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LOS ANGELES — Jacob Elordi is experiencing a significant surge in his Hollywood career, prompting him to question whether it’s all a dream.
Amid a series of prestigious projects with renowned directors — including Sofia Coppola’s “Priscilla,” Guillermo del Toro’s forthcoming “Frankenstein,” and currently in theaters, Paul Schrader’s “Oh, Canada” — the 27-year-old actor remains humble about his newfound success.
“I never want to seem arrogant by saying, ‘I pick what’s right for me,’” Elordi shared in a candid interview. “I feel incredibly thankful because suggesting that I select these roles sounds like too self-aware. I’m in this ongoing state of disbelief, constantly wishing to be woken up from this dream.”
“Oh, Canada” follows the story of Leonard Fife, portrayed by Richard Gere, a celebrated filmmaker near the end of his life who consents to documentary cameras capturing his final chapter of life.
Elordi takes on the role of a younger version of Fife, adapted from Russell Banks’ novel “Foregone.” Although he and Gere have different physical appearances, Elordi’s portrayal convincingly represents a younger Gere, owing much to the research he invested in studying Gere’s mannerisms.
“Richard has a diverse and rich filmography, so there was much material available to observe and emulate,” Elordi explained. “The film ‘American Gigolo’ was particularly helpful for mimicking his physicality, especially since he was around my age when he made it.”
Director Paul Schrader is recognized for his unique filmmaking style rather than creating commercial blockbusters. Although he has received accolades throughout his career, not every film has fared well with critics.
Despite this, the 78-year-old filmmaker has established himself as a significant figure in cinema, collaborating with numerous talented actors, including Amanda Seyfried, Willem Dafoe, Oscar Isaac, and Nicolas Cage.
“There’s a group of individuals who have significantly impacted the art of cinema, and he’s at the forefront,” Elordi remarked. “Whenever an email comes in with Paul Schrader’s name, it’s an immediate, ‘Yes.’”
Even with such a prominent legacy, Schrader’s films are not typically associated with smashing box office records. Reflecting on his career, he has been open about his indifference toward achieving immediate financial success with his projects.
“To me, longevity is more important than box office results,” Schrader stated. “I don’t place great expectations on an opening weekend.”
Instead, he assesses his films based on different benchmarks: “If I manage to get a film made, that’s the first success. If it’s taken seriously, that’s the second. And if it resonates with the audience, that’s the third level of success.”
While Schrader’s films may not trend towards being avant-garde or experimental, they tend to spark more discussions among cinephiles than among the mainstream audience. His earlier work, “First Reformed,” is a prime example of a film that does not provide comforting resolutions. Likewise, “Oh, Canada” is not designed to be an adrenaline-fueled experience.
Nonetheless, Elordi disagrees with the perception that Schrader’s work is inaccessible to broader audiences.
“That notion creates an elitist atmosphere around films, and I dislike that attitude about cinema,” he expressed. “There’s a language in film that becomes easy to understand if you immerse yourself in quality content.”
However, Elordi conceded that some films do require patience and a readiness to engage with uncertainties.
“My mom often tells me things like, ‘The movie can’t just end without the resolution. I need all the details.’ And I’m like, ‘Actually, films can end, leaving you to ponder over them,’” he added.
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