be as lucky as I have been in Korea to choose between many roles, but I can definitely see my position improving little by little, especially when I get cast for a role that did not have to be an Asian actor.

For example, my role as a hitman hired by Al Pacino in the film Misconduct (2016) which was not an action role and did not need to be played by an Asian actor, but they cast me for the role anyway. I was able to see the progress that I have made through my achievements. I think that is very encouraging, both for me and other Asian actors.

Lee Byung-hun. Photograph: Ssam Kim. Shirt, Dior Homme. Sunglasses, Ksubi

Do you think they cast you for a role that did not have to be an Asian actor because there is a disparity that emerges when you are cast in films that are targeting international audiences?
Of course, that is possible. Sadly, every film is judged by the box office scores these days because the profit is very important for the people who work in the film production. So they definitely need to think of ways to make more people want to watch the film. But if they want to sell more tickets and make more profit, why don’t they cast a more famous white actor? I don’t believe that they would have cast me because of the box office score and I am glad to think that way.

You were the first Korean actor to imprint your hand and foot prints on the forecourt of Grauman’s Chinese Theatre in Hollywood. This not only solidified your leap from the mantle of Korean cinema but has ensured your name will live on in the birthplace of the film star. In what ways does Hollywood appeal to you?
I am not a fine artist. I am an artist for the masses and I am sure that anyone who does art for the masses like me would want a bigger audience to see their work. Of course if I am satisfied with my work, I would be glad to show it even to a small audience. But it is still better to show my work to as many people as possible.

Many people around the world have started to take interest in Hallyu, the wave of Korean popular culture. Korean films and TV dramas are getting really popular but the origins of film are in Hollywood. I don’t think there is anywhere else I could show my work and perform to a bigger audience.

That is the reason I want to work in Hollywood. Speaking Korean and acting in a Korean film is what I do best, so when I am acting with an unfamiliar language in an unfamiliar culture, I feel like I have a handicap and I cannot show my best. But I trust that I will get better at it with time.

I want to test my limits of how much better I can do. I never planned to be working in Hollywood and it was never my original goal. It just happened and I do not know what will happen next. I am anxious and curious to know how my career will go forward. Hollywood really makes me want to push myself further and challenge my limits.

What are the different challenges between making a Korean film and a Hollywood film?
When I am making a Korean film, there is a lot of communication between me and the director about the lines and the character’s mentality. Having a deep conversation helps me understand and express the character in the right way. So I ask a lot of questions about the character and have a lot of conversations with the director to understand how he visualizes the character in his mind.

But in Hollywood, of course I can make everyday conversation but, honestly, it is quite hard for me to have a deep conversation with a director. And I have actually become quieter. I am usually good at ad-libs but to do that you really have to understand the culture and trends. Otherwise it sounds like you are faking it. I tried once, but it is not as easy for me as it is in Korean.

You have dominated the South Korean screen since you starred in four films on the list of highest-grossing films in South Korea. How does it feel to have made such an impact on such a national institution?
It is kind of like heads and tails. Because people around me tell me how big a deal it is, I know it is and I can feel it. Whenever I realise how much impact it has on people, it is kind of scary and I feel a burden on my shoulders. But a person who does creative work should not feel such a burden so I try to shake it off. If people keep throwing those heavy words such as ‘national’ or ‘responsibility for audience’, an artist like me, who is supposed to have the freedom of creativity, can no longer have that freedom. So I have those thoughts and pressure on my mind, but in my heart I try to be more free from them. I have to fight them and it is actually quite hard.

The various genres of film you have starred in have also given extensive range to your acting talent. What genres do you find yourself fitting most comfortably in, and which are the most challenging?
If I have never personally experienced the situation that the character is in, I have to imagine what it would be like before being able to perform the scene.

Whatever the genre – a drama, melodrama or sci-fi – I am very confident and comfortable if I have to play the character that I could understand from my personal experience. But my obvious lack of experience with fantasy or sci-fi gives me only imagination to depend on, so these are the two genres that are most challenging for me.

