It was a cold Monday evening, but Jessie Buckley, bundled up in a sweater and coat, didn’t seem to mind as she walked to the Bastardo wine bar in Hackney. She arrived a little early for our meeting, and Paul Mescal, also warmly dressed, soon followed. They quickly chatted – he’d just finished rehearsals for Sam Mendes’ upcoming Beatles films, where he’s playing Paul McCartney, and she’d been at home with her four-month-old baby.
Neither of them bother with small talk. They’re here to talk about “Hamnet,” the powerful new film adaptation of Maggie O’Farrell’s acclaimed 2020 novel, directed by Chloé Zhao. Both are so enthusiastic about the project that they end up staying almost 20 minutes longer than scheduled.
I’m such a fan of Jessie Buckley! She’s incredibly talented – nominated for an Oscar for her work in “The Lost Daughter,” and she truly shines in films like “Women Talking” and “Wild Rose.” I was lucky enough to be sitting near her when she joined me on a bench and started drinking from this huge bottle of water. Paul Mescal was across from us, enjoying a gin and tonic, and the whole scene felt so relaxed and genuine.
I truly believe meeting him was like finding someone on my level. I feel like we’re destined to cross paths at important times in each other’s lives, moments that will help us both grow and move forward.
For Mescal, 29, who gained recognition in films like “Aftersun” and “All of Us Strangers,” this experience has been a dream come true. He says it’s everything he’s ever hoped for in a job.
The movie “Hamnet” tells the story of a young William Shakespeare (played by Mescal) and his passionate relationship with Agnes (Buckley). While Shakespeare is a scholar, Agnes is free-spirited, and their connection is both intense and deeply meaningful. The film is a fictionalized account, inspired by historical details and creative storytelling. It centers on the tragic death of their son, Hamnet (Jacobi Jupe), at the age of eleven. The film portrays Shakespeare channeling his immense grief into writing his renowned play, “Hamlet,” a process that ultimately brings solace to Agnes as well.
I was so excited to hear that Mescal reached out to Zhao about a potential collaboration! And honestly, Zhao only had Buckley in mind to play Agnes – they were the perfect fit, and the director wouldn’t even consider anyone else. It’s great when a director knows exactly what they want!
Zhao, 43, explains over Zoom from Los Angeles that the director is, at her core, a natural storyteller. What truly sets her apart, Zhao adds, is her genuine humility – a quality rarely seen, and one that allows for true authenticity. She believes that being overly concerned with appearance hinders genuine expression.
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I recently heard the incredibly talented filmmaker talk about what she’s been up to since ‘Eternals.’ She shared her experience adapting the story of Shakespeare’s family, and it was fascinating! She even told us what Ryan Coogler said to her after he watched her adaptation of ‘Hamnet,’ which was a really special moment.
Though both Jessica Chastain and Josh O’Connor appeared in “The Lost Daughter,” they never filmed any scenes together. When they were cast in “Hamnet,” they met up for drinks in New York City in early 2024, several months before filming began, to get to know each other.
Mescal admits they had a very wild night out and doesn’t recall where it took place. Buckley clarifies it was at Joyface, a bar in the East Village, and that ABBA music was playing.
“I heard you perfectly,” Buckley said, her voice getting louder. “To be honest, it really bothered me, but you were right.” She glanced at him, then wondered aloud, “Should I even be saying this?”
“Absolutely,” Mescal agrees, jovially.
Buckley remembers someone telling him, ‘You’re passionate and full of energy, and I’m going to try to suppress that.’ His response was simply, ‘Good luck trying.’
I remember really digging deep, trying to recall everything about the scene. It all came back to the film itself, of course. But honestly, I was so intimidated! I was acting opposite someone I’ve always seen as a total powerhouse – just a huge presence on screen, with so much depth. It made me incredibly nervous about the whole job, knowing I’d be going head-to-head with that kind of talent.
From the very first chemistry read we did, there was an undeniable connection,” Buckley explains. “We immediately felt a spark, both individually and together. It was like a powerful, flowing energy with a strong, grounded core.
It was amazing to see the cast come together that summer to start filming “Hamnet” in England. Jessie Buckley actually went straight from finishing her work on Maggie Gyllenhaal’s new take on “Bride of Frankenstein,” called “The Bride!,” and she still had bleached hair and eyebrows – she’s playing the Bride! For our first rehearsal together, Chloé Zhao brought Jessie and me to this really unusual tantric workshop. It was just the three of us in the room, which felt incredibly intimate and a little unexpected.
