Perfumer Quentin Bisch is no stranger to the industry, having worked on some of the most iconic fragrances for brands like Jean Paul Gaultier, Ex Nihilo, L’Artisan Parfumeur and more. His first project with Issey Miyake reinterprets the famed L’Eau d’Issey to bring about a new idea on what masculinity is today: Le Sel d’Issey.

ESQUIRE SINGAPORE: How did you become a perfumer?

QUENTIN BISCH: I have always been fascinated by scents, but I didn’t know anyone who worked in perfumery, and unfortunately I wasn’t good at science. I thought I couldn’t be a perfumer without it. So, I decided to focus on the performing arts and even managed a theatre company for six years. But the pull of perfumery was too strong and I ended up writing to Jean Guichard, director of Givaudan Perfumery School. He thought my profile was interesting and recommended that I start as an assistant perfumer. I began working with Michel Almairac at Robertet in Grasse, who taught me about raw materials and accords. The following year, Givaudan contacted me and I was accepted into their school.

ESQ: What is your first olfactory memory?

QB: The perfume my mother used to wear: Shalimar by Guerlain. She had a bottle of it with her when she gave birth to me, so I probably smelt it as soon as I was born.

ESQ: How did you come to connect L’Eau d’Issey with salt?

QB: Launched 30 years after L’Eau d’Issey pour Homme, Le Sel d’Issey is a tribute to today’s masculinity, reconnected to its senses, conjuring up the image of a beneficent nature that transmits to men the impetus, drive and desire to live intensely.

ESQ: Scents are often tied to one’s memories. Because salt inherently has no scent, what’s your personal memory to salt that conjured up the eventual fragrance that is Le Sel d’Issey?

QB: I wanted to create the smell of that exact transition point that exists between land and sea, when the waves recede. The memory of the water left on the earth, this salt deposited like an imprint.

ESQ: How did the salt accord for Le Sel d’Issey come about?

QB: I wanted to work on the concept of movement, the infinite surf of the waves and salt as a mineral memory deposited on the earth. The idea of working with a large, salty and pure woodiness took hold. We, with the Issey Miyake teams, sought to facet the subject while preserving the singularity of the initial idea.

ESQ: You included upcycled ingredients as part of making Le Sel d’Issey. Is this something that you’ve done before?

QB: Many key perfume ingredients are part of our certified upcycling portfolio. As a result, they are used regularly.

ESQ: Are sustainability and the use of more earth-friendly ingredients (sourced ethically and with lower impact on the environment) things that perfumers take into account nowadays?

QB: By 2030, Givaudan aims to achieve a fully renewable and responsibly sourced ingredient palette, which serves as the perfumers’ essential tool. This ambition underscores our eco-conscious approach to enhancing fragrance ingredients by incorporating materials derived from renewable sources, while simultaneously improving processes to minimise carbon and energy consumption.

ESQ: You’ve worked for both niche and designer fragrances. Is there a difference in how you conceptualise a scent for each?

QB: There is no difference in fragrance conceptualisation, but there is a difference in the way the perfume is developed. Often, more niche or high-end perfume brands have an artistic director with
whom we are in direct contact. On the prestige side, the stakes are much higher, in terms of distribution and at the economic level for example. There are therefore more decision-makers and competition.

ESQ: Are there ingredients or scents that you personally would not use in your own creations?

QB: Never, because even if we hate a colour, maybe one day this colour will be very useful in a painting to bring out something else. Colours like smells are tools to create something, so I think rejecting some of them would be closed-minded. In reality, you never know what you will need tomorrow.

ESQ: TikTok has somewhat brought to light cheaper fragrances that are regarded as “dupes” (or similar) to luxury fragrances. What are your thoughts on such fragrances that smell almost identical to niche or luxury fragrances?

QB: I hate the idea because it is totally disrespectful to the original creations.

ESQ: What is the most quintessential men’s fragrance, in your opinion?

QB: There is not one, but several masculinities. And they are constantly reinventing themselves and we therefore cannot define masculinity. It is up to everyone to define it and moreover a feminine perfume can be extremely masculine on a man or on a woman.

Sinn’s story begins in 1961, not in a boardroom, but a cockpit of a World War II airplane. Its founder, Helmut Sinn, was a man from the skies—a former pilot and flight instructor whose experience beckoned him to create aviation watches that his contemporaries could rely on in the clouds.  Luxury was never the end goal, rather, it was a means to an end. Functionality was always the priority, and he wanted a watch that could be easily serviced anywhere in the world. In addition to being durable, technical, innovative, this would eventually become a hallmark of the brand.  

After more than 30 years at the helm, Sinn would sell the company. Enter Lothar Schmidt, a former engineer under IWC who pushed the brand into a new stratosphere of innovations. Tegiment technology, for instance, hardened the surface of Sinn watches, making them incredibly scratch-resistant. Hydro technology filled watches with oil, eliminating any distortion underwater and allowing for perfect legibility at any depth. Ar-dehumidifying technology used copper sulfate capsules to absorb moisture and prevent fogging in extreme situations. Sinn was no longer just an aviation watch brand, but a brand focused on creating mission-specific watches. Fire brigades have the Einsatzzeitmesser, astronauts have the Series 140, and even white collars have the Frankfurt Financial District watches. But now, there’s something special brewing for the Singaporean market.

In celebration of Watches of Switzerland’s 60th anniversary—Sinn’s exclusive retailer in Singapore—Sinn is unveiling a commemorative watch, the Sinn Pilot 104 St Sa I WOS Commemorative Edition. We sat down with Sarah Michel, Head of Sales at Sinn, to discuss the new release, Sinn’s approach to the Asian market, and how the brand continues to stay true to its philosophy and unique positioning.

ESQUIRE SINGAPORE: Can you tell us about the special commemorative watch Sinn has created for Watches of Switzerland's 60th anniversary? What makes this watch unique?

SARAH MICHEL: You’ll notice a few unique features compared to the standard 104 series. We have a special dial with a color gradient starting light blue in the center and transitioning to a darker blue outward. This gradient is something we've incorporated in some of our special editions, and it's been really popular.

What's unique here is how the darker blue continues on the bezel inlay, in a colour we've never used before for the 104. The date indicator is also in blue, a nice touch to keep the design cohesive.

Functionally, it’s similar to the standard 104 model, with a double date display in both German and English, thanks to the Sellita 220 movement. For example, you can set it to display "Saturday" in English, or "Samstag" in German, depending on your preference. Each of the 200 pieces is individually engraved on the back, and it comes with a unique cow leather strap in light blue, complementing the dial.

ESQ: What were the key design elements or inspirations behind the commemorative watch?

SARAH: Well, the inspiration actually came more from the Watches of Switzerland team. They might be able to explain their specific inspiration for the blue color better.

WATCHES OF SWITZERLAND REPRESENTATIVE: The inspiration for this watch’s colour combination came from wanting to create a cohesive theme for our limited editions. The theme we focused on was Singapore—specifically, tropical elements. So, we incorporated greenery, brown for the tree trunks, and blue for the water. For Sinn, we chose blue to represent water, which gives it that fresh, cooling vibe.

ESQ: If this watch could have a personality, how would you describe it?

SARAH: I think it's young and breezy. It has a carefree vibe, someone who likes to look good without trying too hard. That's the kind of person I could imagine wearing this watch.

ESQ: Sinn has a loyal following in Europe—how do you envision expanding that success in the Asian markets?

SARAH: We’re on a good trajectory. We already have sales partners across Southeast Asia and East Asia, and we look forward to expanding further. That said, we also want to deepen the partnerships we already have. Sinn watches are very technical, and not the easiest to understand immediately, so having knowledgeable partners who can explain the details is important. We want to grow in a sustainable way, ensuring high-quality sales experiences.

ESQ: Which specific Asian markets do you see as having the most potential for growth in the coming years? Why?

SARAH: I think time will tell where we’ll see the most growth in Asia. It’s too early to pinpoint one specific market right now.

ESQ: What are the key benefits of Sinn's partnership with The Hour Glass?

SARAH: The Hour Glass has a knowledgeable team with great market access and beautiful stores. They have well-trained staff who are passionate about watches. We’re very happy with our relationship with them and look forward to continuing it in the future.

ESQ: If Sinn were to sponsor a sport or competition, what would it be?

SARAH: We don’t usually sponsor celebrities or athletes to wear our watches. All the celebrities you see wearing Sinn watches have bought them on their own. We’ve had a presence at some sports events in Germany, mostly rally-related. For example, we’ll be at a rally event this week, as there’s a race car driver with a long history with the brand. However, any collaboration we do has to align with the Sinn DNA—like when a high-altitude jumper broke a world record wearing a Sinn watch.

ESQ: Why doesn’t Sinn sponsor competitions or celebrities?

SARAH: We’re still a small brand compared to others, and sponsoring can be expensive. Also, it doesn’t really fit our brand ethos. We prefer that people wear Sinn watches because they love them, not because we paid them to. We want our wearers to be passionate about the technology and design, not just celebrities doing it for money.

ESQ: In a hypothetical "Watchmaking Olympics," what events do you think Sinn would win gold in?

SARAH: (Laughs) Definitely in the extreme diving category! We’d have a great chance there with our UX model, which can go as deep as you can imagine—the watch will always go deeper than you. I’d also say we’d perform well in any piloting event, especially anything involving legibility during flights. If there were an event for timing loops while flying, Sinn watches would certainly be a top contender!

ESQ: What do you see are the biggest challenges facing the watch industry in the next decade?

SARAH: Well, we’re already seeing a bit of a challenge now. After the COVID period, which was actually a good time for watches because people were home and getting into collecting, we've had to adjust. Brands received a lot of attention during that time, and coming down from that high has been a bit of a reality check. Now, we need to work harder to keep people’s interest. We have to stay innovative, creating watches that continue to excite people and validate their passion for horology.

ESQ: And what about opportunities?

SARAH: There are plenty of opportunities! Online marketing, new forms of exhibitions, and different ways of sharing content—whether through social media, online retail, or even bespoke experiences in person—are all exciting areas. The key is finding your niche and creating unique experiences. It’s not about right or wrong; it’s about how focused and innovative you are in your approach.

ESQ: What do you think sets Sinn apart from other brands?

SARAH: I think it’s our commitment to practicality and precision. We don’t just make watches to look good, though of course, they do! We make them to serve a purpose, whether it’s for aviation, diving, or even niche fields like rescue operations. Our goal is to create a tool that can be relied on in extreme conditions, and that’s something that resonates with a lot of our customers. When you wear a Sinn, you’re wearing a piece of precision engineering.

“The Spirit of the Faubourg” is Hermès’ theme for the year, referencing the Maison’s iconic first flagship that still stands at its original address at 24 rue du Faubourg Saint-Honoré. You may think that it’s somewhat of a disconnect then that Lauren Clay, a visual artist based in New York, was given carte blanche to design artist windows for Hermès’ Singapore flagship. But perhaps Clay’s dream-like, almost mystical oeuvre is the perfect way to channel the Hermès spirit. Clay tells us all about it as she readies to present her first ever window to fellow artists in Singapore.