Korean cinema is renowned worldwide. What do you think makes it so highly respected?
When I started shooting for G.I. Joe, I heard that Korean film and TV drama are getting very popular and they are praised by the people around the world but I didn’t really take it seriously because I thought that there are a lot of better films out there. But since I started working more outside my country, I started to see things that I was not able to see when I was in my country. And I’ve realized that Korean film has actually developed enormously.

Whenever I come to Hollywood to have a meeting with directors and producers, I ask them what they think of Korean cinema. They say they love Korean films because there is a wide variety and they cannot predict the next scene or the ending at all. Most of the Hollywood production has a certain set of rules so the audience can predict what would happen in the next scene and how the film would end. But Korean films do not have those rules. So it is really hard for the audience to make a prediction for the next scene and even if they make a prediction with confidence, they get struck with an unexpected twist. I think that kind of creativity of the direction makes Korean film highly respected.

What is the biggest lesson you have learnt in your career?
I have played so many different roles, that I am able to place myself in the shoes of the character. Every time I play a new character, I spend so much time understanding the character perfectly. So now whenever I meet someone who has an interesting character, I do not feel resistance or discomfort. Somehow I get curious about the person’s character and start to analyse the motives of the character like I have an occupational disease.

For example, if I see a person who does not look into other people’s eyes and looks at the forehead when they are talking, I would think the person might have been abused when they were young or might have a habit of lying. But I learnt to understand that people have all sorts of different personalities and not to look at them with a dichotomous view.

by Ssam Sung-un Kim

Photographer: Ssam Sung-un Kim

Stylist: Christine Baker 

Grooming: Sonia Lee 

Photography assistants: Michael Der and Cody Perkins

Special thanks to the Intercontinental Los Angeles Downtown 

The post Glass talks to Korean superstar Lee Byung-hun first appeared on The Glass Magazine.

Oke is an operatic spoken word artist-cum-electroacoustic composer, marrying eclectic sounds and instrumentation with impactful, provocatively performed language. His performance is entrancing, reminiscing some sort of lurid Gregorian chant — holiness belied by oft-sacrilegious or unsettling verse, and performed by a kinetic, spirited David Byrne.

Ebe Oke’s performance background has had quite a star-studded record of affiliation. He has been personally and professionally influenced by Brian Eno and Laurie Anderson, having performed in a show she curated in New York City and having publicly dedicated performances to her. He’s also participated as a resident performer through Clocktower at Dustin Yellin’s Pioneer Works in Brooklyn.

Despite connections to New York, Oke cites London as his home base. The multimedia, multidisciplinary artist pulls from these disparate geographic and relational experiences for his performances and music — informed by his growing up on an exotic bird farm, Oke has used sounds from the natural world in his compositions, and birdsong in particular; he’s composed tracks as ‘character studies,’ imbuing personal relationship into music as a subtle homage; he is perceivably informed by his wonderfully imprecise perception of gender and sexuality, his performances fluidly embodying a boundary-less specimen of hypnotizing musical ephemerality.

Aside from the genius spectacle of his work, Oke is clearly a beautifully adroit musician. String instruments, electronics, piano, percussion, and powerful, interesting vocals are all strongly and expertly manipulated for and present in his oeuvre. The nonconformist, sonically inclusive way in which he develops his music and his performances is sometimes scathing, sometimes soothing and entrancing. Either way, it is, inarguably, both physically and psychologically affecting.

Ebe Oke. Photograph: Jose Montemayor

by Emily Rae Pellerin

Photography by Jose Montemayor via The Watermill Center

Ebe Oke’s open rehearsal at Robert Wilson’s The Watermill Center takes place on November 5

Visit The Watermill Center’s website for more information on his and other upcoming programming, and to make reservations therein.

The post Musician and artist Ebe Oke’s Open Rehearsal at The Watermill Center, New York first appeared on The Glass Magazine.

With prominent roles in some of Britain’s most popular television shows, including hit-comedy Fleabag and critically acclaimed BBC military drama Our Girl, in which he returns this autumn in his role as Captain James, Aldridge, labeled as the ‘new Tom Hiddleston,’ shows ever more potential and promise to deliver world-wide success.

