Paul Mescal enters the north London cafe having trudged a short distance through the snow from his gym. Heads turn, but Mescal is oblivious. He shakes himself out of a hooded coat then nonchalantly…
won seven awards, including Best British Independent Film and Best Director. At the pre-Christmas awards ceremony in London, Corio’s speech went viral after she playfully roasted Mescal in front of a roomful of industry people, yelling, “I was number one on the call sheet and he was number two — so he was the co-star and I was the star!”
Mescal laughs. “I don’t know if I’m particularly good with kids, generally speaking, but for some reason with Frankie, I found it easy. I can’t explain that other than probably, like, chemistry that exists between people. And we were lucky.” Asked what poetry might best connect to the film, Mescal cites Thomas Lux’s “My Father Whistled”, which Lux dedicated as “a love poem to my father”. He then recites a line from another poem about a daughter teething for the first time. “It’s so tender,” he says softly.
Mescal nods his head in agreement. “I think it’s spot on,” he says. “I don’t think there’s anything particularly interesting about watching somebody suffering for 96 or 97 minutes. What I think makes it more effective is when you see them tryingto, and I think Calum really doesn’t want to have the set of feelings that he’s been given. And you see him fronting up against that on a daily basis. That, to me, is where… ” He pauses.
Talk turns to the topic of masculinity, about hiding emotions, and the way men are often slow to look after their mental health. “I think talking to someone about your feelings is a very, very modern thing,” he says. “Like, when I told my dad that I’d started going to therapy, he went, ‘What? What’s wrong with you?’” He laughs. “Because that’s, culturally, what you do: you go to a therapist if you’re mentally blocked.
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