ESQUIRE SINGAPORE: The theme for Hermès this year is “The Spirit of the Faubourg”. What does it mean to you?

LAUREN CLAY: I’m fascinated by the concept of “place” and the unique qualities that a city or building holds. Sometimes we refer to this as “vibes.” The ancient Romans had a term, "genius loci," which is Latin and translates to “the spirit of a place.” This term, “genius loci,” also describes the atmosphere or character of a space. This is an idea that I’ve been inspired by for many years.

Regarding the theme “The Spirit of the Faubourg”, I aimed to capture the feeling of visiting the Hermès rue du Faubourg store, which for me, resonates with the experience of visiting Paris. The store embodies all of the beautiful aspects of Paris that we all love. I also wanted to convey the sense of discovery within the store, highlighting the various elements and unique architectural details it contains. There are numerous pieces from the collection and Hermès family history throughout the store. In my window installation, I wanted to evoke the feeling of exploring and encountering the unexpected.

ESQ: Is that how the name "The Traveller" came about for the windows?

LC:  Yes. In the rue du Faubourg store, I particularly admire the main staircase— the curvature of the marble steps and the way they wrap through the different levels of the store. I aimed to capture that in the window display. 

In my work, I often try to evoke the feeling of standing on the threshold between the natural world and some other realm. I think this sensation is familiar to most of us in dreams, where we encounter the familiar juxtaposed with the strange or unexpected. It’s similar to the feeling of being a traveler. I appreciate the way Hermès often captures this sensation in their storytelling.

I have a deep appreciation for architecture and ancient art history. Although I studied painting in school, my love for architecture and decorative arts significantly influences my work. The Hermès Faubourg store stands out in that regard. 

ESQ: It reminds me of your work as well, because you do feature a lot of stairs in your artworks.

LC: Exactly. I frequently use stairs as a symbol in my work, drawing on art history. Many painters and sculptors have used stairs as a psychological symbol of transition. For example, William Blake’s painting of Jacob’s Ladder and Martin Puryear’s "Ladder for Booker T. Washington" come to mind.

ESQ: What's the process like in creating "The Traveller"? Was it a deviation from your usual process?

LC: This installation was slightly different. Typically, when I create an exhibition for a gallery or museum, I start by making a model of the space and studying its architecture. Usually, I consider the path and vantage points that the viewer has as they walk through the space. However, for the Hermès window installation, the viewer has one main vantage point, which in a way, gave me more freedom. I knew I wanted to create an illusion of depth and space beyond the window. I began with sketches—probably around 20 ideas that only my husband saw—before choosing one and developing it further.

ESQ: Because you're also interested in architecture, did the architecture of the Liat Tower building kind of informed how it was going to look like as well?

LC: Because I live in New York, I hadn’t visited the Hermès Singapore store before, but I studied photos provided by the Hermès team and also different views of the building from the street view on Google Maps. In planning the window, I considered the architectural features, such as the height of the window. Creating this installation felt similar to creating a diorama or tableau, which aligns with my background in painting. A window offers a controlled view, similar to a painting.

ESQ: What was the biggest challenge in designing a window for Hermès?

LC: A key challenge was finding where my artistic vision and the Hermès aesthetic would intersect. I had to ensure both worlds remained distinct while complementing each other.

ESQ: Did you also have to consider where products would be placed or how they would be placed?

LC: Yes, I had a lot of freedom—pretty much full creative license, which was exciting, like a shopping experience.

ESQ: I've looked through a lot of what you've done before and there's clearly a sense of fantasy, dream-like reality to your work. And you often use a lot of pastel colours. Has anything from your own childhood informed or influenced the use of these colours?

LC: I think my colour palette is heavily influenced by growing up in the southern part of the United States. I went to school at the Savannah College of Art and Design, in Savannah, Georgia, one of America’s oldest cities known for its beautiful pastel Victorian and colonial architecture. After Savannah, I went to graduate school in Richmond, Virginia—also an old southern city. It’s hard to explain, but both of those cities have a distinct feeling of place and history. The unique atmosphere there contrasted with my suburban upbringing and profoundly influenced my artistic sensibility. All of my work, going back to college has been influenced by that experience.

ESQ: Is there a story behind the use of the specific colours for "The Traveller"?

LC: The colour palette emerged from collaboration with the Hermès team. Some of my initial sketches were darker, but I’m pleased it evolved into brighter tones. The pastels reflect the stone and marble of the original Faubourg store and work really well with Hermès’ colour palette.

ESQ: I read in previous interviews that you also kind of tie some of your works to dreams that you’ve had. Was there a specific dream that you had for "The Traveller"?

LC: I've been studying my dreams carefully for about five years now. In my dreams, I often find myself in familiar places, like a grandparent’s house, but I keep discovering hidden doors, stairwells, or entire rooms that I didn’t know were there. I have this type of dream frequently, and I wanted to bring that sensation into the Hermès installation—that feeling of discovery and mystery.

ESQ: Have you learnt anything from studying your dreams?

LC: Definitely. Yes, I feel like a completely different person after spending five years studying my dreams. I agree with Carl Jung’s idea that dreams often reveal parts of yourself that you didn’t know were there. Dreams come from the unconscious realm—quite literally, the part of you that you’re not aware of. Sometimes the unconscious can reveal something encouraging; other times, it stings a little. But it’s valuable information, and I’ve found studying my dreams to be really rewarding.

ESQ: Do you dream in colour?

LC: I do, and some dreams have particularly vivid colours, though not always. Colour is a whole other type of symbolic language.

ESQ: It does seem as well that your work mostly has this positive, dream-like energy. But I do feel that there are some darker influences in certain pieces.

LC: I'm curious what pieces you’re thinking of.

ESQ: For example, "Fix your eyes on the unseen realm" and “Lover’s Knot" I feel had darker undertones.

LC: I think what you’re picking up on is that feeling of witnessing something that is simultaneously familiar and uncanny. I'm intrigued by spiritual ideas and the realm of the unconscious, which is why I often discuss dreams in relationship to my work. I think most of us have experienced this feeling in our dreams; there’s a mysterious aspect to dreams. Carl Jung referred to it as “the numinous” aspect of dreams. The sculpture, “Lover’s Knot” is inspired by an old Scottish folk song, "Barbara Allen", which is about unrequited love and a couple who die and are buried next to each other. Out of one’s grave, a thorn bush grows, and out of the other, a rose bush, and they grow together, intertwined. It’s a folk song that influenced early country music, but there’s definitely a dark element to that reference.

ESQ: Is it important for you to keep your artwork kind of lighthearted?

LC: Given the darkness in the world, I prefer to bring light. The New York art scene can be very cynical and political, which isn’t my focus.

ESQ: It feels like your work is a collage of different ideas and references, that you then twist into your own vision. In some ways, to me, it echoes what AI does, right? Pulling out information from everywhere, and then generating an image. What are your thoughts on AI with respect to art?

LC: I find it fascinating. I’ve experimented with AI for generating ideas, and I think it’s an exciting tool. There are artists who have been successfully using it for years—like Jon Rafman. I’ve only played with it a bit but I’ve used it to inspire new concepts, feeding in images of my work and observing the results. It has sparked ideas for a few of my drawings. Sometimes it has good ideas. (laughs)

ESQ: There's this saying that likens a painting to a window and now that you've done an Hermès window, how do you feel about it?

LC: Working on this installation for Hermès felt particularly poignant because it literally serves as a window, offering a curated view into a space that is simultaneously real but impossible. Just as I do in all my work, for this project, I wanted to create a bridge between the familiar and the fantastical, allowing viewers to experience a moment of discovery.

This interview has been edited for length and clarity.

It’s a little like a homecoming for Josiah Chua when we shot at his former class at LASALLE College of the Arts. Where mannequins acupunctured with needles stand at attention; sewing machines wait in rapt silence, there are ghosts of Chua’s past: of him and his peers sewing and cutting cloths.

Chua is part of the 2009 graduating Fashion Design class that consists of designers like Sunny Lim, Mae Pang and Pauline Ning. After graduation, as Chua was enlisted into National Service, his peers were roped in for PARCO next NEXT, an incubator programme to groom burgeoning fashion design talents. Held at PARCO Marina Bay in Millenia Walk, this was an initiative organised between PARCO Singapore and Textile & Fashion Federation (Singapore) (TaFf).

Despite the exclusion due to his conscription, Chua was excited for his peers. “During the weekends, when I booked out, I’d visit them at their booths and hang out.”

Eventually, the retail scene became a tough landscape to traverse, more so for local brands. PARCO next NEXT and, later, PARCO Marina Bay, shuttered. With this closure, Chua fretted about the loss of his friends’ outfits. “The local retail scene was competitive. For the amount of work that [my friends] put into their pieces, the prices that they were selling at weren’t enough in the long run.”

Previous collections were kept in storage and their prices often got discounted. Eventually, unsold collections were faced with the unkindest cut of all: disposal. Chua, who was already collecting toys and anime paraphernalia, stepped in. After all, what’s one more genre to collect, especially when they are the result of your classmates’ hard work?

Back then, as a student, Chua didn’t have the wherewithal and the funding to amass all the local pieces that he’d like. Approaching the designers that he knew, his classmates, seemed prudent. When he was able to earn his keep, Chua would revisit conversations with his friends about attaining their collection. He’d also resort to hunting down local brands on Carousell (an online market place).

Nostalgia is a huge factor in Chua’s obsession. The clothes reminded him of an era, a period in his life that represented possibilities. “Looking at them start their own labels told me that it was possible for me to join them at the PARCO next NEXT programme."

But that didn’t happen. Instead, Chua, who was trained as a fashion designer, found success as a stylist. He points to the lack of design houses in Singapore as a factor for his career change. “For design students, whenever there’s an internship, a lot of them would go for publications,” Chua explains. “Or work retail at Club21 or tailoring shops. Working in publications was a more viable option because there were many opportunities to work with editors and to find out how to market yourself.

"I didn’t choose to be a stylist but I don’t hate it. I enjoy what I do. Somehow the styling path found me. At the heart of it all, I’m still a designer.”

Chua’s collection started with works by his classmates but it soon included designers and their labels that he’d admired like alldressedup, Baylene, Woods & Woods. In a sense, Chua has the added onus of being a fashion anthropologist. In 2022, he and his friend, Daniela Tan (co-founder of the fashion label, MASH-UP) organised an exhibit called Capsule 2009. It was a visual archive of fashion pieces; over 50 garments, magazines and ephemera from the 2009 graduating class as well as from designers that they looked up to as students, were displayed. You can see part of the exhibit on the Instagram account (@sgfashionarchive), which has not been updated since.

The reason for the lack of an update is time; Chua is unable to set time aside for a meticulous archiving of his collection. Currently, 200 pieces of clothes are packed in boxes and suitcases; stored away in a corner of his flat. Recently, when he was unearthing what he had for this feature’s shoot, he was overcome with a compulsion to pick up from where he left off and properly catalogue his collection.

It’s a travesty if these outfits were allowed to disappear, no one else would know of their designers. That is why Chua steps up to the plate. That in his act of preserving this bubble of his past, he can also remind Singaporeans that their country has talent.

