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‘No One Wants to See Rich People Having a Good Time.’ Jason Isaacs on the Perverse Pleasures of The White Lotus Season 3

BBG News

As a cinephile on set, it’s no secret that I’m yearning for a spirited game of tennis. The telltale sign? My trusty racket has accompanied me today. With anticipation gleaming in his eyes, Jason Isaacs approaches, asking, “Fancy a match?” It’s an offer too good to pass up.

It’s hard to blame Isaac for enjoying the exceptional amenities at the Four Seasons Koh Samui, which has been reimagined as the luxurious White Lotus resort for Season 3 of HBO’s popular show with a comedic twist, premiering on Feb 16th. While the first season explored power dynamics in Hawaii and the second delved into sexual themes in Sicily, this new installment is set in Thailand, exploring Eastern spirituality and mortality. However, Isaac isn’t entirely convinced about the show’s claims regarding Eastern spirituality.

He chuckles and comments, “It appears there’s quite a bit of influence and intimacy at play here.” He then adds, “You know, the essence of humanity remains largely unchanged. And it’s safe to say that not everyone leaves with newfound wisdom.

As a movie enthusiast, it’s undeniable that Isaacs takes on the role of Timothy Ratliff, a well-connected Southern financier deeply entrenched in North Carolina’s power structure. In a seemingly peaceful family vacation, Ratliff finds himself confronting what he calls “the 12 horsemen of the apocalypse,” metaphorically racing towards us, as he puts it. His family, portrayed by Parker Posey, Patrick Schwarzenegger, Sarah Catherine Hook, and Sam Nivola, joins him on this trip.

For enthusiasts of the series “Lotus“, it’s often a recurring theme that the show masterfully satirizes affluent, spoiled Western tourists and their awkward interactions with overworked hotel staff. As Isaacs puts it, “Mike enjoys crafting tales about individuals who appear to be living extravagant lives, but are enduring the worst moments of their existence.” In his stories, “the rich aren’t enjoying themselves; instead, he presents characters whose lives are spiraling out of control.

We find ourselves engaged in conversation at Four Seasons Samui’s poolside rum vault, an unusual setting boasting walls filled with bottles of rare and costly liquor. In this instance, the vault serves as a makeshift screening room due to its climate-controlled environment – a valuable refuge from the scorching 110°F heat outside. This secluded spot stands out amidst the bustling production set, but it may not be the ideal location for an interview with someone who has been vocal about his past battles with addiction. His character in Lotus too appears to grapple with inner turmoil. “I don’t rely on personal experiences,” he states casually. “What is acting? It’s all about ‘what if.’ What if we were confronted by aliens? What if I possessed magical powers? What if I was a soldier in this crisis? So, I don’t intentionally draw from personal experiences; instead, I aim to empathize and visualize the character’s emotions. However, if you dwell on past memories like the death of your cat, then you’re not fully present. The more I age, the less preparation I do, the less I feel the need for any technique.

It might come as a surprise, considering Isaac’s diverse roles across his extensive career, that he initially studied law and later pursued acting after graduating from university. Born in Liverpool, 61-year-old Isaac found global recognition playing Colonel William Tavington opposite Mel Gibson in the 2000 historical epic “The Patriot”. His talent was further recognized with notable performances in films like “Black Hawk Down” and the “Harry Potter” series.

Isaacs found himself attracted to “The White Lotus” for various reasons, one of them being the opportunity to collaborate with creator Mike White. Did the spiritual themes present in this season’s storyline resonate with him in any way? Given that Isaacs was brought up Jewish but now identifies as more of a secular atheist, it’s worth asking. “I’ve never subscribed to the notion of any kind of deity whatsoever,” Isaacs casually admits, acknowledging potential complications.

According to Isaacs, there aren’t many better filmmakers to delve into this subject matter than White, who not only came up with Lotus, but also pens and directs each episode. As Isaacs puts it, ‘White is an exceptional storyteller.’ The fascinating aspect of White’s writing is that it guides you along a path, only to discover later that the action has already passed or lies off to one side. This way, he catches the audience off guard. Moreover, the intricacy of the characters when they first appear and how they evolve throughout the story, as well as their reactions to various situations, is another aspect that White skillfully portrays.

Working with Mike is a pleasure because Isaacs and White share similar creative perspectives. As Isaacs puts it, “There’s no need for pre-planned acting; we just go with the flow.” In other words, they don’t rely on scripts or strict planning, instead letting their performances evolve organically. Isaacs explains, “Some scenes call for shouting, others for a cracked voice, but there’s none of that rigidity.” He continues, “There are actors who rigidly stick to their plans, regardless of what happens. But with Mike at the helm, I feel secure knowing he won’t let me falter. With this kind of writing and a director like him, you simply show up and see where the process takes you.

It’s not a secret that a carefree approach can lead to its own issues when the script can suddenly change to reflect White’s latest creative burst. “I found it incredibly difficult,” Isaacs admits. “I wasn’t quite sure about the atmosphere, the style, or the rhythm. I’ve never allowed anyone as deeply involved in the process as I have been on this project. It’s true for many of my colleagues too, simply because we’re shooting scenes out of order. Moreover, he’s unpredictable; he enjoys stirring things up.

White’s approach is noticeably distinct from the environment Isaacs encountered in the 2017 black comedy “The Death of Stalin,” a production that, despite its free-flowing, unscripted vibe, was carefully managed by writer and director Armando Iannucci, the Emmy-winning mind behind “Veep.” As Isaacs puts it, “I think I improvised only two lines on ‘The Death of Stalin,’ and Armando never let me forget which!” However, in a sense, they share some similarities, according to Isaacs. “They’re very much alike,” he reflects, “because there’s one person in charge, and everyone is trying to impress that individual.” If you can make Armando laugh, then you feel like you’ve accomplished something.

Working with White involves trusting that things will turn out well in the long run. As one of the older actors on Lotus, he’s seen his fair share of experiences. He acknowledges the immense anticipation surrounding the project and finds the process itself to be quite enchanting. For him, it’s now more about the adventure than the final outcome. And being part of such a fascinating character’s journey, guided by a Machiavellian mastermind, is truly a rare privilege.

Working together for extended periods at the same resort fostered close-knit relationships among the cast and crew. As Isaacs explains, “One reason people are attracted to this industry is because it provides an alternative family.” He further elaborates, “Everyone’s mold is a bit damaged. What initially drew me when I started acting in college was that there was already an established community.” Isaacs suggests that the appeal of show business lies not in the glamour typically perceived—red carpets and elite gatherings—but rather “the fact that you’re with a group of people, you become very close, and then you lean on each other.

Eventually, there comes a time when the novelty wanes. “During this period [in June], when we’re around five or four months in, we all understand that it’s been an incredible privilege,” he says. “We can hardly wait to share our experiences with others once we no longer need air conditioning to survive. At some point, the summer camp experience loses its charm and I can’t recall ever being anywhere else, knowing anyone else, or doing anything else. My real life feels like a faint memory.

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2025-02-14 16:07

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