June 12, 2026

Colin Firth, Colman Domingo, Emily Blunt, Eve Hewson, Josh O'Connor

Photographs by GREG WILLIAMS
Interview by GREG WILLIAMS/JANE CROWTHER


She plays a former novice nun in Disclosure Day, and Eve Hewson tells Hollywood Authentic about her belief system for negotiating acting and fame as she takes a London stroll.

Colin Firth, Colman Domingo, Emily Blunt, Eve Hewson, Josh O'Connor

Before she begins two days of UK press for Disclosure Day I meet Eve Hewson at the Corinthia Hotel in London on a blustery day in early June. Like her character in Steven Spielberg’s highly-anticipated latest foray into sci-fi, we are looking to the skies – the British weather is being particularly erratic for our planned stroll over Westminster Bridge to take in one of my favourite views of the capital. In the movie, the Dublin-born actor plays Jane, an ex-novitiate who is caught up in a dangerous race against time when her boyfriend Daniel (Josh O’Connor) steals whistleblower evidence of UAPs and ETs from his top-secret work with the intention of collaborating with fellow defector Hugo (Colman Domingo) to expose the truth to the world. ‘I think the sun’s going to come out,’ Eve says as we pull up outside Big Ben. ‘God is on our side.’

Colin Firth, Colman Domingo, Emily Blunt, Eve Hewson, Josh O'Connor

It’s appropriate that she should evoke a higher power given that she plays a religious character wrestling with the theological impact of understanding there may be life outside of humanity in Spielberg’s film. ‘My character asks the more religious questions. What does that mean for faith if aliens, or UAPs, really do exist – what does that mean for religion? What does that mean for God? What does that mean for everything we’ve been told to believe about how the world began?’ Despite its big questions, Disclosure Day is a true Spielberg film, loaded with action, wonder and empathy. It’s a blockbuster event movie, and a huge achievement to add to any actor’s resume. 

Colin Firth, Colman Domingo, Emily Blunt, Eve Hewson, Josh O'Connor

For the 34-year-old it’s the second time she’s worked with the legendary filmmaker. ‘I worked with him at the beginning of my career on Bridge of Spies when I was 22 and terrified,’ she says as we walk across Westminster Bridge, dodging tourists and London swag sellers. She recounts how their latest project came to her on a ‘random Wednesday’, with her agent asking her to Zoom with the storied director. ‘I Zoomed with him, and then he sent me the script which was hand-delivered – very old-school Hollywood. You feel like you’re in some sort of secret society.

After I read the script I spoke with him again, and pitched him my ideas. And then I had to wait. He was like, “I’m not going to torture you over this, but I’m speaking to other people. I’ll let you know by the end of the week.” I got violently ill from the anxiety, because I just wanted it really badly. I puked a few times, which happens to me when I really care about something.’ Spielberg kept his word and told her he wanted her to co-lead the movie alongside Emily Blunt (as a TV weather reporter with a secret past), O’Connor, Domingo and Colin Firth, as a shadowy government consultant. Firth and Eve share a number of tense scenes which required incredible focus from her, not least because she had a particularly special audience while shooting.

Colin Firth, Colman Domingo, Emily Blunt, Eve Hewson, Josh O'Connor

‘I always keep the storyline of anything I’m doing secret from friends and family, because it’s more fun for me, and for them when they see it. But that was hard to do the day when Obama came to set, because I had the most bizarre day of my life doing that scene with Colin. It was so complicated and genuinely quite daunting as an actor. And then Obama was there. I did text my family at the end of the day, and say, “I can’t explain to you why this was the weirdest day of my life, but I can’t wait for you to see the movie because I get to say, ‘that was a scene that the former leader of the free world came to visit.”’

Colin Firth, Colman Domingo, Emily Blunt, Eve Hewson, Josh O'Connor

Though she’d worked with Spielberg previously, Eve admits to still being ‘terrified’ for round two. ‘This was a huge responsibility and a big role – I wanted to do it well, and I wanted to make him proud. Every day, you just had to come in and give 150%. It was just about stepping up, and taking on those responsibilities, and making sure that you aren’t shit.’ How has she changed as an actor in the time between Bridge of Spies and Disclosure Day? ‘The first time I worked with him, I was just learning what a set was, and what cameras were. It was maybe my third or fourth job. I was very new. When it came to Disclosure Day it was just a completely different experience.’