“If I don’t do it, I don’t know who the hell would,” Chua simply says.

(Clockwise from left-most)

Fabric neckpiece, KWODERENT. Panelled leather jacket, PAULINE.NING

“This Kwoderent piece isn’t mass-produced. It’s one of each. I went to [designer Grace Tan] studio and she had to open up her archive for me. It was eye-opening as it’s made out of foldable organdie fabric and green isn’t a common colour that Grace would use. The pauline.ning pieces were harder to acquire because Pauline didn’t want to let any of them go because she only had one of each design. Her patterns were so intricate. I kept inquiring about her key outfits and eventually, she caved in. She kept them in a large box and gave it to me. It felt like Christmas when I opened it.”

Printed silk georgette dress with rope hardware, ALLDRESSEDUP

"alldressedup is no more. [Jazz singer] Joanna Dong gave me a piece that she bought for one of her gigs. She knows that I was collecting local designers and she graciously gifted it to me. This is one of a kind; look at the print and the intricate rope hardware."

Tailored shirt with metallic panels, MILS BY SUNNY LIM

"When Sunny passed away, I asked his best friend [Lee] Yun Ting (designer of Episene) whatever happened to the rest of his collection. She said that they were stored at his mom’s house and his mom doesn’t know what to do with them. I asked if I could have them. Or if I sold them, any money that I made could be donated. I have his panelled metallic stuff and some that have cut-outs to reveal skin.”

Jersey and cotton tailored shirt, WOODS & WOODS BY JONATHAN SEOW

“Woods & Woods was a brand that I knew about but I was a bit late to the game. I looked up to Jonathan as the bench mark because he did Paris Fashion Week. Back when Woods & Woods was popular, I didn’t have the means to afford his stuff. Jonathan mixes unexpected fabrics. This shirt is constructed to look like a man’s shirt but is made out of a Jersey mesh material. Technically, it’s very creative. It’s not a showy shirt but it’s all about the details that I found appealing."

Panelled jacket with pleated darts, MAE PANG

"This is one of the first few pieces that I got that kickstarted the collection. Mae and I are close friends so her pieces were easy to attain. A lot of thought goes into her outfits; she’s so technical and it’s designed in such a way that it’s also suitable for our climate. After Mae, the collection just snowballed from there.”

Photography: Jayden Tan

I've written far too many words about 2008’s Cloverfield, the cult-classic, found-footage monster romp that reinvented movie marketing for the digital age. But you’re about to read an interview with the director of that movie, Matt Reeves, so I’m sure as hell not stopping now. Not even two minutes after the 58 year-old popped up on Zoom—about a week before the premiere of the HBO series (slash spin-off of his 2022 feature, The Batman), The Penguin, on which he serves as an executive producer—I had to ask about the trailer. Yes, that trailer.

If you’re unfamiliar: Cloverfield’s first preview, which premiered ahead of showings for 2007’s Transformers, didn’t even feature the title of the damn movie. Audiences saw clips of a birthday party from some dude’s camcorder, the Statue of Liberty’s head crashing into the middle of Manhattan, and the release date (1-18-08). The Internet wasn’t yet a place where you could Google answers to this sort of thing; it broke a lot of brains and went viral before you even called anything viral.

“We were still shooting the movie when Transformers came out over the Fourth of July,” Reeves remembers. “So my girlfriend and I went to the [theatre] and we said, ‘Can you let us go in? Because actually there’s a trailer for something that I’m doing.’ And then we went in there and watched the audience respond. It was really cool. But that was so scary for me because we were so early in making the movie. We’re going like, ‘Oh my God, everyone is waiting to see what it is, and we’re still making this movie!’ ”

Fast-forward nearly two decades and—not to criminally breeze past his revered Planet of the Apes trilogy—Reeves has the keys to Gotham. In 2022, he debuted The Batman, which starred Robert Pattinson as the Caped Crusader. And Mr. Wayne’s notoriously hard-to-please fans...really...loved it? Pattinson flashed Batman’s detective chops, Zoë Kravitz shined as a wonderfully sly Catwoman, and Paul Dano delivered a QAnon Riddler who was downright chilling. In fact, the approval rating for Reeves’s Nirvana-coded Batman universe is so damn high that one of its characters—Colin Farrell’s Oz Cobb, aka the Penguin—is about to enjoy the small-screen treatment. Spoiler: Batman loyalists will love it, too. Its many triumphs include Farrell’s unhinged, Batman-fucked-with-Tony Soprano performance and more time in Reeves’s Gotham, which turns out to be far more intertwined with our world than you’d ever think.

In advance of The Penguin’s premiere on Max, Reeves opened up about his Spielbergian origins, his inspiration for the upcoming Batman Part II, and what the hell possesses Colin Farrell when he becomes Oz Cobb.

This interview, presented in Reeves’s own words, has been edited and condensed for clarity.

---

The Origin Story

When I was a kid, I made 8mm movies, like Spielberg. When I was thirteen or fourteen, I actually met J.J. Abrams because we were in an 8mm film festival—we became friends through that. And then we showed our films at a new art theatre in Los Angeles. And Spielberg, who had that experience as a kid, was like, “I need to see these movies.” So they gave the program to him and he watched it. I heard back from his assistant at that time. She said, “He really enjoyed seeing the films. Thanks.” She called again six months later and said, “We just found all of these 8mm films. Because they’ve been in a hot basement for all this time, they need to be repaired. [Spielberg asked,] ‘Can you get them repaired?’ And I was like, ‘Who’s going to do that?’ He goes, ‘Those kids.’

So the war movie that they’re making in The Fabelmans, that’s Escape to Nowhere. That’s one of the films that we re-spliced together for him. We’re just going, “These are Steven Spielberg’s 8mm films!” And we were these kids. It was mind-blowing.

From The Pallbearer to...Cloverfield?

I was born in ’66. I grew up in a period of American film that really was inspiring. There were a lot of American directors who took other genres and subverted them. Chinatown is really a subversion of a noir. It’s funny, because those movies tremendously influenced me—but I don’t think I ever thought that I would be a genre filmmaker. I started in the vein of thinking that I wanted to be someone like Hal Ashby and make these kinds of sad comedies. My first film [The Pallbearer] didn’t light the world on fire. But it was very personal. When you spend your entire youth as a filmmaker, it’s like a bunch of kids who are getting together and they make their first album. If they’re twenty-five, it really took twenty-five years to make. I spent the first twenty-five years of my life making that first movie, and then that didn’t work. I started having opportunities where I was like, “What would it be if I tried to find a personal way into genre filmmaking?” And Cloverfield was one of those movies where it was like, “Okay, I need this to be about my anxiety. What would I do?”

The Inspiration for The Batman Part II

The intense division that there is right now. On the one hand, you say it’s a thing going on in the United States—and obviously Gotham is an American city—but really it’s worldwide. There’s just tremendous division, the way that the world gets its information, its news. Everybody is in their own silo. That sense of the environment of today, where it’s just very easy for people to be completely separate and at complete odds—that’s definitely one of the things that we’re looking at in Gotham. Some of that is just the way that society is, but some of that is intentional—and to the degree that that’s intentional, and how that fits into the larger picture of what the motivations behind that might be, that’s one of the things that we’re exploring as well.

How Oz Cobb Scored the HBO Treatment

I always said, we’re going to continue [the Penguin’s] story. Initially, the idea was to continue it in the next film. And then when we were talking about doing shows, I was talking to [The Batman producer] Dylan Clark and [HBO heads] Casey Bloys and Sarah Aubrey. Casey said, “Look, I just want to say, I hope you’re not going to save the marquee characters for just the movies. This is HBO.” And I was like, “Okay, let me tell you what this kind of Scarface-esque story is.” It isn’t his origin story. It’s sort of like Batman’s story—the way that I did it—because there’d been so many origin tales. It’s the early days; it’s the origins of all of the rogues’ gallery characters. Because in the comics, those characters make themselves really in reaction to the arrival of this presence, this masked vigilante. So this is almost like a gangster movie. The idea was to see Oz reach for power in this moment.

The Metamorphosis of Colin Farrell

Colin is a force of nature. He’s just an incredible actor. And the way [designer] Mike Marino transformed him, that unleashed him. My experience with him in the movie and the show is that I feel like that’s another person. It’s uncanny. There’s something incredible going on. The idea was that then we found [showrunner] Lauren [LeFranc], and we started talking about doing this character study—and to talk about that rise and the obstacles of that. And she came in and pitched the story for the pilot, which I loved. It was so illuminating to Oz’s vulnerabilities.

What Makes Reeves’s Rogues’ Gallery (and Batman) Tick

It’s important to me that all of these characters are doing what they’re doing out of personal motivation. I love the comics, but sometimes there’s an oversimplification. One of the things that I thought that we could do in the movie, and then what we did in the series with Lauren, was to make sure that we were looking into something that felt grounded and real in psychology. Obviously, that’s what Riddler is doing. He thinks he’s doing the right thing. In fact, he’s inspired by this vigilante.

Lauren really was the one in the series who came up with that particular take as it related to Oz. All of it really stems from this idea that his ego is such that he desperately wants to be revered. He desperately wants love. And so that sense of wanting the neighbourhood to revere you is to fill that void of never getting enough love....That’s the idea we’re trying to explore in Batman, too. There’s the simplistic version where he sees himself trying to save the city. But what is it he’s coping with psychologically? What happened to him? It’s funny, as Mattson {Tomlin] and I are finishing writing the second movie, the thing that I always think about is how Batman is not just trying to do something for the greater good. It’s the only way he can make sense of his own life. In a way, it’s saving him.

Why Battinson Sits Out The Penguin

He’s more of a spectre in the city. I really wanted what we did in the first movie, and what we’re doing in the second movie, to be focused on Batman’s arc. A lot of the other movies, once they do their sort of origin tale—which, of course, is Batman and Bruce’s—then they almost pass the baton over to the rogues’ gallery in such a way that their story actually is the story. But I really want this to continue to be a Batman point-of-view series of movies. So one of the things that was really exciting about the opportunity to do a show was to let it really focus on that rogues’ gallery character and change points of view. The whole movie is done very deliberately from Batman and Bruce’s point of view. The only scenes that aren’t from his point of view are from Riddler’s point of view. And that was done to make you think for a moment: Wait, is that Batman’s or Riddler’s point of view? This was like: What if we could just go down that alley and follow Oz in the wake of what happened in the movie?

The Secret Sauce of IP Storytelling

I was very conscious about wanting to make the Gotham of The Batman a Gotham that was our world. Even though it’s a fictitious city, the idea was that it would be our Gotham. The interesting thing is: I had been approached before Batman and before Planet of the Apes about other franchises, and I couldn’t do them. I turned them down because I was like, “I don’t know what the way is.” I was really fortunate with Apes and with Batman that those two franchises, I can do something where I can connect personally. And then I’m not handcuffed anymore. I can find a path.