We caught up with the rising star to discuss his charmed career, from early lessons learned on-set to rude awakenings at warehouse raves and the excitement of playing one of the most important musical figures of the 20th century.

Ben Aldridge. Photograph: Justin van Vliet

You worked with some of the most prolific actors early on in your career: Michael Fassbender, Colin Firth, Dominic West, Olivia Colman and many others. Did you find that intimidating? Did they impart any wisdom that you use to this day?
Definitely, that can be intimidating. You have to acclimatize as quickly as you can. When you’re stepping onto a set, you can be mesmerized by what you’re surrounded by and doing. It’s the same working with [high-profile] actors, like Michael Fassbender or Ray Winstone, on my first job. I definitely had to pinch myself, and you haven’t got a lot of time to get caught up in it, because at the end of the day you’ve got to raise your game to their level, you kind of have to value yourself pretty quickly and believe you can hold your own.

In terms of learning stuff from them, yeah, a huge amount. But I can be slightly shy so I’m reluctant to ask people questions or ask, “What can you teach me?” But I think you just absorb so much from being around those people. Also, in one role I worked with an actress I found hugely inspiring, her dedication towards her role, and how she was constantly thinking about how truthfully and how authentically to portray her character, and I think that was a real lesson.

You play Captain James in the Our Girl, which returns for a second season this autumn. Has this role changed your views on, or opinion, of the armed forces? And what did the role teach you, if anything?
I think I knew very little of how the Army really works, its inner workings, and actually what job they are doing. And I had little awareness of modern warfare, the war that we are involved in in Afghanistan. I think because it can feel very distant to us, even though it’s our country in that war. So it was a huge education.

I read quite a few biographies, and watched a fantastic BBC series called “Our War,” which was filmed from the troops’ perspective on GoPro’s that they attached to their helmets during actual combat and battle. They were eye-opening, as this wasn’t something I had much prior knowledge of, and I feel like I learned a lot. It was absolutely a newfound perspective.

In Our Girl, we try to be as authentic as we can. On a day filming in South Africa, we were out in 38 degree heat carrying full kit, with real weighted backpacks, we’re going, “Jesus, this is a lot of work,” and we’re just pretending. Like, I’m just marching 10 minutes then going back, but the real soldiers are going on day-long patrols in that heat or engaging in contact as well. They are having real extreme experiences, an extreme way of living.

When you’re on tour, you’re not involved in our society as we know it, you’re so removed in a way, and one thing that struck me is that the Army is a really incredible organization. I don’t necessary support our involvement in those wars, or agree with them, but I think that the armed forces have also got a focus on humanitarian missions, and do offer support in many third-world countries, doing very good work.

Ben Aldridge. Photograph: Justin van Vliet

You have a reputation for being something of a clean-cut, serious actor; Do you think that’s a fair representation?
No (laughs). I think I’ve realized that’s something I’d like to work on, my diversity as an actor. I think I’ve been fortunate to play some quite nice, charming people in period dramas, but I’m so up for playing roles closer to myself. As actors we try to be multifaceted. I think I’ve touched on some of that, but there’s always more to discover. We contain multitudes (laughs).

Well on that point, then, what’s the strangest place you’ve ever woken up?I think I’ve woken up at a warehouse rave before (laughs), that was quite strange. There’s probably been a few.

So looking back to roles, what would be the ideal role for you?
I couldn’t cite a famous Shakespeare role, or wouldn’t want to do that. But I’d be interested in exploring something quite psychologically dark and detailed, something in that vein would be quite nice.

Ben Aldridge. Photograph: Justin van Vliet

What lies ahead of you in the near future? Any upcoming projects you can talk about?
I just wrapped [Amre,] a film about George Gershwin, the American composer, which was an incredible experience. I completely fell in love with him and the world he inhabited, his music for one thing, but also I had to do so much research on him, and he was just an incredibly magnetic, charismatic, energetic, powerful force. He was careering around the world, writing this pioneering fusion between jazz and more symphonic sounds.

It was a hugely intimidating role, which I really loved, trying to fill his shoes. We filmed it in Paris, set in 1925 Paris, and the story of George Gershwin meeting this musician from Kazakhstan and attempting to liberate him from his life in Russia. It’s got myself, Abbie Cornish, and a guy called Sanjar Madi, so that was really exciting, and I think it’s hitting festivals next year.

