JEDDAH: British actor Nicholas Hoult entertained audiences at the fifth Red Sea International Film Festival during an In Conversation event on Monday with details of his next major role in Tom Ford’s upcoming period drama “Cry to Heaven.”
The project, which begins filming in January, marks the actor’s reunion with the celebrated filmmaker after they collaborated on “A Single Man.”
Hoult spoke passionately about the film during his talk, calling Ford’s script “beautiful” and praising the director’s attention to emotional detail.
Adapted from Anne Rice’s 1982 novel, “Cry to Heaven” is set in the world of 18th-century castrati opera singers in Italy. The film’s ensemble cast includes Colin Firth, Aaron Taylor-Johnson, Paul Bettany, and pop icon Adele in her debut acting role.
In his opening comments, Hoult offered the audience a glimpse into how he entered the world of acting. “I grew up in a performance-filled home, and my siblings pushed me toward dance and theater.
“My first audition was at age 5, and all I had to do was sit under a table and pretend to eat cake. It was easy and fun, and that role ended up launching my lifelong career.”
Hoult also reflected on the characters that shaped his career, including his acclaimed portrayal of Beast in the “X-Men” franchise. “Comic-book fans are so caring and passionate. Their dedication really pushed me to fully commit to the role and honor its legacy.”
He then spoke about recent transformative experiences with filmmakers Robert Eggers and Clint Eastwood. With Eggers, scenes required long, precise single takes, sometimes up to 30 attempts.
Eastwood, on the other hand, adopted a minimalist, almost musical approach. Hoult imitated the director: “He just says, ‘whenever you’re ready,’ and then ‘stop.’”
Hoult hopes to work with filmmakers including Sean Baker, Quentin Tarantino and Christopher Nolan, and fulfill a long-held dream of starring in a Western.
He said Eastwood’s “Unforgiven” remains one of his all-time favorite films, calling it a masterpiece.
He joked about subverting the genre with a “Western–car-racing fusion” film, adding that the magic of cinema lies in turning imagination into possibility.