As a producer, I make sure that I’m working with people who have that same kind of personal connection to their work so that it isn’t just the IP. That’s not any judgment. For me, that’s survival....That’s what movies are, right? You go to a movie to have this empathic experience where filmmakers and actors put you in the shoes of people who you are not for a period of time. Then you go and experience it through them in this transportive way. To me, that is the ultimate goal. That's what’s exciting to me about movies.

The Next Generation

I just love movies so much. Getting that bug as a kid, expressing myself, and having a place to tell stories, it was really an escape from the craziness of growing up, my family, all this kind of stuff. I just hope that that tradition continues. When I was growing up, movies were so important. And now we have to fight to make sure that movies and streaming content—whatever we want to call it, shows—can connect to people so that the next generation can be just as inspired to tell stories. I just hope that that happens, because I’m excited to see what stories younger people have. I want them to tell it with passion.

Originally published on Esquire US

About three years ago, Will Ferrell’s longtime friend Harper Steele—a writer-producer who worked with the comedian on Saturday Night Live, Eurovision Song Contest, and more—came out as a transgender woman. And Ferrell responded exactly like a big-hearted, beer-crushing Will Ferrell character: Let’s take a cross-country road trip to talk about it and make a documentary of the whole thing!

The duo worked with filmmaker Josh Greenbaum (Becoming Bond, The Short Game) to capture the entire journey, which would also function as Steele’s first time truly living in the world as herself. The trek includes but certainly isn’t limited to: uncomfortable, teary-eyed conversations in a car, a steak dinner gone wrong and one blissful karaoke night. The result is the hilarious, beautiful, and deeply important Will & Harper, which debuts on Netflix.

Now, it would’ve been enough to show Steele and Ferrell’s sprawling, My Dinner with Andre–style talks on the ride. But that’s not what makes Will & Harper one of the year’s best—if not the best—documentaries. Greenbaum delivered a striking portrait of coming out as transgender in a year that, as of June, saw US legislators consider 617 anti-transgender bills (and a potential president in Donald Trump—who, if he wins, poses a major threat to transgender Americans). We watch as Steele finds support at a rural bar but face staggering hate at a seemingly benign Texas steakhouse. “If you start to engage and listen to people like Harper and so many others, you’ll realise, These are just people who are trying to live their lives,” Greenbaum says.

Below, he opens up about following Ferrell and Steele across the United States, the potential political impact of the film and his next directorial projects, one of which just so happens to be Spaceballs 2. This conversation has been edited and condensed for clarity.

ESQUIRE: Has anyone asked how the road trip was for you? I mean, you also traveled the country.

JOSH GREENBAUM: You’re right! No one actually has asked me that. It was a mix of things. Of course, I’m just so focused on figuring out how to capture the footage.... On the flip side, I was going on this journey with them. Both of them were friends of mine prior to making the film, so they’re certainly the subjects of my film—but there was another added layer of going through all the emotional ups and downs that they were going through. In any given scene, I was in the background—usually in my car—and I could be laughing. Then at some of the heavier moments when they both broke down, I was crying.

You were feeling the emotional and physical toll of a road trip.

I knew there would be some highs and lows but where they came completely surprised me. I’m just thinking of when we have a silly dinner where Will’s going to try to eat a 72-ounce steak [and it was a low]. Then there were times when we went into a bar that I thought was for sure going to be a low. I thought, Oh, I scouted this bar that Harper said she wanted to go in by herself—and I am certain this is not going to go well. Every time I had a preconceived notion—which is certainly a lesson for me and for anyone involved—it [might not always play] out the way you might expect.

There’s a statistic: 70 per cent of people don’t directly know a trans person.... The unknown with Harper became known as soon as she walked into places. She’s so personable and funny that all of a sudden that scary unknown became Oh, okay, she’s cool. She’s funny. She likes shitty beer. And you go, This thing that I was either apprehensive about or afraid of, it’s not so scary all of a sudden. Obviously, it’s a huge burden to put on one person.

Was there a point when you realised that Will and Harper’s conversations could act as a point of entry—and empathy—for people who don’t know much about transgender issues?

That was the intention from the start.... By seeing someone like Will with his friend Harper—and the two of them not so perfectly make their way through these understandably difficult conversations—it does create an easier on-ramp and lowers the bar of entry for people to feel like they can engage. One of the lessons I took was: A lot of us want to engage, be allies, and be there for a friend. But there’s a fear of saying the wrong thing, not knowing what to say, doing the wrong thing, or asking the wrong question. What Will and Harper showed throughout this journey is that a lot of being an ally and a friend is just being there. Listening. You don’t always have to say the perfect thing, provide the best advice, or ask the best question. Just show up.

I feel like a lot of people who watch this documentary will meet Will Ferrell—who is far more even-keeled than his onscreen persona—for the first time.

One of my favourite moments was when I screened Will & Harper for some close friends and family. I screened it for Will’s dad and he was in tears at the end. He hugged me and said, “That’s my boy up onscreen. That’s the man that I raised and know and love.” He said it’s the thing he’s most proud of that Will’s ever done.... Will is an amazing guy and I’m really excited for the world to see the side that I’ve known for seven or eight years now.

Having known Harper for several years, what did you notice in her over the course of the journey?

She has never wanted to be on camera. I dug through archival photos and footage of Saturday Night Live, where she started the same exact day as Will Ferrell. She was there for 13 years. I couldn’t find anything. She’s like, “I would hide. I would dive out of the way.”... Harper grows more and more comfortable throughout the film. By the end, there’s a giant sense of relief and joy. That was just an important part I wanted to convey, which was for so many trans people and queer people, when they come out, the actual feeling is joy. You see that throughout Harper’s journey as she just leans more and more into her joy.

It’s beautiful. You really can see the weight shedding off her back.

Now you should see her. She’s coming out to standing ovations at festivals. I was like, “Harper, keep an eye out. I want your head to get too big!”

I know people keep asking about the steak scene, where Ferrell and Steele are received poorly by the patrons of a Texas steakhouse. But what’s the opposite of that?

There was something about the karaoke scene [that was special]. Harper meets another trans person who has gone through it before. You can see that she’s learning, asking questions, finding a friend and they just bonded.... Will sang—in of course, classic Will Ferrell fashion—“She’s a Lady,” which is very fun and funny. And finally, the three of them settled on a song to sing together, Sonny and Cher’s “I Got You Babe,” which is just euphoric and beautiful.

Will & Harper premieres during an election season. Did you ever see the film as having any sort of political role?

I hope it makes a cultural impact. Everyone on the team consciously did not make what I would call a political film. It’s an incredibly personal film. But that’s where our politics should lie—in the personal. We can talk about all these hypotheticals and you can hear politicians spewing lies about this and that, about kids going to school and then two days later coming home a different gender. Utter bullshit. But the way to combat that is through storytelling—personal stories, levity, comedy and joy. Some people just don’t know a lot yet. What they’re doing is they’re listening to the wrong people. They’re listening to politicians.

We went through this, by the way, with gay marriages. A lot of the same arguments were being made. There was a lot of Oh, what if we let gay people get married? What will they do next?!?... There’s this subtle line that Harper says that I always go back to. It’s when she’s outside her house toward the end of the film, where she’s explaining that she’s just feeling such relief that she doesn’t have to lie and hide anymore. She says that she just wants to be in the world. That’s all she wants to do. She just wants to live.

On a lighter note—and this is a true story—I watched Spaceballs as a kid, but I didn’t see Star Wars until I was in college.

You’re like, “This is a lot like Spaceballs! George Lucas copied Mel Brooks.”

That’s exactly it. I can’t let you go without asking about Spaceballs 2.

Well, there’s not much I can share, other than I’m excited to make it. It’s a still a little ways out. Like you, I was obsessed with the movie. I’m older than you so I had VHS. Back in the day, we didn’t have Netflix. You just went to your seven VHS tapes that you had in your house—and that was one that was on repeat. So I started speaking with Josh Gad and then, of course, Mel Brooks to work on this. I’ve been working with him. He’s 98 and he’s still the funniest and sharpest person. It’s a total joy. I’m still in the doc world. I’ve got another documentary coming out that I can’t really speak to yet, but it’s the distant cousin of Too Funny to Fail, which was a doc about The Dana Carvey Show. That’s coming out earlier next year, before Spaceballs.

There have obviously been so many Stars Wars films and shows since Spaceballs. What’s new to satirise in the current state of Star Wars?

I think you could answer that, right? It’s fairly easy. There’s been a ton of Star Wars content. It’s just exploded beyond the fact that there have been not three but six Star Wars films made—and that’s just in the Star Wars universe. So there’s a lot of new [material to satirise], but we also certainly focus on continuing the old so it is a true sequel.

What hasn’t anyone asked you about Will & Harper yet?

I’m really proud of the music in the film. What’s a road trip without great music? This is the first film I’ve ever worked on that every song was cleared [by their respective artists to appear in the film]. I was told by so many people, “Don’t even try for Bon Iver’s ‘Holocene,’ because [Justin Vernon] never gives it.” I sent a note to Justin Vernon and he watched the scene—and loved the movie—and he granted us permission. Of course, it all comes to an end with the wonderful Kristen Wiig. She wrote a beautiful song to end the whole film.

Is the Academy Award for Best Original Song limited to narrative films?

No, it is not. We’re doing it. Let’s get Kristen Wiig an Oscar.

Originally published on Esquire US

I mean zero shade to little-known character actors Brad Pitt and George Clooney, but I have to say: Austin Abrams has the best scene in their new film, Wolfs. The action-comedy, which debuts on Apple TV+ 27 September, stars Pitt and Clooney as duelling fixers who are hired to clean up the same mess. Of course, shit goes sideways, thanks to Abrams’s drug-slinging college kid with a heart of gold.

Anyway, back to the scene: Pitt’s and Clooney’s characters interrogate the poor kid in a shitty, jungle-themed motel room—and it seems like he won’t break!—until he does. Abrams promptly delivers a frantic, breathless, can’t-look-away monologue that tells the entire storey of his character, right in the face of two Mount Rushmore–level thespians. I’m still thinking about it.

When I Zoom with Abrams—who also stars on Euphoria as the kindhearted, surely Broadway-bound Ethan—I inform him of this fact. He’s clearly uncomfortable with stealing any sort of praise from Mr. Pitt and Mr. Clooney, so I ask what it was like to spend his 28th birthday at the Venice Film Festival’s Wolfs screening.

“So the movie played late—we got done after midnight, which was my birthday,” he says. “We were up on a roof, and Brad started singing ‘Happy Birthday.’ And then everyone’s singing ‘Happy Birthday.’ Then we went to this after-party, where they brought out a cake and did it again. It was a super-sweet, really surreal experience.”

For the Florida native, it’s one of those birthdays that give you plenty to think about, like where he’s been and where he’s going. In his twenties, he has played everything from a charming Netflix rom-com hero (Dash & Lily) to an abusive boyfriend (This Is Us) to, yes, one of the only sane humans in a school full of batshit California kids (Euphoria).