In terms of projects coming up, I’m not sure acting-wise what I’m doing yet, but I’m directing a short before Christmas written by some friends of mine.

What role that you’ve played to date has resonated the most with you, and why?
It’s hard to say, but George Gershwin might be the role I’ve been most excited to play. Playing real people is always a big responsibility to take on, but I absolutely relished every bit of information that I could gather about him and really indulged in having a great time. That’s probably the part I’ve been most excited to play, I reckon.

by Alexa Beatriz

All photographs: Justin van Vliet

The post Ben Aldridge – getting to know an actor on the ascent first appeared on The Glass Magazine.

Glass caught up with her in London.

Lily Loveless. Photograph: Justin van Vliet

What inspired you at first to act?
What I actually wanted to do as a kid was direct live TV – Top of the Pops or Blue Peter preferably. I thought it would be the most fun job in the world. What made me want to act, what made me see how awesome film is, was a Film 4 trailer – a montage of different films, cut together with some fast, pumping track over the top. Film suddenly looked so crazy and exciting and I wanted to be a part of it. Those two minutes made a huge impact on me. Maybe I’m meant to be an editor!

Did your character from Skins, Naomi Campbell, typecast you? How has this shaped your career? And what types of roles do you aspire to?
I’m not sure if Naomi typecast me. I know I wouldn’t have had particular roles offered to me if I hadn’t done Skins, so I didn’t accept those ones. I wanted to wait and hold out for ones that were different. But to be fair, being a teenage girl/young woman gets you typecast. There are a few good roles here and there, but mostly they just want a moody teenager with an attitude, or an airhead.

Just because someone writes a girl as being “strong” or “feisty” doesn’t mean she’s strong as a character. A strong character is one that seems real – one that has been well written, thought out, has a personality. Naomi was both. I aspire to roles that are complex, and interesting. There should be as much variety in female characters as there are in male. I aspire to play roles that make that a reality.

Lily Loveless. Photograph: Justin van Vliet

Which actors do you look up to most and why?
I think Vicky Mclure is an astounding actress. So superior to many much more famous actors. I also find Phoebe Waller-Bridge so impressive, as a writer as well as a performer. I think she’s super clever, and brave, and very talented. Daniel Kaluuya, on stage and on screen and Joe Dempsie. You know who I love? Benicio Del Toro. He’s magnetic. Ralph Fiennes is a master at both drama and comedy. I’ll watch anything with Viggo Mortenson.

Your most recent feature, Set the Thames on Fire, is like nothing else you’ve worked on in the past. What challenges did you face making the film?
The fact that Set The Thames on Fire is nothing like anything else I’ve done was so exiting. I’ve never played a character like Emily, or been in a film like that, or on a set like that! Challenges? Maybe that actors like Sally Phillips and Noel Fielding, who can come up with these amazing comedic characters, were alongside me. I will never be satisfied with the job I’ve done.  I’m still learning.

 Lily Loveless. Photograph: Justin van Vliet

What advice would you give yourself when you were just starting out?
I’d tell myself to try as hard as I could at every take on every scene. Never be lazy. To try, hard as it might be, to concentrate on the acting, and not worry about your appearance. I’d tell myself to listen to some, ignore many. You’ll know who. To be grateful. To not take “no” personally. To always be yourself, corny as that sounds. There’s a lot of pressure to look and act like everyone else. Your music taste is fine. You don’t have to like indie to be cool. You can stop pretending. You don’t have to be posh to fit in. You’ll find your space, and like-minded people.

What other projects can we expect in 2016 and ‘17?
I’ve just finished my first play, which was an incredible experience, so I’m hoping to return to the stage soon. We’ll see. It’s a new adventure for me.

by Justin van Vliet

All photographs: Justin van Vliet

Lily can next be seen in Set the Thames on Fire which is now available on demand and on DVD. You can follow Lily on Twitter.

The post Lily Loveless talks to Glass about her most recent project – Set the Thames on Fire first appeared on The Glass Magazine.