Back in the Big League: An Interview with Zen McGrath

Photo: Laurent Koffel

When you see the billing for Florian Zeller's star-studded new film, The Son, one name may sound a little unfamiliar. 

Zen McGrath is the only actor out of the main five performers without an Oscar win or nomination to their name. But despite his newcomer status, he arguably has the most important role — he is the son. McGrath plays Nicholas, a teenager battling clinical depression. His world is rapidly spiralling, and his family, consisting of his father (Hugh Jackman), mother (Laura Dern), and stepmother (Vanessa Kirby), face their own battle in navigating how best to help him. It's a role that demands plenty from McGrath, but it's also given him a lot back.

McGrath's history with acting is a fascinating one for someone so young. The Melbourne-born actor first appeared alongside Jennifer Connelly in the international drama Aloft. In the near decade that followed, little was seen of him outside of the odd guest role on a television series or part in a short film. The Son is certainly a breakthrough for the young up-and-comer. Sharing the space with some Hollywood heavyweights, McGrath reintroduces himself in a performance that has a lot of people talking. And while at this moment, he is surrounded by stars, it might not be long before he is one himself.

Ahead of the film's release, McGrath spoke with me about having Hugh Jackman as a screen partner, how The Son changed his relationship with acting, and nearly leaving the profession behind to take up a physics degree. This conversation has been edited and condensed for clarity.

CONNOR DALTON: I want to start by talking about your first film, Aloft. How exactly does one start their career working with Jennifer Connelly?

ZEN MCGRATH: That was kind of my older brother's fault, I would have to say. My older brother had done a bunch of gigs before then. He started acting by doing ads when he was probably around five, I think. I don't know exactly, but he ended up getting an agent, and he got loads of roles in films like Lincoln, Dark Shadows, Hugo — they were small roles, but they were still big profile supporting actor roles. He ended up getting this role in Aloft initially back in 2012, but he grew out of the age gap in the time that the film was delayed. Him and Claudia [Llosa], the director, thought maybe I could try out for it, and basically, that's what happened. I went in for an audition, and the best part was that my younger brother, Winta, came in and read for the younger sister role. And basically, what ended up happening was I got the role, and Winta got the role of the younger sister, but they changed it from younger sister to younger brother. And to make it more confusing, in honour of Gully, my older brother who didn't get the role, they named the younger brother [character] Gully. So it was very confusing to me as a 10-year-old to be able to get that name switch right in scenes. But it was kind of just happenstance because of my older brother. 

DALTON: Since that film, you've earned a handful of credits. What was your relationship with acting after Aloft but before The Son?

MCGRATH: It depends because it's quite a long time period — it's about eight years. I think initially, I saw it as a main thing, especially because I was being homeschooled at the time. So I had time to do auditions and tapes and that kind of stuff, and I got some more roles. But as I grew older and wanted to get good grades in school, I had other interests. I wanted to go to university to study physics because I really liked all that sort of theory stuff. So I kind of put acting on the sideline, especially while I was doing my last year of high school. I didn't do any auditions for practically the whole of 2020 for year 12 because I wanted to focus on my grades and not get distracted. Then I ended up getting the grades I wanted and started at Melbourne University, and everything seemed like it was going in that direction.

My parents asked me if I wanted to keep acting, and they said it would be a shame if I stopped doing it now. And I thought, 'Well, I guess I've been doing auditions and tapes my whole life; they're not going to take that much time.' So I kept doing it, and a couple of months later — I think it was in May 2021 — was when I first did an audition for The Son, and I got incredibly lucky because that was probably the third audition I did since going back, and it all just kind of happened from there. It was very surreal and not expected at all. At the start of that year, I was even considering leaving acting behind for a bit because I hadn't gotten a gig in a long time, and the gigs I did get were very minor, like having a guest role in Utopia or a couple of short films. So I didn't think it was really going anywhere, and then I got lucky.

DALTON: What went through your head when you read the screenplay?

MCGRATH: I remember reading the sides for the first time and instantly feeling that resonance with Nicholas, feeling like I could already grasp the emotion. [This was] just from reading the sides; I [hadn't] even read the whole script yet. That wasn't until the second audition, and it didn't take much for the writing to get me into that emotional space. I feel like that's credit to Florian and Christopher [Hampton's] writing. I think what they've written is beautiful. I felt an instant connection, and then, reading the script, I remember having the same feeling all the way through and tearing up reading the end. It's a super tragic story. It's even more devastating than you initially thought. So I think I was just amazed and entirely honoured that Florian thought that I was right for the role. It was a completely cathartic experience.

