Parenthood has been very much on my mind while creating our eleventh print issue of Hollywood Authentic. Not only because my wife Daisy and I just welcomed the latest edition to our family – a baby boy, Gene – but because of the importance of parents in providing an environment for talent and artistry to thrive. 

In shooting Kate Winslet as we returned to her hometown of Reading in the UK, it became increasingly apparent as we talked about her work and drive that her ability to find creative inspiration came from her mum and dad giving her the space and love to find it. 

Helen Mirren, Timothy Spall, Kate Winslet, Andrea Riseborough, Toni Collette, Goodbye June
Kate Winslet photographed by Greg Williams

Although she’s always been vocal and transparent about her humble background, it might surprise people who assume she was born with privilege to see her revisit where she spent her formative years, and reflect on how little she had growing up as a child. While she may not have been afforded fancy classes or posh days out, she was rich in love, security and encouragement. Her parents, despite their limited means, instilled in her a passion for theatre and performance that took her away from Reading and all the way to the Oscars stage. It was humbling and inspiring for me to see her re-live her days treading the boards at the Hexagon Theatre in Reading, recalling saving pennies on her bus fare and returning to her much-changed childhood home. And, as a parent herself, she is passing that inspiration onto her own children – having just directed her first film that is written by her son, Joe Anders. 

Laura Dern tells a similar story when she looks back on growing up in Hollywood with two indie actor parents who had to leave her to go away and work, but showed her abundance in terms of integrity and inspiration. She can trace a path directly from her own diverse, explorative career to the artists her parents were during her childhood. It reminds me how important it is to inspire our children. As my artist parents did for my brother Olly, a painter and poet, and I. 

And for that matter, how important it is that a magazine like Hollywood Authentic exists.

Unlike other magazines, we do not focus on fashion stories; we trade in artistic inspiration – whether that’s Lily James learning to give herself space away from her roles in order to arrive at projects refreshed, or writer/director Clint Bentley understanding that the movies he watched with his parents as a kid are the ones that inform his own art now. Also in this issue, award-winning costume designer Paul Tazewell unpicks the value of having an artistic family in building his career, while Adeel Akhtar recognises that his work is fuelled by the smell of home and the silliness of his children. 

I hope that in taking inspiration from artists and finding the stories behind their creativity that Hollywood Authentic inspires others, providing a space for new artists to grow. 

BUY ISSUE 11 HERE

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GREG WILLIAMS
Founder, Hollywood Authentic

hollywood authentic, greg williams, hollywood authentic magazine

December 15, 2025

78th Cannes Film Festival, Frankenstein, Jacob Elordi, Mia Goth, Oscar Isaac
78th Cannes Film Festival, Frankenstein, Jacob Elordi, Mia Goth, Oscar Isaac

Photograph and words by GREG WILLIAMS


Greg Williams takes pause to consider the bigger picture of images seen small on his social media. This issue: Jacob Elordi at the Venice Film Festival in August.

I took this picture of Jacob just before the premiere of Frankenstein at the Venice Film Festival, my favourite festival without any doubt. To have actors all dressed up in such a beautiful city, the boats, the water and of course the rich history of cinema makes it an incredible canvas to work on. Within that history is a set of photos taken of Paul Newman by Graziano Arici in 1963. They are my favourite Venice pictures ever. So for the 10 years I’ve been covering the Venice Film Festival I have carried those images in my head.

I’ve met Jacob a number of times in recent years and so when I was at a dinner with him I asked him if he’d be happy for me to do a picture. ‘Ah, you want to do the Paul Newman?’ he said. I couldn’t believe my ears as that was exactly what I was about to say to him. ‘Yeah, meet me at 6.30pm downstairs from my hotel tomorrow night…’ I ended up getting closer to ‘the Paul Newman’ than I ever have before in what must be close to 200 shoots I’ve done at Venice over the years.

Jacob’s great look and authentic style worked perfectly for the picture. He is up at the front of the boat in a not dissimilar pose to Newman. The image has an authenticity that I love. Seeing Jacob’s eye behind his glasses, the angle of his hand. The picture has a timeless quality that is made modern by Jacob’s slight mullet haircut, which makes it a little more punk rock. And then the Jacques Marie Mage sunglasses make it still feel vintage.

Leica SL2, 1/2000 sec, f/4.0, 1600 ISO, 75mm 


Photograph and words by GREG WILLIAMS
Shot on Leica SL2
Read our review of Frankenstein here

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September 1, 2025

Charles Dance, Christoph Waltz, Frankensein, Jacob Elordi, Mia Goth, Oscar Isaac

Words by JANE CROWTHER


Guillermo del Toro has been yearning to give life to Mary Shelley’s classic story of reanimation, morals and monstrosity for decades and it shows in the care and attention in this ravishing retelling. It begins with a bang as a 19th century Royal Danish ship trapped in ice near the North Pole discovers wounded scientist Victor Frankenstein (Oscar Isaac) being pursued by a super-human ‘thing’ which can dispatch sailors with ease and is relentless in its mission. ‘What manner of creature is that?’ asks the horrified captain. ‘What manner of devil made him?’