Now his roles are coming nearly tailor-made for his talents. If you watched Abrams crush “Holding Out for a Hero”—a jaw-dropping but damn funny physical performance—on Euphoria and wanted more, Wolfs is for you. The film sees him darting around Manhattan in his tighty-whities while somehow holding his ground against Clooney and Pitt. At times, his performance is hilarious, tragic, and hilariously tragic.

Today, though, we’re still thinking about birthdays. Mine is a couple weeks after Abrams’, so he wants to know if I’m the kind of guy who dies a little inside when anyone sings “Happy Birthday” to me. The answer is yes—who doesn’t?!—so he gives me some guidance. “Really try to not hide,” he says. “Focus on your chest and try to just feel what’s happening. It’s just a great opportunity where people are giving you a lot of love. They’re here celebrating you. They love you. They want to celebrate you.”

Below, Abrams offers more sage advice and talks about acting alongside Clooney and Pitt, what he knows about Euphoria season 3, and his involvement in director Zach Cregger’s secretive Barbarian follow-up, Weapons. This interview has been edited and condensed for clarity.

AUSTIN ABRAMS: What’s behind you?

ESQUIRE: I’m in Esquire’s archives room.

AA: Does anyone ever go in there and look at anything?

ESQ: Yeah, people love sifting through the old magazines. There’s a lot of funny stuff—I’m looking at a very old book called Things a Man Should Know About Work and Sex.

AA: Oh, hell yeah! Let’s bust that open! Figure it all out.

ESQ: I know everyone’s asking you different versions of What was it like to work with Pitt and Clooney? But I’m curious what you learned specifically from them that you’ll take to your next project.

AA: They’re geniuses at constructing a scene. I went into Wolfs being like, Okay, I really want to learn from these guys. And you do learn a lot—and you learn a lot from osmosis. But also something that I learned is: He’s just Brad Pitt and he’s amazing. And so it’s like, if you want to be like Brad Pitt, you just have to be Brad Pitt.

I wouldn’t say I was surprised, but I was very grateful when it turned out that they were so sweet and welcoming to me. It’s really impressive, because people in their positions, they don’t have to do that. They don’t have to be welcoming. I feel like I’ve heard so many [horror] stories. With these guys, it’s not the case at all.

ESQ: Wolfs is an action-comedy, but if you really peel back the curtain, your character is a pretty complicated guy. He’s this young, lonely, confused kid who’s idolizing these two traditional versions of masculinity. It feels very of the times.

AA: Totally. If you just go off of what he says, he talks about taking some classes at Pace. He’s still living with his dad. You don’t know if there’s a mom in the picture. Yeah, I feel like there is something about the character where he’s looking toward some sort of male role-model figure. You see it with Richard Kind, who plays my dad. There’s Sinatra [memorabilia] in his apartment—even my dad is looking toward other kinds of male figures. It seems like what you see is a lost son and a lost father when it comes to their identity or their masculinity. It seems like what a lot of young men seem to be struggling with.

ESQ: I have to admit: Dash & Lily was probably my favorite pandemic comfort watch. How do we get ten seasons of Emily in Paris and no more Dash?

AA: I’m not really sure what happened, but it’s lovely to hear something like that. It happens more around Christmastime or something. But if someone says something to me like, “I’ve seen that a bunch,” it’s lovely to hear that it brings someone comfort. We all have our things that we watch every year—and to think that something that I’m in is something that people watch every year, it’s a cool thought to be a part of that ritual.

ESQ: Is that what’s fulfilling about this work for you?

AA: It’s different every time—and you don’t know really what you’re going to get. I’m just thinking about the last thing I did. [I appreciate] getting to know a different part of life, or a way people live, more deeply. Doing the work, you get to know this aspect of life that you never would have known before....There are a lot of different things that can be really fulfilling about it. It’s always a nice thought to think about someone watching [my work] and questioning something in their life. That’s why I dig a lot of Shakespeare, because his work asks a lot of questions. He never tells you the answer.

ESQ: Was Weapons the last project you worked on?

AA: Yeah. Zach Cregger is amazing. I mean, the way that he works and writes—his stuff is so deep. All of this stuff feels like there’s a deeper element to it, and it’s why I really love this work. Also, his humor is just amazing, which also sets him apart.

ESQ: What else drew you to Weapons?

AA: It’s one of those scripts that I couldn’t stop reading—I was up way later than I should have been, finishing it. It’s just very exciting. A lot of really, really great actors. Inspired story. Inspired director. And a great, great character. That’s probably the most I can say, but I’m really excited for it.

ESQ: Okay, I have to move to “Holding Out for a Hero” then. I rewatched the scene this morning.

AA: Oh, you did?

ESQ: How many weeks of choreography did it take to pull it off?

AA: I don’t know where [Euphoria creator Sam Levinson] got the idea that I could do that. Maybe he saw something that I didn’t see. But I never really had any particular sort of dancing skills, so it took a while to even get to a place where I was able to do that.

ESQ: I get it. I don’t naturally have rhythm.

AA: Okay, so imagine being you. And being like, Oh, fuck, I have to do this in a couple months. You could do it. You would just have to figure it out how to do that....It was definitely a challenge. It was nerve-racking. When I first read that, I was like, Oh my God. Also, I didn’t know if I was going to have to sing—I just remember in the script it not being completely clear that it was lip-synced. Thankfully, that wasn’t the case, because that would have been insane. But yeah, it was super daunting at first. But I love dance now.

ESQ: It feels like there’s a new report about Euphoria season 3 every month. What has your experience been? Have you been asked to return?

AA: I really have no idea. I mean, because it was being geared up to go—I mean, years ago, I think.

ESQ: There was one story that said the cast was locked in to start production in January.

AA: I think it was supposed to happen, and then the strike happened. Something like that. So I couldn’t tell you. I have absolutely no idea when they’ll do it, if I would be in it or not. I hope they make it, though. I mean, I love Sam. He always feels really inspirational to work with. The show is a very inspiring thing to work on.

ESQ: Do you have any hopes, dreams, or aspirations for Ethan?

AA: I couldn’t tell you. No idea. I wish him well. [Laughs.]

ESQ: What’s next for you?

AA: A dream is just to keep working with great people and great writing. It’s almost like you have to be careful of what you want or what you desire, because it’s just a desire. It’s just a dream. It’s not real yet, you know? As I’ve gotten older, there’s also an understanding of how you actually don’t know what [a dream will feel] like when it happens. It’s not true that you’ll feel the way you think you’re gonna feel in your head, you know?

ESQ: It’s sobering, yeah.

AA: You’ve gotta be careful of fantasies and what you want in life. I mean, life can be an adventure, hopefully....You have to really go moment by moment. You have to know that if that happens, it may not give you the feeling you thought it would.

ESQ: That’s the hard thing about this age—it’s when your childhood dreams collide with whatever’s happened to your older self.

AA: Yeah, all of those thoughts you had when you were younger—then you’re hit with, like, Oh, shit. It’s not like we’re old, necessarily. It’s just that that age that once seemed far off in the distance is now here. People reading this either get it or maybe they’re freaking out by what we’re saying.

ESQ: Anything you wish I had asked you?

AA: Why didn’t you ask me what I eat for breakfast? I’m a little bit pissed off about that. [Laughs.]

Originally published on Esquire US

Desmond Tan is no stranger to covers; they’ve punctuated every chapter of his life. From his early days in the industry, where youthful energy and ambition defined him, to the more seasoned actor we've come to know, each interview has captured the essence of the different stages of his life.

But this one feels different. There’s a sense that he’s stepped into a new phase, one that’s about inner transformation as it is about outward success. He has a daughter now, and with that comes a shift—a deepening, a quiet assurance and a fresh perspective on life that wasn’t there before.

Perhaps it's the 17 years spent in the industry, but the insecurities that once clung to him like shadows in his youth have softened, giving way to self-acceptance. External measures no longer dictate his perception of himself, and he doesn’t seek validation from them either. It takes a certain level of nuanced understanding of oneself and the world to get there, but it makes perfect sense given his favourite film is Wong Kar Wai’s melancholic In The Mood For Love.

This digital cover feels like more than just a feature but a reflection of a man who has embraced his past, matured into his present and is ready to step into the future with newfound clarity. It’s a snapshot in time, one that perhaps, years from now, his daughter will look at and see not just her father, but a man who once grappled with self-doubt, anxiety, and identity, and emerged stronger for it.

ESQUIRE SINGAPORE: You're a father of a newborn. What was your initial reaction when you first held your baby?

DESMOND TAN: At first, I didn’t feel much when I saw her in the labour room—there was so much adrenaline. But once everything settled down, emotions hit me all at once. It was magical. I held her for the first time about six or seven hours after she was born, after all the checks were done. The moment felt surreal; like time stood still. It was just like in the movies, where the camera zooms in from a wide shot of the earth, then to the continent, then to Singapore, and finally into that very room. It was a heartwarming and moving experience, and even now, talking about it gives me goosebumps.

ESQ: How has fatherhood been treating you so far?

DT: I’m loving every moment of it. I haven’t felt frustrated or regretful. Everything’s been smooth, and I feel blessed to have an easy baby. Fatherhood has given me a new perspective on life, made me grow, and changed my priorities for the better. I now focus more on the quality and intrinsic value of things. It’s motivated me to push harder in both life and work, and I believe it’s expanded my emotional range as an actor.

ESQ: What are you currently working on?

DT: I’m working on a production called Devil Behind the Gate, where I play twin brothers. It’s one of the most challenging projects I’ve ever taken on because I have to portray two very different characters with opposite personalities.

Switching from one brother to the other on the same day is challenging, with all the necessary makeup, wardrobe, and character changes. But I enjoy the challenge, even the tough parts because I believe growth comes through deconstruction. This project is helping me build a new foundation for bigger opportunities.

ESQ: You've a daughter; how's it going?

DT: She’s an easy baby—sleeps from 8pm to 8am. But that means I often don’t see her awake. I leave early for work and by the time I get home, she’s asleep. The only time I see her awake is through photos or a baby monitor during my lunch break.

It reminds me of having a Tamagotchi—those virtual pets we had growing up. I turn on my phone, watch her through the camera, and sometimes talk to her through the speaker. At first, she would cry when she heard my voice, but now she recognises it and doesn’t cry anymore. It’s funny when I think about it.

ESQ: What's something you've always dreamt of doing with your child, even before having her?

DT: When I was younger, I imagined having a son to play soccer with, go biking, or camping. But when I had my daughter, everything changed. There are so many things I want to do with her—read books, sing duets, teach her music. The one song I always sing to her is “A Whole New World” and I hope that, one day, we’ll sing it together. It feels like a special bond between us, like the song is our theme.

ESQ: You entered MediaCorp when you were 21. How has the industry changed since then?

DT: The industry has evolved a lot, especially with the rise of streaming platforms. When I first started, people mainly watched TV for entertainment, but now there’s so much competition from productions around the world. We have to adapt to the changing tastes of both local and international audiences.

The way people consume entertainment has changed too—formats have shortened, and social media has become a big part of the industry. I used to see myself strictly as an actor, but now I realize I need to wear multiple hats. Social media helps promote our work, and I’ve come to embrace that.

ESQ: Are you interested in exploring other mediums like international film?