Mescal remembers the experience starting with him and Jessie pretending to be male and female genitalia, respectively. They stood across from each other in a room while music played and chanted, which he found amusing.
Buckley admits he initially thought, ‘I should just accept what’s happening,’ but quickly realized he was confused and needed to understand the situation. He explains, ‘It quickly shifted to just trying to figure out what was going on.’
Zhao describes the rehearsal as an “experiment in polarity” that was essential to the story.
She explains that the stronger the contrast between two people, the more compelling their connection becomes. She deliberately created a dynamic where Paul represented complete order and Jessie embodied total chaos, eager to observe the results. Seeing them come together and kiss, she felt like the entire story unfolded before her eyes.
It wasn’t obvious at first, but Zhao had a clear approach to her directing. She wanted the actors to stop overthinking, embrace curiosity, and focus on the present. Each day began with a calming three-deep-breath exercise, and she even brought in a dream coach, Kim Gillingham, to help them tap into their deeper emotions. Zhao encouraged the actors to fully express their feelings.
What really struck me about working with her was how deeply personal the process was. It wasn’t about her imposing anything on me, but about drawing something from within me. She wanted to create a space where our energies could meet and, honestly, almost collide, to see what new and unexpected thing might emerge. It felt like she was stitching together parts of herself through the experience, and that really informed how she approached everything – making sure I was grounded and present so that collision could be genuinely creative.
Mescal explains that Chloé isn’t like typical leaders who hide their emotions. While she’s very capable and practical, Chloé isn’t afraid to show vulnerability, which makes her a different kind of leader.
Buckley explains that curiosity stems from an open mind. Instead of jumping to conclusions or letting fears influence your first impression, it’s about approaching new things without preconceived notions.
Zhao explains that her directing style involves finding “a balance between chaos and order.” She’s skilled at knowing when to take charge of a scene and when to let it unfold naturally.
Zhao explains that she lets her actors bring their own interpretations to the role. She avoids directing their emotions or actions, preferring to let them react naturally and live in the moment.
When young Hamnet dies, Agnes lets out a deeply emotional and raw cry. Her grief feels incredibly real, almost as if you’re experiencing it with her. Remarkably, this wasn’t something the actress was instructed to do – it was a spontaneous reaction.
Buckley downplays the impressive feat, saying it just happened naturally. She’s hesitant to talk about how she pulled it off, simply shrugging and explaining they filmed it from multiple angles over about three takes.
Zhao views this as a shared expression of grief, with Buckley acting as a conduit for the community’s feelings, much like a traditional healer. They hadn’t planned for Agnes’s scream beforehand.
Zhao describes a deeply emotional atmosphere on set. By the time they filmed that particular scene, everyone was processing personal grief, creating a palpable silence. The raw emotion simply emerged naturally from the actress, who Zhao says allowed herself to fully experience and channel the collective sadness of those around her. Being truly present and connected to that shared grief allowed it to be expressed authentically.
William responds to the situation very differently from Agnes, seeming to suppress his sadness instead of openly expressing it. Actor Paul Mescal experimented with various emotional approaches while filming the scene.
Mescal appreciated that Chloé chose to portray her emotions internally. He explains that if both actors had expressed their feelings outwardly, it would have been difficult for viewers to connect with the story. His character reveals his emotions later on, and Mescal notes that imagining oneself in such a difficult situation can be truly unsettling.
Much of the discussion surrounding the film “Hamnet” has focused on its moving portrayal of grief, and the actors’ powerful performances are generating significant Oscar speculation. However, Mescal and Buckley were particularly drawn to exploring the connection between William and Agnes, and how creative individuals balance their art with the demands of everyday life.
According to Buckley, her character, Agnes, sees that this man’s ability to express himself is far greater than his surroundings or even his own life. She believes that true love requires letting go, and for him, it’s through his creative expression that the memory of their lost child lives on forever.
Paul Mescal points out that while many understandably focus on the film’s intense sadness – which he credits to the storytelling of Maggie and Chloé – he’s particularly proud of the work they put into building the relationship at the start. He believes that strong foundation is what makes the eventual loss so impactful.
The first part of the movie focuses on the couple’s complicated but loving relationship. It’s filled with both humor and deep connection. However, William’s passion for writing eventually becomes more important to him than his family life.
Buckley describes it as a genuine struggle within the relationship – a pull between wanting to be with each other and wanting to pursue individual passions and connect with the wider world.