Colin Firth, Colman Domingo, Emily Blunt, Eve Hewson, Josh O'Connor

As we look over towards the Houses of Parliament, Eve tells me about living in London for three years during the pandemic when she and her friends would walk the streets with a hot toddy and look at the city, what she terms ‘whiskey walks’. Then she landed her role in hit TV show Bad Sisters and stayed longer. ‘And then I moved to LA. I went to the dark side. I didn’t love LA.’ She returned to Dublin where her parents, musician Bono and activist Ali Hewson, are based. She’s said in the past that as a younger artist LA had been tough to negotiate with all the rejection inherent in acting, driving past billboards of projects she didn’t get. ‘Now I’m on them,’ she chuckles, having moved back to Los Angeles. She remains level-headed thanks to a strong group of friends, many of whom are not in the business. ‘I’m a friend kind of chick. My friends mean a lot to me. I’ve had the same friends since I was four years old. Some of them are artists, but a lot of them are social workers, lawyers, working in finance – just not Hollywood people.’

Colin Firth, Colman Domingo, Emily Blunt, Eve Hewson, Josh O'Connor

It’s a balance between the business and real life that she’s always had growing up with a dad in U2. ‘It was a weird, strange, Hannah Montana version of my childhood, where we lived in Dublin, I got the train to school every day, I went to a normal school. And then two or three months out of the year, we would go off on tour with my dad, and live this insane rock-star existence. Which is great, because it’s actually quite similar to being an actor. You have your normal life, and then you go away, and you have this otherworldly experience with people. And then you come home, you know?’ She can, she says, ‘smell the bullshit easier’ because of it. ‘The ‘Bad Sisters’ [Sarah Greene, Sharon Horgan, Eva Birthistle and Anne-Marie Duff] call me their cunt compass,’ she laughs. ‘We’re in a group chat that has a foul name, and we all are in there every day still catching up with each other, and telling each other our deepest, darkest secrets.’

Colin Firth, Colman Domingo, Emily Blunt, Eve Hewson, Josh O'Connor

Like many artists I talk to, Eve says she’s ‘a huge introvert, an introverted extrovert’. ‘I was super-shy when I was a kid, and I used to not say anything. I would sit in the corner, and suck my thumb, put my hood up. As a little kid I cut off my hair, and I made everybody call me Elliott from E.T. which is so on brand. One time, I was brought to meet President Clinton and Hillary Clinton, and apparently I got under the table, and just started growling. I was that shy. And then Hillary got on all fours, and she was all, “Come out, little Eve. Come out.” And I was like, ‘Rarhhhhh!’  I was an interesting kid.’ Acting was an escape because she could disappear. ‘You get to pretend to be somebody else, but you also get to express yourself completely. But it’s like you’re wearing a mask. It’s a safe space. It’s a role play.’ 

Colin Firth, Colman Domingo, Emily Blunt, Eve Hewson, Josh O'Connor

These days she says her ambition is to be in bed by dusk. ‘I could go to bed at like 6pm. Me and my cat, Luna, a little bit of Bravo – that’s my jam.’ Professionally she’d like to play a vampire, a Hollywood agent, explore comedy and work with Paul Thomas Anderson. ‘If I’ve already done Spielberg – he is my number one. In my first year of college at NYU, I was mad about Paul Thomas Anderson, and I wrote my final paper on him, and handed it to my professor. I was going to meet some friends at the Greenwich Hotel. I came from my professor’s office, and I walked up to the Greenwich Hotel, and who opened the door for me? Paul Thomas Anderson. It was an incredible moment. He doesn’t remember it, but it was like a beautiful sort of nod from the universe that maybe one day I’ll work with him.’ I ask if she believes in nods from the universe?

Colin Firth, Colman Domingo, Emily Blunt, Eve Hewson, Josh O'Connor

‘I do. You have to. It makes life a lot more fun, you know? When I worked with Spielberg at the beginning of my career, that was like a nod from him, from the God of the movie universe. Then the fact that I’ve come back around full circle at this point of my career, and I’m working with him on this big movie on this big part – it’s the most beautiful story. I like to believe that the parts that I’m getting are the parts that are meant to be. It’s a nice philosophy to have, to be able to survive, otherwise you would be tearing yourself apart with all of the rejection and the close calls. What’s meant for me, will find me. And what’s for you, won’t pass you by.’