DT: Always. International interactions have opened up new opportunities, and I’m eager to take on international projects. Working on sets with different cultures and experiences always brings out something new in me. It’s exciting, and I’m constantly inspired to grow and explore more. I don’t want to be a wallflower in this industry—I want to leave a legacy, to be a beacon of inspiration for my generation and the next.

ESQ: What is your favourite film of all time?

DT: Definitely In the Mood for Love by Wong Kar Wai. The film captures the beauty of that era in Hong Kong—the costumes, like the iconic cheongsam worn by Maggie Cheung, the silhouette of Tony Leung’s suits, the hair, makeup and music.

I’m particularly drawn to the performances in the film. Tony Leung and Maggie Cheung’s portrayals, the subtlety, and even the silence in the movie speak volumes. The film’s understated emotions hit me more than the loud action of blockbuster movies. For example, the back shot of Maggie Cheung sobbing in the shower is powerful without showing her face. It’s these kinds of cinematic choices that show the power of film.

ESQ: Are you an introvert?

DT: I think I’m a mix, like everyone. We’re all somewhere on that spectrum. Over the years, I’ve become more extroverted, but I still have introverted moments. I get exhausted after being around a lot of people, but I also enjoy sharing things I’m passionate about. I’d say I’m about 80 per cent extroverted, though I’ve never taken the Myers-Briggs test.

ESQ: As a self-proclaimed "Ah Beng," do you ever feel a sense of imposter syndrome at fancy events like fashion week?

DT: I used to think of myself as an "Ah Beng," but I’ve realised I’m more of a heartlander, a local Singapore boy. I often felt out of place at high-society events but over time, I’ve grown comfortable in my own skin. I’ve learned that everyone has doubts, and it’s okay not to know everything. What matters is accepting your weaknesses and being willing to learn and grow, even if it’s just a little each day.

Now, I’m confident in who I am and my background. I don’t see it as imposter syndrome anymore; it’s just part of my journey. I enjoy meeting people at events without feeling the need to prove myself—it's about embracing who you are and owning your story.

ESQ: Do you struggle with small talk?

DT: When I was younger, I did. I felt the need to prove myself, to be recognized, and taken seriously. But as I matured, I realised that doing less is more. When you’re comfortable with yourself, people can sense it, and they’re drawn to you. It’s important to just relax, enjoy life, and share your passions. Over time, I’ve learned that the key is to be comfortable and positive. When you’re relaxed and enjoying yourself, others will want to be around you.

ESQ: When I was doing research for this interview, I came across an interview you had where you talked about how anxiety is one of your biggest fears. Is that true?

DT: My anxiety stemmed from my struggles with language as a child. In this industry, you’re expected to be strong in expressing yourself, which was difficult for me. The pressure of recorded interviews and live shows added to my stress. As a perfectionist, I put extra pressure on myself, which only made things worse.

ESQ: How did you overcome that?

DT: But over the years, I’ve learned to accept who I am—both my strengths and weaknesses. Accepting yourself makes you feel more comfortable and less anxious. You can’t treat anxiety with anxiety, but you can treat it with self-love and love for others.

Being a father has also helped. I’ve read books on parenting that focus on psychology, and I’ve learned that our anxieties as adults often stem from childhood experiences. By revisiting those events, you can unlock and overcome your fears and anxieties.

Photography: Hong Seong Jip
Art Direction: Joan Tai
Styling: Izwan Abdullah
Grooming: Haruka Tazaki
Producer: Oh Seoyul
Photography Assistant: Woo Do Kyun

The Onitsuka Tiger Autumn/Winter 2024 collection is available exclusively at the Onitsuka Tiger Flagship Store at B1 -37 Takashimaya Shopping Centre and online.

Kit Connor’s hair looks ever so slightly different each time. It’s not softly side-swept like in his Loewe campaign, nor freshly buzzed short in recent social photos. It’s in a neat length that frames his face well and characteristically bearing a distinct auburn. Which is likely the first thing you’ll notice. We’re catching him merely two weeks into rehearsals for Romeo + Juliet.

The English actor would be tackling the possibly 37th Broadway iteration of the star-crossed lovers’ age-old tale alongside Rachel Zegler. Except that its pop-imbued teaser, shot no different from a music video, previews a score by the trendiest Producer of late. Like Jack Antonoff’s inaugural composition for a live stage, this will mark Connor’s Broadway debut.

It’s his first time working across the pond too, but make no mistake. This is hardly the 20-year-old’s first rodeo. The adaptation of Ingmar Bergman’s Fanny and Alexander at the Old Vic was entered into his CV—at the age of 14. So young that the part had to be shared in fulfilment of British child labour laws. If that amazes you, wait till we get to how old he was when he embarked on this gig.

“It’s early days, and I’m finding the flow, enjoying myself a lot.” The Croydon-raised youth tells of his return to plays, speaking at a mindful and measured pace. He’s starting to get back into the swing of it, and he’s certainly approaching it differently now as an adult. “Every job is a learning curve in its own way. It’s really nice to be in the same room for a few weeks working at it and doing what you love.”

Doing what you love. It’s a phrase that sporadically punctuates his speech. It’s not difficult to see why when you trace his career. Signed up for Stagecoach Performing Arts School by his parents in an effort to pry a fairly introverted kid out of his shell, the attempt paid off in an almost accidental entry into the industry.

“A random opening for an Xbox commercial,” he briefly recounts the what’s-the-harm mindset, “I got it, did it, had a great day and thought, ‘Yeah, I’d do this again’. And it all very naturally progressed from there.”

Natural progression like his first feature (aged nine) and first red-carpet interview (aged 10). Shooting advertisements in South Africa and playing a young Elton John in the biopic. All before taking his GCSE examinations. Quite the makings of a child actor, minus the wayward behaviour, thankfully.

“It’s a brilliant but strange way to grow up. You spend months at a time out of school trying your best to keep up with the tutors, and come back still a little bit behind everyone,” he admits, quick to furnish with how lucky he felt to have been able to gain experiences working opposite incredible actors throughout his childhood.

It’s the reason when posed with the standard question for celebrities, Connor has still yet to find an alternative occupation that would make a good answer. The factors are not particularly stellar in school (with that schedule, can anyone blame him?); plus a keen interest in the arts.

“I would have always gravitated towards the film industry or creative arts in some way.” he muses, before almost mumbling, “I still hope at some point to be a director... when the time is right.”

There was a formative time when a role he was excited to have landed eventually failed to come to fruition due to an executive decision by the studio. Since then, the young thespian does not take things for granted. This rejection-resilient fortitude was further blustered by the pandemic; where the then-student recognised the possibility of never working in this trade again.

Fortunately, that was the season he was chosen for his breakout Netflix role. Funnily enough though, if forced to pick a preferred medium among the three, Connor’s controversial opinion ranks TV as the last. Only because it stems from the love he has for a process and timeline that allows more care dedicated to a project.

One upcoming billing to anticipate is Alex Garland’s Warfare, which also stars Joseph Quinn, Will Poulter, Cosmo Jarvis, Charles Melton and Noah Centineo. Despite wrapping months ago, the two-month job felt like just yesterday to him.

“I really loved Civil War, which came out after I knew I was doing Warfare, so I was really excited to see Alex’s most recent work,” he explains, having enjoyed Ex Machina and Annihilation. “I thought everyone was brilliant in it. It gave a taste of what Warfare could be like.”

The extent of similarity lies in writer and co-director Ray Mendoza as military advisor across both films; and why action sequences come across as authentic as they are terrifying. “It opens your eyes to the horrors of war, and it’s not going to be an easy watch. Incredibly intense, probably uncomfortable. Yeah... it’ll be an experience.”

On the lighter side, there’s The Wild Robot. Connor voices young gosling Brightbill in the animated adaptation of Peter Brown’s illustrated literary series, across Lupita Nyong’o, Pedro Pascal and Bill Nighy (special shoutout to Matt Berry for lending his iconic inflexions).

While he was not necessarily a runt of the litter like the little hatchling, Connor relates growing up somewhat shorter and skinnier than everyone else. Together with what he calls “a massive baby face” that placed him looking years younger than his peers, you instinctively match that with his self-description of an adolescent who was generally rather quiet among strangers.

Before picturing a sensitive child, however, anyone who is or knows an introvert is aware of how loud they can be when they’re comfortable with you. And if anything, he’s the furthest from a crier. “A lot of my friends are,” he says, “So next to them, I look like this sort of heartless man. I do get very moved by things but I rarely cry.”

The last thing he recalls that gave him utter goosebumps was The Motive and The Cue, a meta-production on the production of Shakespeare’s Hamlet during the ’60s. In that realm, the theatre geek also has high regard for other Hamlet partaker Andrew Scott.

“Anything he touches is bound to be a success,” he expresses, citing Present Laughter and Vanya. “There’s such an incredible range in his performance. I wouldn’t say Vanya is designed to be a one-man show and was quite sceptical when it comes to those, so my jaw was on the floor with how he did it. One of the single best feats of acting I’ve seen in a long time.”

Connor occupies a comfortable space where he has the luxury of picking what he truly wants to be a part of. He acknowledges the privilege of turning down offers avails only upon reaching a certain point in one’s career. Not that he’s getting them from all directions, he adds with a reconciling smile. It’s just a little more leeway that’s provided with the support from his parents. “They never made me do things I didn’t want, towards the direction of money or anything. It’s always been how best to help me, which is being there for me and looking out for me. It’s clear that if I didn’t want to be doing it, I wouldn’t. And that’s still the truth today.”

Though the wild card sibling to an older brother and sister outside the entertainment business turns 20 this year, he reveals he hasn’t felt like a teenager for a while now. “I feel like I’ve been 60 since I was nine,” he shares of his regular demeanour, “Many of my Heartstopper friends call me a bit of a dad, and I think I am at times. There are moments the teenage side really comes out, but in most cases maybe as a result of starting work so young, I have felt like a slight old man.”

The statement is consistent with the very diplomatic way he articulates himself; sans slang or any tell-tale giveaway of his actual age. A concise conversation leaves the impression that this is simply a facet of himself that he’s open to impart, and the bigger canvas remains reserved for a passage earned with time. But time is something Connor can afford, and you suspect it would be magic the day he fully steps into his own skin.

Heartstopper Season 3 launches on Netflix on 3 October and The Wild Robot is in cinemas on 26 September in Singapore.

Photography: Kolby Knight
Fashion Direction: Asri Jasman
Art Direction: Joan Tai
Styling: Charlie Ward at SEE MANAGEMENT
Set Stylist: Elaine Winter at SEE MANAGEMENT
Grooming: Melissa DeZerate at A FRAME AGENCY using CAUDALIE
Producer: Nick Turk
Assistant Producer: Isabella Schliemann
Photography Assistant: Beka Maglakelidze
Grooming Assistant: Ryann Carter

Wang Congyu began playing the piano at three and is recognised as a complete musician and an exceptionally talented pianist. His early talent earned him a scholarship to the prestigious École Normale de Musique de Paris. Wang is an internationally renowned soloist, acclaimed as a recitalist, accompanist, and chamber musician. During his brief visit to Singapore in May, he spoke with us at a cafe in Dempsey.