Charles Dance, Christoph Waltz, Frankensein, Jacob Elordi, Mia Goth, Oscar Isaac
Ken Woroner/Netflix

Those are queries del Toro seeks to explore as we flashback to Victor’s unhappy childhood at the hands of his corporal punishment dad (Charles Dance) and grief at the demise of his beloved mother (Lauren Collins). Determined to conquer death, we next meet Victor as a dandyish rebel showing off his latest experiments to appalled surgeons in Edinburgh. As a gasping, bloodied thorax and arm flails around with electric currents (impressive and gross physical effects), the dodgy doctor attracts the attention of arms dealer Heinrich Harlander (Christoph Waltz) who supplies cash for further experiments, a gothic tower to harness lightning and another psychological wound in the shape of his niece Elizabeth (Mia Goth). Dressed like a bird of paradise with a mind as sharp as her tongue, Elizabeth is betrothed to Victor’s little brother (Felix Kammerer) but her extraordinary empathy for others makes her an intrigue to the callous cadaver collector – and the heart of the story when she encounters the product of Frankenstein’s master work; the ‘monster’. 

Charles Dance, Christoph Waltz, Frankensein, Jacob Elordi, Mia Goth, Oscar Isaac
Ken Woroner/Netflix

Del Toro keeps audiences waiting an hour before the arrival of this patchwork creature made up of the dead from battlefields that he’s sawn, snapped and sliced asunder (also pleasingly gruesome). When he appears he’s a pale wraith with huge eyes, a cowering animal that can only utter one word. Buried beneath prosthetics that make him look like living alabaster, Jacob Elordi manages to convey a wide range of emotions with his singular utterance and a performance that lives in the physical. As Frankenstein commits the sins of the father, abusing his ‘son’ and punishing him for a lack of perfection, it’s clear who is the true monster in the scenario… 
Gorgeously designed – sets and costumes are painterly in detail, gothic and sumptuous – Frankenstein boasts some explosive set pieces that rival action movies and themes that still resonate with world politics all these years after Shelley first published. Just as then gods and monsters are often interchangeable, Man is the cruelest creature on earth, we are what we do and a powerful man hurling insults is often only describing himself. It’s a faithful – perhaps too faithful for some – adaptation with an awards journey that starts at Venice. It is, both literally and figuratively, bloody good.

Charles Dance, Christoph Waltz, Frankensein, Jacob Elordi, Mia Goth, Oscar Isaac
Ken Woroner/Netflix

Words by JANE CROWTHER
Photographs courtesy of NETFLIX
Frankenstein is in cinemas now
Streams on Netflix from November 7

May 18, 2024

oh canada, richard gere, urma thurman, jacob elordi, paul schrader

Words by JANE CROWTHER


After Quintin Dupieux and Francis Ford Coppola’s cinematic essays on their relationships with art, Paul Schrader offers his own at Cannes this week. Dedicated to the late author Russell Banks, Schrader explores mortality, legacy and fraudulence in art as he tracks an irascible dying documentary-maker, Leonard Fife (Richard Gere) giving a deathbed career interview to two of his former students (Michael Imperioli and Victoria Hill). A fated artist who has spent his career being lauded for his anti-Vietnam war stance when he fled to Canada as a young man, and his liberal, game-changing documentaries, Leonard demands his wife, Emma (Uma Thurman) be his witness to his last confession. Riddled with cancer and befuddled by Fentanyl, Leonard recalls the true story of his rise to success – one that may be more self serving than selfless.

Leonard is played in flashback by Jacob Elordi who, though a more rangy version of Gere, manages to embody his recognisable strut and his cadence. A studious young man heading for a teaching job in Vermont in 1968, he’s married, father to a toddler (with another on the way) and offered the opportunity of being a CEO with his father-in-law’s business. Given a week to decide as the shadow of Vietnam looms, Leonard takes off to New England with a banker’s cheque to buy a house and put down roots for his family. His odyssey takes a different turn…

Using multiple narratives (Gere and Elordi alternate as Leonard in flashbacks, Leonard and his grown son narrate), B&W and colour, mixed ratios and Thurman in a duel role – she plays Emma and also the hippy wife of a painter in 1968 who pleasures Leonard in a farmhouse – Schrader’s film is a jigsaw puzzle that requires patient assembly by viewers. Is the jumbled and ultimately meaningless last interview of the great Leonard Fife the last firing synapses of a dying, confused man conflating reality and fiction? Or is the film merely a hollow mess? 

While Gere eschews any charm to play Fife as a self-obsessed deserter (politically and romantically), the film belongs to Elordi. Continuing to show his range and savvy choices, the Euphoria and Priscilla star puts flesh on the bones of seemingly callow youth, giving Leonard the humanity he denies himself in the retelling. In Elordi’s hands, Leonard is, if not necessarily commendable, understandable. Schrader lenses him beautifully and he’s missed whenever he’s not on screen.


Paul Schrader’s Oh, Canada starring Richard Gere, Uma Thurman and Jacob Elordi is screening at the 77th Cannes Film Festival. Release date TBC