DALTON: Did the role and what it demands from its actor feel intimidating at all?

MCGRATH: Maybe initially. I remember I thought, 'Oh, I have to start preparing; I have to learn all my lines.' One thing Florian did, because he's worked in theatre practically his whole life, was he wanted me to learn all the lines off by heart before I even got there, so I was able to recite the whole film. [I knew] Nicholas' lines all the way through; my dad would help me memorise. And I remember being slightly — as anyone would be — [nervous] being put side by side with these actors who've been acting for longer than I've been alive. They're absolute icons, but as soon as I met them, they were so welcoming, kind, and accommodating to me that it wasn't even a worry. They made me feel like I had nothing to worry about except the work itself. I have to give them credit for that. Florian, Hugh, Vanessa, and Laura were just the most lovely people.

DALTON: On set, what was it like to work with Florian Zeller? What is he like as a director?

MCGRATH: I would say he's quite open to all ideas and advice. He's quite an adaptive director, but he's also very kind and understanding. Before every take for a challenging scene, he would always ask, 'Are you okay to do another one? If you're not, that's totally cool, we can take a break,' which is the most amazing thing to have because when you're going through quite an emotionally heavy scene, as an actor, having even just that layer of comfort makes all the difference. It makes it so much easier to get into character and feel comfortable doing that. So he is an incredible director and an incredibly nice person who made everyone feel comfortable. He has such an open mind to him that's he willing to change the direction of the scene from anyone's piece of advice if he agrees with it.

DALTON: I read that he elected not to do any rehearsals before shooting. Did you appreciate that decision? How do you think that impacted your performance?

MCGRATH: I think there's definitely a balance, and I think that choice ended up making the performances probably rawer. It definitely added an element of you having no idea what to expect on the day. The scene could go one of eight ways. So I did appreciate that because though it's terrifying, it's also exciting, and it's an opportunity to see what you can create. It's not like we didn't get to know each other first. The whole cast had met up, and we talked about it, but there was something that Florian wanted to keep quite raw and honest about performances — like it's the first time we're doing the scenes, like we're reacting to each other in the moment as honestly as possible.

DALTON: What was it like to take on the role of someone suffering from clinical depression and live with that every day?

MCGRATH: It definitely takes its toll. I was lucky enough to have my dad there with me for pretty much 90% of the shoot. Every day after work, I would come home, and I'd watch the American [version of] The Office just to chill out and laugh to keep things lighthearted. I would play video games with my friends back in Australia when I was in the UK because around the time I finished work, I think was around the time that they would stay up so I could play with them for a bit. And I think just trying to know that there's Nicholas and then there's Zen. I'm not a method actor. I don't fully become that character leading up to and throughout the shoot, so I'm able to detach myself. That being said, for the hospital scene we filmed, I discovered on the second day of shooting that it was too difficult to jump in and out, and I had to stay as Nicholas that whole day. But for the most part, I definitely separated myself.

DALTON: I'm guessing method acting was never an option, given how intense the character is.

MCGRATH: Yeah, another thing as well is I was sort of discovering my own method on the set of The Son because I've done a whole bunch of child acting, but acting as an adult is something completely different. There's so many more elements that come into it. You can't really get away with being a little kid anymore. You have to really think about the performance and think about the two or three ways that a character might react to a situation. 

But at the end of the day, I definitely did need to shake it off a bit and calm down and let my body know that it's not real because there is some part of you that doesn't quite understand that what's happening is acting. There is some part of you that can be quite shaken up by it, and all the other actors told me you need to find a way to level yourself because your body reacts as if it was real. My voice coach, Rea Nolan, told me this great story about what deers do in the forest when they've been hunted and they feel traumatised is they shake a lot, and that seems to help them rehabilitate. I found that really interesting to draw from animals, and I took a lot of advice from the other actors about how to separate yourself a little bit.

DALTON: Speaking of your co-stars, was it difficult not to get starstruck in their presence? 