ESQUIRE: Have you been travelling a lot?

WANG CONGYU: Yeah pretty much. Travelling from Singapore is easy and practical—you can go to Indonesia in an hour and return at night. If I lived [in Singapore], I’d probably travel every two or three days. However, I live on Réunion Island, where travel is more challenging. There are only two routes: one to Paris—an 11 to 12-hour flight—and the other to Bangkok. Additionally, I signed up with a cruise line this year, where I’ll head to Iceland and play in Antarctica this Christmas. I only signed up because my wife will be accompanying me. I often joke with her about how many people would love to be in her position, getting a free holiday while I’m working. After Christmas, we’ll spend time in Argentina for New Year’s.

ESQ: That’s so romantic. 

WQY: I don’t know about the romance but it’ll be cold. We’re looking forward to seeing some penguins. Initially, the frequent travelling felt surreal. One week I’d be in China, the next in Japan, and then off to France—it was non-stop. They say time flies when you love what you do, and I agree. I can’t imagine myself stuck in an office. I used to teach a lot and own a couple of music schools. This year, I’m opening a new school in Shanghai. While I love teaching, doing it for seven hours a day, every day, can stifle your creative side. It feels like you’re losing half your life to routine.

ESQ: Do you find yourself being less driven because of that?

WQY: You’d only be less driven if you work with people you don’t like. Being driven is about knowing who you are and where you came from. I will never forget all the things I had to go through to get by, so the drive will always be there.

ESQ: Are you looking forward to the Olympics held in Paris?

WQY: I’d rather stay away from it, to be honest. The Olympics project in Paris can be quite disorganised. Normally, when you arrive at CDG (Charles-de-Gaulle Airport), the train to Paris takes about 45 minutes. So, they have Project Olympic Paris, which is to build a train that gets you to the city in 20 minutes.It’s set to finish in 2029 but the Olympics is happening this year. So French right?

ESQ: At least, there’s gonna be a super-fast train at the end of it.

WQY: Yeah, I suppose. But on the downside, Paris faces frequent strikes due to understaffing. In China, they’ve proved that it’s possible to build a hospital in five days, whereas in France, it could probably take five years. There was a scenario where the mayor expressed concerns about insufficient funds and manpower, leading to doubts about the readiness for Project Olympic Paris. When attempts were made to bring in additional workers, it sparked a strike due to a perceived lack of funding.Now, they’re considering shuttle buses instead of trains for the Olympics. Can you imagine the logistics? It seems best to avoid Paris during the Olympics; considering the exorbitant prices of three-star hotels, charging up to €500 a night. I’m always glad to be back home in Singapore

ESQ: So why live on Réunion Island? 

WQY: My wife is from Réunion Island and is the main reason I chose to live there. We met when I was studying in Paris. She was doing an internship and we connected at church as students. We got engaged however, I had to return here to serve national service while she went back home and we eventually got married. But since my career breakthrough with Steinway, I had to travel more than before. However, it’s anything but routine. Travel brings new experiences. You never know what surprises await. Travelling feels like constantly putting out fires, solving new problems daily. You might miss a flight due to a forgotten form to fill in or end up in a strange hotel room with six others. The unpredictability keeps things interesting.

ESQ: Do you have a favourite destination to perform in?

WQY: It depends. Each country offers unique cultural experiences, and even cities within the same country can vary greatly. If I had to choose, I would say my favourite destination to perform in is Italy. [It] seems to check all my boxes: they got history, they got the views, incredible food. You can find anything you desire inItaly, after all, that’s where the piano and the violin were invented.

ESQ: You’ve been playing the piano since you were three. How have you managed to sustain your passion and interest in the piano?

WQY: I think there’s a misconception that all musicians have to start early. While many successful ones do, I started at three but only became truly interested around 12 or 13. This gives me an advantage when it comes to teaching because I understand the difficulties that can make learning annoying and uninteresting. Learning an instrument should come from within, not from external pressures. If your parents are forcing you, or you’re only practising to pass an exam, that’s not passion; it’s just fulfilling obligations. This is becoming more challenging with social media. Kids today can quickly find tutorials on YouTube for any song, but they don’t realise the hours of practice required to master apiece. Learning an instrument isn’t just about the instrument; it’s about understanding your body and how it reacts to the music. Many people get confused about this. There’s also a cultural aspect. In European families, parents might be overly encouraging even if their children are not very talented. Conversely, in Asian families, even if you play well, your parents might think it’s not good enough. It can be frustrating.Even now, when I practice at home, I sometimes feel that my mom is annoyed by my playing. She never attended any of my concerts until recently, and that was only because the Minister of Culture was there and she wanted a photo with him.

ESQ: Have your parents accepted you being a professional pianist?

WQY: Yes, a long time ago. When I came back for National Service, they kinda accepted it. At that time, I believe I was one of the few Singaporeans who dropped out of school to pursue music. Naturally, my parents were against it. For me, the only goal was to survive. Sometimes in life, when you don’t have a choice, it can be the best thing that happens because you either make it or fail. In Singapore, we have so many options and safety nets that it can be easy to lose sight of your dreams. That was my life in secondary school—teachers said I was good at certain things and should pursue them but I wasn’t passionate about any of those paths. First, if I hadn’t made it, I wouldn’t be doing this interview. Second, if my parents had supported me, I might be successful but I wouldn’t be as motivated. That’s why I own music schools, organise festivals and help young people with their music careers. I enjoy those things and it keeps me driven. I could have just opened a school and retired comfortably, but I chose a different path. Most musicians just practise and disregard the public relations aspect. While you can hire someone for admin work, building personal relationships and selling your art is a skill every musician in this era should learn. I was a student practising in a room for 10 hours a day, unknown to anyone. Then I met an agent who taught me how to market myself, and it changed everything.

ESQ: Are things different now compared to the past, especially with the rise of social media?

WQY: For sure, things are very different now. Today, you’ll need to be the first to respond to get the gig. That said, 99 per cent of the time, it’s luck—being in the right place at the right time; meeting the right people. It’s all about probabilities.Now, everything is digital. Interviews can be done over the phone, via video call, or by e-mail. The rise of social media and digital communication has dramatically changed the landscape, making everything faster and more immediate.

ESQ: You mentioned that you went to National Service.

WQY: There isn’t an official vocation for it but when I was in the band during National Service. I was appointed to the SCDF(Singapore Civil Defence Force) and When I was a recruit, they reviewed my profile and saw that I had a degree in music. It was pure luck that I met a guy recruiting musicians for his band and he invited me to audition, even though I told him I don’t sing. He assured me it was fine, so I auditioned and got in. For the rest of my NS life, I just played the piano.

ESQ: What was that like?

WQY: As a classical musician, I had never really dabbled in pop-music. When you’re part of the band, I had to improvise and play with others, which meant practising different genres. They offered incentives: if I play a certain song, I could get a day off. If I rehearsed a piece and the commissioners were pleased, I get two days off. By the end, I had accumulated about 70 days off.

ESQ: Do you feel less nervous in front of an audience? 

WQY: I still get nervous when there’s a high chance of messing up or when I don’t feel ready. There’s always a professional conscience reminding me if I’m not adequately prepared.

ESQ: Any rituals before you go on stage?

WQY: Yeah, I like to eat pasta before a concert. It brings back memories. I ate pasta when I was really poor. Pasta with cheese brings me back to simplicity. Eating carbs before a concert gives me energy, makes me feel good, and gives me a sense of control. Now that I consider myself successful, I’m still eating pasta. The dish always played a big role in my life, especially during important moments. Whenever I win a competition and it’s late at night with everything closed, pasta is usually the only option.

ESQ: You’ve established the Piano Island Festival.

WQY: That idea came from my desire to minimise travel and bring renowned teachers to a central location. It evolved into a gathering where I could meet my musical idols. One of the highlights of organising the festival was having Đng Thái Sn. He was the first Asian winner of the Chopin Competition and he agreed to attend my festival which was such an honour Interestingly, there’s a unique connection to Réunion Island.During the Vietnam War, the French exiled the Vietnamese king to Réunion Island to prevent a revolution. One of the king’s descendants, Dorothy, is a family friend I met in church. ĐngThái Sn’s mother, was the first piano teacher in Vietnam and was curious about this royal lineage. When Đng Thái Sn joined the festival, his mother, then 103 years old, wanted to explore their heritage. I mentioned how having luck is important but this series of events shows how luck and destiny can work together.

ESQ: How has public interest in classical music evolved in Singapore since the pandemic? 

WQY: Interest in classical music has grown a lot in Singapore lately. After COVID, in 2022, I played at Victoria Concert Hall. At that time, we could only fill 40 per cent of the seats; so about 200 people filled a 600+ seated space. However, two months ago, I had another concert here and it was a full house. The tickets were more expensive too so it’s not about the money but rather a sudden surge in interest. There’s a noticeable development in young people’s interest in music, not just classical but in general. When Taylor Swift played here, it was crazy. 

ESQ: How can the Piano Island Festival boost the local classical music scene?  

WQY: I hope to use it as a platform to introduce this art form to those who are unfamiliar with it. Southeast Asia holds many potential because of its growing population and increasing number of children learning instruments. Singapore is an ideal location for this. We have excellent instruments, a robust education system and a strong infrastructure. Ultimately, it comes down to the educational system to incorporate music and provide children with the opportunity to learn music in school.

ESQ: In 2020, there was a survey saying that artists were non-essential, what are your thoughts on that?  

WQY: I posted about it. I think it’s inaccurate because it’s based on opinions from people who don’t understand music or the arts. If you survey 300 office workers, you’ll get responses from an office worker’s perspective.When I left Singapore, the situation for musicians was much worse than it is now. My parents believed there was no future for musicians here; there was some truth to that. In France, I can play up to five concerts a week, even in the same city but in different venues. I couldn’t play in the Esplanade Concert Hall twice a month. Singapore is highly developed, which is why it couldn’t support local musicians at that time—they weren’t considered good enough. The expectations were too high. It’s like recruiting football players and expecting them to be the next Messi. You can’t escape the reality of our artistic careers. We must Travel. I believe the next developing markets are Indonesia and then Malaysia. Even if you’re based somewhere, like me, travelling every three days, you can’t avoid it.

ESQ: Do you believe adjustments are needed in Singapore for careers in the arts to receive proper recognition?

WQY: I don’t think Singapore needs to undergo any major changes. In fact, Singapore already possesses a thriving market for the arts.It may surprise you to learn that there is a significant population of affluent individuals residing here. This became apparent to me after I had the opportunity to mingle with this demographic. Once you become part of this network, recommendations start pouring in, and one connection leads to another. When I was younger, living in Singapore, my routine was ordinary: attending school, enjoying local cuisine like chicken rice and focusing on my studies. On the flip side, there are people residing in Sentosa. They have beachfront homes with yachts. BeforeI knew it, I found myself aboard a luxurious boat, surrounded by individuals discussing the local vibrant art scene. It was fascinating to discover wealthy individuals who appreciate the arts but they also invest in them.