Colin Firth, Colman Domingo, Emily Blunt, Eve Hewson, Josh O'Connor

Not passing her by; Plan B film Isle of Man which she’s currently filming and learning to ride a motorbike for alongside Channing Tatum; and playing a mother of four in Lenny Abrahamson’s Dublin-set period drama, Hillside Drive. ‘Lenny is just such a talent, and I’m so blessed that he asked me to be in this film, it’s a really exceptional role and I think we made something very special.

Colin Firth, Colman Domingo, Emily Blunt, Eve Hewson, Josh O'Connor

Having shot on the bridge we hurry back to the car to get Eve back to her junket and press responsibilities. ‘All my dreams have come true,’ she smiles, pushing her wind-whipped hair back in place. ‘Being in my underwear in public – it’s my favourite thing!’ It’s also something that might become increasingly difficult to do when Disclosure Day releases and she becomes even more recognisable. ‘I get people recognising me quite a bit, but they’re nice, because they’re fans of something that I’ve done. I haven’t been mauled. I haven’t had it being too much of an invasion of my life. I can still do all the things that I want to do. I never really think ahead in those terms.’ We drive back to the hotel, where she loses a shoe getting out of the car, like a modern Cinderella. ‘Fashion emergency!’ she jokes and leans back in the car before disappearing into the lobby. ‘That was really fast and iconic,’ she says. ‘Fast and iconic. There she is…’


Photographs by GREG WILLIAMS
Interview by GREG WILLIAMS/JANE CROWTHER
Hair by HALLEY BRISKER
Make-up by ALEX BABSKY
Styling by KARLA WELCH
Disclosure Day is in cinemas now

Words by JANE CROWTHER


If Artemis’ recent moon mission has taught us anything, it’s that humans are still capable of wonder at our universe. In a world of bin fire news headlines, war and polarisation, a global community was awed by the possibility and unknown of the endless stars, shared common ground in curiosity of, and appreciation for, the magnitude of our galaxy. Steven Spielberg’s latest foray into sci-fi leans hard into what unites us as a race, rather than what divides us – exploring the possibility of aliens and UAPs through a lens of compassion and empathy, tapping into his ET toolbag more than that of War of the Worlds

Emily Blunt, Josh O'Connor, Colin Firth, Eve Hewson, Colman Domingo
Niko Tavernise/Universal Pictures/Amblin Entertainment

Based on a story crafted by Spielberg and screenwritten by his longtime collaborator David Koepp (who’s penned genre stablemates Jurassic Park, War of The Worlds and Kingdom of the Crystal Skull for the director), Disclosure Day asks not if other life exists, but rather what happens if we have proof of it. As a spiritual sequel to Close Encounters of the Third Kind, the filmmaker wants to unpack what evidence of not being alone does to humanity; emotionally, politically, theologically.  His tale centres on four key players: maths genius and cyber security expert Daniel (Josh O’Conner) who is on the run with a smoking gun backpack, TV weather reporter Margaret (Emily Blunt), whose morning meeting with a Red Cardinal bird gives her incredible empath powers, whistleblower mastermind Hugo (Colman Domingo) and Daniel’s girlfriend and former novice nun, Jane (Eve Hewson).

Emily Blunt, Josh O'Connor, Colin Firth, Eve Hewson, Colman Domingo
Niko Tavernise/Universal Pictures/Amblin Entertainment

In a ticking-clock espionage drama, the four are chased as they attempt to reveal the truth of alien life by Big Bad, Scanlon (Colin Firth), the turtleneck-wearing head of WARDEX, a shadowy government consultancy outfit who have kept the public in the dark about visitations from other planets since Roswell in 1947. All have pasts that have shaped their ideology, and will clash during a 48-hour period when the top story on rolling news is the possibility of war with Korea as people panic-buy and faith is tested.