Both actresses relate to this feeling. Buckley, who is married to a therapist, says she doesn’t feel limited by her family life. However, she recalls her mother, a gifted singer, never having the chance to truly pursue her passion beyond performing at their local church.
Buckley explains that her mother has always been very engaged with life, but also deeply devoted to raising her five children. Buckley believes the biggest challenge of motherhood is wanting to give so much of yourself, and she witnessed how strong that desire was within her mother.
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Becoming a mother has given Buckley a new understanding of how family, creativity, and personal identity can coexist. She explains, ‘Motherhood forces you to be direct and truthful.’ However, she also admits it’s challenging, saying, ‘It feels like you’re being pulled in three different directions at once, and it takes time to find your footing.’
I’ve been following Paul Mescal’s career closely, and it’s interesting to hear him talk about his personal life, even if he is pretty private about it. Apparently, he and Gracie Abrams have been together for over a year, but he doesn’t really like to discuss it publicly. What did strike me, though, was him saying that making “Hamnet” somehow made navigating a relationship easier for him. It’s a bit of a cryptic comment, but I’m fascinated by how deeply his work seems to affect him, even off-screen.
He feels it’s actually become a little simpler for him. He explains that you never know how long you’ll have the chance to speak your mind and reach an audience, so it’s important to make the most of it.
What really struck me about both these artists is this undeniable need to make things. Even though Jessie Buckley is taking time off to be with her new baby, she confessed she still feels that creative pull. And working on ‘Hamnet’ really reinforced for both her and the director how crucial it is to choose projects carefully – not just taking on anything that comes along, but really finding work that resonates.
“There’s a lot that’s bad,” she says. “There are a lot of bad scripts.”
“There’s more bad than good,” Mescal jumps in.
Now that she’s a mother, Buckley feels she can’t leave home for three months to work on a film, as she explains. She describes making ‘Hamnet’ as a deeply challenging and emotionally draining experience, like trying to grasp something impossible.
She emphasized her desire for connection, saying, “I’m really looking for a community – a group of artists who share the same drive and passion. I want to try new things, push boundaries with language, and see more unique, strong voices like Chloé emerge as leaders.”
“We have so many brilliant friends who would want that,” Mescal says.
Artists stand out because their work is unique and original, not blended into everything else, says Buckley. He believes it’s essential to nurture and showcase that individuality, stating he wouldn’t be satisfied doing anything less, and simply can’t continue if he did.
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Talking about filming “Hamnet,” the nine-week shoot sounds incredibly intense. Immersing themselves in such sorrowful roles would have been emotionally draining for the actors. However, despite moments of quiet between scenes, they found the experience energizing rather than tiring.
Mescal describes the experience as a period of profound self-discovery. He says it was incredibly intense and hard to put into words, but ultimately felt very meaningful. Looking back, he realized it was a photoshoot he’d never forget.
He turns to Buckley. “I’m curious as to how you felt,” he says.
“It felt really energizing,” Buckley said. “There was a lot of newness and growth happening. It definitely didn’t feel stuck.” She paused, then added, “It felt like something truly monumental.”
Our conversation ended quickly, even though it lasted longer than expected. Buckley is excited to get back to her baby, and Mescal has another rehearsal tomorrow. Before we finish, I ask Mescal if he feels he managed to balance Buckley’s energetic personality.
Mescal admits it’s a difficult goal, but says he definitely tried his best. He adds this with a smile.
Buckley lets out a guttural, defiant laugh.
Working with Jessie felt incredibly empowering, like being a boxer sparring with a top opponent. She challenges you to rise to the occasion and pushes you to discover abilities you didn’t know you had. I’d never felt so creatively stimulated by another person before.
Buckley concluded with a thoughtful observation. She explained that performing the work of legends like Shakespeare or Paul McCartney requires immense talent and presence, and she believes Paul McCartney possesses that quality. She rarely encounters artists who can truly command attention and embody such a grand scale in their work.
“That’s mad,” Mescal says, shaking his head.
What struck me most about this actor’s performance is his ability to portray strength and vulnerability simultaneously. It completely makes sense he was chosen to play Shakespeare – the Bard, at his core, was all about humanity. It’s rare to see an actor pull that off with such authenticity, but this one truly does.
After saying goodbye with hugs, they stepped back into the night, still hidden from view. It was a brief, intimate moment before they revealed their true selves to everyone.
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