MCGRATH: Yeah, like I said before, initially. But then I got to know them a bit, and I felt a lot more comfortable with them. You separate it in your brain. There's Hugh Jackman on the internet, and then there's just Hugh, who I act with. I think that's the only way you can get around it. That being said, I was a little bit starstruck by Anthony [Hopkins] because making eye contact with him is like being a deer in headlights (laughs). It's terrifying, and maybe that's just Hannibal, but he was very cool; I was just a bit scared by him.

DALTON: Were you on set when they shot the scene between him and Hugh?

MCGRATH: Yeah! I was lucky enough. I was in New York at the time. I think I just finished my scenes, and Florian invited me on set, and of course, I'm not going to turn down an opportunity to watch Anthony Hopkins act — that's a masterclass right there! And I think that is actually my favourite scene in the whole film — the conversation between those two at the dinner table — because there's so much going on there, and it really highlights where the problem started is with Anthony's [character]. A generational trauma or lack of trust translated from Peter to Nicholas. There's so much going on there that I hope to be half as good as one day. It was incredible to watch; it really was. I was so honoured to be there.

DALTON: You have some really powerful scenes with Hugh Jackman. What was he like as a screen partner?

MCGRATH: He was so raw with emotion. He was so genuine. It could be quite scary sometimes, especially having him shake you. I remember those days quite well. Then [Florian] goes cut, and then [Hugh would] be like, 'Are you okay?' He'd be the most gentle, loving man. But there were definitely some pinch-me moments when I was acting face-to-face with him. I had so much to learn from him and the others. I would say I'm just incredibly grateful for that. But still, it's a bit scary when Wolverine is throwing you to the ground (laughs).

DALTON: I wanted to ask you about that big confrontation scene. You and Hugh need to reach very different emotional spaces. How was it to film?

MCGRATH: One thing I found quite interesting was discovering the choreography of that scene, how we'd be in the room, and how that would be natural. We sort of figured that out on the day. I think it was filmed over two days, and I think that scene, in particular, was the first genuine confrontation that we filmed during the whole filming of The Son. So it was a moment where everyone was sort of seeing how this dynamic would work. I remember being quite proud of that day, and I think Hugh was as well. It was our first raw, emotional, intense scene, and Florian structured the shoot in a way where it was building up as we went. It was scary because you had to trust each other and trust where each of you were going because you had to bounce with each other. So it was a bonding, scary, but beautiful experience. 

DALTON: Earlier, we spoke about your relationship with acting before The Son. How has the experience of making this film changed that relationship?

MCGRATH: I think it's the first role where I've really had to research and talk about it to deep extents. I think it's made me realise that there is so much more to acting than I initially thought. There's so much more to the subtleties, the reactions, the body language, and everything. I learned so much on that set, and I continue to learn to this day. I think it's been incredibly informative, and it's also set a new foundation for any future acting that I do.

DALTON: This role comes with a lot of exposure. Are you ready for the opportunities and possible celebrity that may follow?

MCGRATH: I don't know! The only exposure I've been properly immersed in was probably the Venice Film Festival. I remember being on the carpet and signing all those things. That was very surreal, but I didn't mind it. The people were very nice, and I remember walking around Venice the day after and people coming up and giving me hugs (laughs) because they felt so bad for Nicholas, which I saw as a compliment. They were all lovely people, so if it's all like that, I'm all for it. I can understand that there are some not-so-pleasant stuff about the industry, but so far, it's all been A-okay. 

DALTON: What is your main objective moving forward? Are you going to continue your career in acting, or are you returning to the physics degree?

MCGRATH: Hopefully, someday I return to the physics degree. I'm trying to take advantage of the momentum at this point in time. I always believe that whatever happens happens. Things happen for a reason. So I'm open to 2023 no matter the outcome, but I am trying to pursue acting at the moment. I'm very excited to see what happens next. There's nothing confirmed at the moment. There's a lot of auditions and maybes, but we don't know.

DALTON: Well, a massive congratulations. Honestly, it is throwing me a little to see you in good spirits on this call after meeting you as Nicholas a few days ago.

MCGRATH: A lot of people say that it's very strange looking at me afterwards (laughs).

DALTON: I'll be speaking to Florian Zeller tomorrow. Is there anything you would like me to pass on?

MCGRATH: Ask him what his spirit animal is from Zen!

DALTON: Terrific! I'll close with that. 

MCGRATH: Thanks, Connor. Catch you next time.

This article was originally published by FilmInk