Emily Blunt, Josh O'Connor, Colin Firth, Eve Hewson, Colman Domingo
Niko Tavernise/Universal Pictures/Amblin Entertainment

As an addition to Spielberg’s sci-fi canon, Disclosure Day feels like a director operating at the top of his emotional game and playfully referencing his previous work, tracking clear lines of fascination all the way back to his teenage-made Super 8 movie, Firelight (revisited in The Fabelmans). Some of the lensing and lighting is evocative or ET and Close Encounters, John Williams’ score is deja vu in orchestral soar, there’s a motel called Inn-Di-Ana, Scanlon’s arc recalls Keys from ET, a heart-pounding train sequence is reminiscent of both Duel and Spielberg’s grand obsession with The Greatest Show on Earth

Emily Blunt, Josh O'Connor, Colin Firth, Eve Hewson, Colman Domingo
Niko Tavernise/Universal Pictures/Amblin Entertainment
Emily Blunt, Josh O'Connor, Colin Firth, Eve Hewson, Colman Domingo
Niko Tavernise/Universal Pictures/Amblin Entertainment

As a storyteller who has dominated most audience members’ cinematic history, that adds to the warmth of this tale, the idea of shared experience and emotional pull. Spielberg has already succeeded in making generations feel for a stranded alien and he creates the same magic trick again, frontloading his picture with top-drawer action and intrigue before walloping with tear-inducing sequences of human cruelty, solidarity, heroism and ultimately, affinity. Aspects of that could be criticised as soft-pedalling the realities of our species’ nature, but this is a film that positions itself firmly within hope, optimism and fellowship – misanthropes may struggle.

Emily Blunt, Josh O'Connor, Colin Firth, Eve Hewson, Colman Domingo
Niko Tavernise/Universal Pictures/Amblin Entertainment

Key to that emotional register are Spielberg’s players – strongest among them, Blunt and Domingo, who may be on the awards train as well the one hurtling through Maryland in that high-octane action segment. Domingo emanates empathy and elegance as a melodious missionary, intent on providing clarity to the world while also understanding the terror inherent in that. Blunt, so often sidelined in roles as a wife/girlfriend, finally gets her big moment as a powerful woman fighting darkness through communication. Those getting the stories out in the newsroom (a key scene was filmed at NBC’s news studios in Rockefeller Plaza using real TV  journalists) also adds heft and messaging about the importance of impartial reportage and truth seeking in a world of ‘alternative facts’ and partisan coverage. It’s a film that believes in our ability to be better and –  in entertaining us with what-ifs – asks us if we can be.

Emily Blunt, Josh O'Connor, Colin Firth, Eve Hewson, Colman Domingo
Niko Tavernise/Universal Pictures/Amblin Entertainment

Words by JANE CROWTHER
Images courtesy of UNIVERSAL PICTURES/AMBLIN ENTERTAINMENT
Disclosure Day is in cinemas now

It was wonderful to work with Colman Domingo this issue, and chart his career path from New York to LA, from theatre to film. His journey has been a steady burn, the labours of a hard-working actor who has found success later in life and ensured his longevity. I’m very drawn to his story, I’m a similar age and I’ve also worked consistently and it’s only been in the last decade that things have stepped up to what he describes as his ‘harvest stage’. I was inspired to hear his acceptance of change – the changes to him and the changes to New York City where we finished our interview during the week of his SNL debut. Colman’s story also resonates with me as we visited two theatres that were integral to his path. I feel comfortable in those spaces as both my parents worked in the theatre and I grew up playing there. The idea of kismet also plays into Colman’s life – another thing I feel linked to. While in LA, we visited a Coffee Bean & Tea Leaf that was the place that kicked off his involvement in Rustin, the film that changed everything for him, and was also the location for his first billboard in Los Angeles (also for Rustin). I love the idea of chance changing the entire course of a life.

Greg Williams, Colman Domingo
Photograph by Bob Ford

As part of my bi-coastal cover story, I spent time with Colman over Oscar weekend in LA and although he was going to parties as a celebrated artist his humility shone out and I feel that that’s often a marker of people who have found success later – because they’ve known tougher times. But being humble and authentic was also present in my shoots with younger artists. Spike Fearn is so connected to his hometown of Coalville in the UK and wanted to create work there. It was incredibly refreshing to meet an actor who didn’t just want to move to LA and was keen to work in his own way. Also marching to the beat of his own drum – quite literally – was Lewis Pullman. The son of a beloved actor who’s grown up in Hollywood, Lewis is reverential of his lineage and pragmatic about his career. I like that he felt he would take a lifetime to figure out acting – just because he had a famous dad, he didn’t have all the answers.

