ISSUE 7 – 2024

November 15, 2024

paul mescal, gladiator II, hollywood authentic, greg williams

When I first started Hollywood Authentic one of my more cynical friends questioned how Hollywood could possibly be authentic? Especially since it dealt for the most part in fiction. The more I connect with artists who are open, genuine, unapologetically flawed and vulnerable, the more apparent it becomes to me how wrong that friend was. 

Cartier, Gladiator II, Greg Williams, Gucci, Hamnet, Paul Mescal
Paul Mescal by Greg Williams

Take our cover subject, Paul Mescal, who opened up about mental health and self doubt while showing me his horse skills he learned for Gladiator II. Or Naomi Ackie, who creates deliberately ‘ugly paintings’ as a form of therapy against her constant need to strive for perfection. Both remind me of the lyric Ben Mendelsohn once quoted to me from Leonard Cohen’s song Anthem; ‘Forget your perfect offering; There is a crack, a crack in everything – That’s how the light gets in.’ I’m proud that Hollywood Authentic continues to show the cracks – and the light – through honest conversations with artists.

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GREG WILLIAMS
Founder, Hollywood Authentic

hollywood authentic, greg williams, hollywood authentic magazine

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THE ALTO KNIGHTS

Robert de Niro playing two mob bosses in a film scripted by Nicholas Pileggi of Goodfellas fame in a decades-spanning…

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CANNES DISPATCH 3 … Photographs by GREG WILLIAMS Catherine Deneuve is in Cannes this year. She attended the inauguration ceremony at the 76th Cannes Film Festival and read Lesya Ukrainka’s poem Hope, reciting the piece in French, which was written by the Ukrainian poetess in 1880, when she was eight years old. The poem is translated

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NAOMI ACKIE

Photographs & interview by GREG WILLIAMSAs told to JANE CROWTHER In her downtime between Blink Twice and Mickey 17, the British actor paints with Greg Williams in London as she contemplates her artistic journey and the beauty of an imperfect canvas. Naomi Ackie admits she’s a ‘big old perfectionist’ in her work, but when it comes to

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DOUBLE INDEMNITY

Words by STEPHEN MERCHANT In 1944, director Billy Wilder released the quintessential film noir before the term even existed. Double Indemnity bears all the hallmarks of the genre: wiseass repartee; crisp black-and-white cinematography; a manipulative femme fatale twisting a lust-fuelled sap around her finger; shards of light pouring through venetian blinds casting prison-bar shadows across the