And shooting Ellie Bamber in Lucian Freud’s former studio was an amazing privilege, not only because I’m such a fan of Freud’s work but also because Ellie was ‘at peace’ with whatever anyone thinks. That stuck with me because it’s a place all creatives hope to get to in life – and all four of my subjects this issue seem to have found that sweet spot. That’s inspiring and humbling for me. And I hope for you…

BUY ISSUE 13 HERE

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GREG WILLIAMS
Founder, Hollywood Authentic

hollywood authentic, greg williams, hollywood authentic magazine

April 24, 2026

Colman Domingo, Jaafar Jackson, Juliano Valdi, Nia Long

Words by JANE CROWTHER


That a biopic made with the blessing of the Jackson estate would be a hagiograph of the King of Pop should hardly surprise – so don’t arrive at this rhinestone-covered account of MJ’s rise to superstardom expecting any reference to his personal life or allegations made against him. There’s potential for a probing character study of a damaged Peter Pan figure and the horrors of fame, but this is not that film. 

The movie went into reshoots and was recut after a historical legal NDA was unearthed preventing any deviation from the narrative of The Gospel According to St Michael – so leaving the elephant in the room out of the equation, is Jackson, purely as an artist, brought alive?

Colman Domingo, Jaafar Jackson, Juliano Valdi, Nia Long
Glen Wilson/Lionsgate

Certainly, if you want to see spot-on facsimiles of his most famous pop-culture moments then Antoine Fuqua’s almost mechanical recreations hit the spot. We meet Michael as an Indiana moppet in 1966, the 10-year-old lead singer of a sibling band with stars in his eyes and belt strap welts across his back. Terrorised by unforgiving patriarch Joe Jackson (Colman Domingo with gimlet-eyed intensity) who doesn’t intend to work in a steel mill for the rest of his life, Michael (Juliano Valdi) and his brothers are drilled in their performance with the promise of violence, regardless of the time or the quiet pleas of their mother (Nia Long). Joe’s vicarious drive for fame and fortune takes the Jackson 5 up the charts, to Motown and onto LA where Michael’s growing obsession with animal ‘friends’ and his need to escape his father coalesces. 

Colman Domingo, Jaafar Jackson, Juliano Valdi, Nia Long
Glen Wilson/Lionsgate

As a young man denied a childhood, suffering from vitiligo and squirming under constantly being called ‘big nose’ by his Dad, Michael (Jackson’s real-life nephew, son of Jermaine, Jaafar Jackson) begins to craft his own identity; musically and physically. He starts work on the solo album Off the Wall, sets off on his life-long plastic surgery odyssey, hones his uniform (make-up, aviators, military chic, sequinned socks) and learns to moonwalk.

Colman Domingo, Jaafar Jackson, Juliano Valdi, Nia Long
Glen Wilson/Lionsgate

There’s no denying that Jackson is uncanny as Jacko; nailing his breathy voice, the dazzling smile, the dance moves and the performative shyness. And there’s also no denying the global success of MJ with the bangers that are reenacted with his real vocals. Beat It, Thriller, his electric turn of Billie Jean at the Motown 25 celebration and the iconic Bad tour showstopper are highlights and genuine cultural touchpoints, while fans are catered for with extended worship of his performance of Human Nature at the 1984 Jackson 5 Victory Tour. The dazzle and sparkle, the spins and tippy-toe flexes are all on point, the costumes unimpeachable, the hair and make-up masterful.

Colman Domingo, Jaafar Jackson, Juliano Valdi, Nia Long
Glen Wilson/Lionsgate

But the film comes unstuck in trying to find the soul. Michael is defined only by his hurt and his publicised childlike, messianic qualities (his menagerie of pets, his visits to hospitalised kids, the donation of his payout from Pepsi to a burns unit, his love of Neverland). We are never invited in to understand his unique and bewildering point of view. ‘I want to be a mystery,’ he tells his team, and he certainly remains that here. His motivation, his damage is kept as intangible as all the CGI animals (yes, even Bubbles is rendered in uncanny valley visuals). And leaving the film in 1988 with the promise ‘his story continues…’ allows for any later unpleasantness to go unaddressed.

Colman Domingo, Jaafar Jackson, Juliano Valdi, Nia Long
Glen Wilson/Lionsgate

Viewed merely as a jukebox musical, Michael works – as shiny and showbiz as a bejewelled white glove. As an intimate portrait of an artist and a person, it fails to wrestle with the man in the mirror.


Words by JANE CROWTHER
Pictures courtesy of Lionsgate
Michael is in cinemas now