ESQ: How do you stay creative? 

WQY: I disconnect from the Internet during the day. You have to belike Tarzan or Luke Skywalker to be creative. If you’re just another person going to the office, setting up your desk, typing, shutting down your computer, and going home, you’re living robotically. That stifles creativity. To be creative, break out of your routine. That’s what I’ve been doing. I never practice more than twice a day. If something isn’t working, I’d walk. I’d try different approaches—crossing my hands, playing upside down, or lying down. This keeps my practice fresh and prevents burnout. I also vary my teaching methods to keep my students engaged. If a student seems unmotivated, I might have them run a couple of laps to get their energy up. When you can’t do something, it’s rarely a physical issue. Your mind tells your body it can’t do it and you feel stuck. Learning an instrument helps build resilience. Music teaches you to solve problems and persevere. I’ve learned that I can solve problems in life and shouldn’t wait for solutions to come to me.

ESQ: Do you have a motto that guides you in life?

WQY: “Never beg for a seat if you can build your own table.” When you’re starting your career, facing rejection is inevitable. I’ve experienced it first-hand. Unlike instruments like the violin or guitar, where multiple players can perform simultaneously, the piano often allows for just one pianist at a time. With countless talented pianists out there, it’s tough to stand out. You have to create your opportunities—I formed my own music schools, organised piano festivals and built up my network of connections. This approach isn’t exclusive to music; it applies to every industry.

ESQ: It’s also trying to bounce back from failure, right? Because failure is essential for growth

WQY: Life would be simpler without it. But failures are a reminder of being human; they teach us it’s okay to stumble. I’ve noticed how people sometimes judge based on appearances. There have been instances where, despite being a featured performer with my face on the poster, I’ve been denied entry backstage simply because I wasn’t dressed in formal attire. It’s moments like these that reinforce the importance of self-confidence and staying true to oneself.

Sir Lewis Hamilton is suddenly on a hot streak. In early July, the seven-time Formula 1 champion won the British Grand Prix for the ninth time, setting a record for the most victories by a driver at a single circuit. It was just the latest milestone for the thirty-nine-year-old Hamilton, who has won more races and finished on the podium more times than any other Formula 1 driver in the history of the competition. But the win in England was his first in more than two years.

He followed it up by finishing on the podium in third at the Hungarian Grand Prix in Budapest a couple weeks later. And then a week after that, Hamilton, who was knighted a few years ago, notched another victory at the Belgian Grand Prix (after his teammate George Russell was disqualified post-race when his car was found to be underweight).

I got a chance to sit down with Hamilton at the Ritz-Carlton in Budapest the night before the Hungarian Grand Prix. The Ritz-Carlton is the official hotel partner for the Mercedes AMG Petronas Formula 1 team. And I was one of a group of invited guests and prize winners who travelled from Vienna to Budapest in a convoy of Mercedes vehicles for what the Ritz-Carlton called the “Road to Legendary Car Tour.” Hamilton stopped by to chat with the group and to offer a tasting of his non-alcoholic tequila brand, Almave, which he launched last year with the spirits company Casa Lumbre.

Hamilton is taking on new challenges at the track, too. This season is his last with the Mercedes team. He announced before the season that he would be leaving after twelve years and will be driving for Ferrari in 2025. Hamilton is also going Hollywood, co-producing the much-hyped movie F1, which is scheduled for release next year and stars Brad Pitt as a former driver returning to compete in Formula 1. (Check out the teaser trailer here.)

We talked about his battle to get back on top of the podium, how he stays in shape to compete with younger drivers, calling bullshit on the F1 screenplay, getting out on the track with Brad Pitt, collaborating with director Joseph Kosinski, and how he’ll know when to walk away from racing. Our conversation has been edited for length and clarity.

ESQUIRE: What do you get from doing something entrepreneurial, like launching Almave, which is different from everything else you’re involved in?

LEWIS HAMILTON: I think as a racing driver it’s really healthy to unplug and do other things and tap into other mediums. And when you get into the room to sit with a bunch of creatives—working with Casa Lumbre, for example, who have done who knows how many different spirits—they can explain to you the whole process. And then there’s things that perhaps you ask them that they’ve never had to think about before.

Your win at the British Grand Prix was your first time on the top of the podium since 2021. What was it like to finally get back to winning and to do it on your home turf in England?

Everyone was talking about it being this fairy tale. And it really, really was unexpected. Going into that weekend, I had no idea that that was going to be possible. And it had been such a long time. So many thoughts cross your mind. Some of them you start to potentially believe in, bit by bit. And finally, I had that day when I was able to excel, and we excelled as a team, and it just kind of shuts that all down. And it helps you rebuild again. So it was really great to be able to do it at home, in my home country, with my family around. The last race in Mercedes at Silverstone. It couldn’t have been more magical.

The past couple years have been kind of a grind for you after experiencing so much success for so long. What have you learned about yourself going through that?

It’s been mostly a battle of the mind. Keeping yourself sane, trying to pick up new tools. Ultimately, it always comes back to persistence and dedication. Hard work. It always does eventually pay off. I think I learned that life is really about how much pain you can experience and keep going, and how much you can suffer and keep moving forward, you know? And that’s life, right? It’s not how you fall; it’s how you get up. It’s how you continue to apply yourself every single day. It’s how you connect with people that you work with. I probably learned to be a better teammate in this period of time, because we’ve had more time to focus on communication.

There’s been a lot of buzz about F1, the upcoming Formula 1 movie starring Brad Pitt. I know you’re a producer. How did you get involved?

We were there from the beginning. There were a couple scripts out there. I had known Joe [Kosinski, the director] from when we talked about doing Top Gun: Maverick through Tom [Cruise]. Tom put me in touch with Joe, and there were discussions of being in the movie. And then we just stayed in touch. Then we all reconnected to talk about potentially doing a Formula 1 movie. And then we went through this whole process of working with a writer.

What was that like? Did the screenwriter interview you about the details of driving in Formula 1?

Ehren [Kruger, the screenwriter] basically did a ton of research, watched a lot of races, came to a bunch of races, and then went away and wrote up a script. But we would sit and talk about what racing is about. Then once he wrote the script, I would sit with him and call bullshit, basically, on the things that don’t seem real and are not what F1 is about and try to make sure that it’s as authentic as possible. Then at the same time, I started a production company, so I’m a producer with these guys. I’ve been able to be involved in all areas—so making sure the cast is diverse, making sure we’ve got a woman in a pit stop, which we never, ever had at the actual track. Hans Zimmer was someone I wanted to have doing the [music for the] movie, so we have Hans Zimmer. Joe has been amazing at including me in everything.

What types of things in the screenplay made you call bullshit?

It would just be racing scenarios. Technical jargon engineers would talk. But particularly racing scenarios and sequences between overtakes and pit stops and strategies and all those sorts of things. There may have been a crash that was like the car hits the wall and flips and lands on the wheels and keeps going, and that doesn’t happen in Formula 1.

When you were prepping for the movie, did you ever get out on the track with Brad Pitt to check out his driving? If so, how’d he do?

Yeah. We went to a track in LA. I took him out and sat in the passenger seat, and he drove. I used to be a driving coach when I was younger. It was a way of making some money part time whilst I was racing. So I’ve sat with God knows how many non-racing drivers. You can tell immediately the good ones, the bad ones. Straight away he was on it. You could tell he has it. He has it in his DNA. He’s just not been able to hone in on it like we have. But he’s got big potential.

So you’re confident he can give a realistic performance as a driver?

Yeah, but I think obviously it takes time. Ultimately, the story of a 50-odd-year-old jumping into the season and fighting against us youngsters—it’s just not the done thing. But then there’s discussing: How would you go about doing that? How much training would you have to do in order to really be able to come back and fight and react in the same way? Yeah, there’s a lot of detail that went into it.

How have you changed up your training routine over the years to stay fresh and competitive?

You definitely adapt always, and you learn you have to just watch your energy. Recovery is huge, a really big part of the process. It’s the whole 360 thing. It’s not just going to the gym. It’s how much you stretch, how much physio you end up doing, what you eat. And that’s constantly changing week by week. And obviously, depending on how much energy you have, the different time zones that you’re in.

You travel so much for your sport. Do you have rituals or secrets to make yourself comfortable when you arrive?

Not really. I listen to a lot of music. I have music set up in my room. I record music. Basically, I write and sing music. Different sorts of R&B. So I record music at night. Often in my evenings, I read. Try to meditate, mostly in the mornings. But I don’t always get to it. And then I’m focused on my sleep. Try not to slack on that ever. So there’s a cutoff time when I want to go to bed depending on what time I need to be up the first day.

In working with a partner like the Ritz-Carlton, you have a chance to do different kinds of events, like the Almave tasting we just had. Any favourite experiences?

We were just talking about this the other day. In Mexico City I went to visit a school and see the kids. I love when I work with partners that are doing practical stuff. I think that’s been a real shift. When I first joined Formula 1, we were working with partners, but less so in the human-connection space. In the last five or six years, working with partners like the Ritz-Carlton, it’s “What impact are you making? How do you give back?” When we go to a school, see youth, and see that they’re invested in children, for me, that brings real warmth to my heart. Especially as my foundation is all about getting youth who won’t have the opportunity, for example, to get into our sport, to get into STEM and channel through to a good career.

“I want to really max it out while I can and fully enjoy this sport I’ve done my whole life.”

Do you have a time frame for your career? You’re going to be starting a new process with a new team next year. Do you have a plan for how long you’d like to keep racing?

I definitely do. There are days I’m like, shoot, I don’t know how much longer I can go. There are days I’m like, shoot, I’d love a break, a proper break, because you don’t get a real big break in the season like other sports. You don’t finish until mid to late December, and then you’re back into training already in January, and that’s two times a day you’re training. There are another couple of hours of therapy that you’re doing during that time as well. So you’re not really getting a huge amount of downtime. And in February, you’re flat out running until December.

That sounds pretty gruelling.

But I do have mentally a plan of where I would like to extend to. I’ve just got to strategize and sequence things. I’m very much about sequencing, like looking at brands that I collaborate with, companies that I’m essentially starting, how I manage my time between all those, and how I’m able to dedicate myself to this job still. Is there a time when I’m not all in and I’m just not in love with it anymore? That’s the moment that hopefully never happens, in the sense that I’ve fallen out of love with it. But I will know when I need to stop.

You’ll feel it.

I want to make sure I really max it out while I can and fully enjoy this sport I’ve done my whole life. There are so many people that have finished their careers early, and I’ve spoken to many who’ve said they wish they could have just done one more year or two. And they’re like, “Stay in as long as you can!” But I don’t want to do it if I’m not good. So it’s like, how much do you want to train? When you’re twenty-two, it’s so easy to work out and be fit. There’s no recovery and you’ve got nothing else going on, no other stresses, no real responsibilities except for that one thing to go and kill. Now it’s: How can you stay sharp and be able to do all those things you have going on, and still be able to compete with those young guys in their twenties?

Does it give you particular pleasure to beat the young guys?

Not particularly. I’m super competitive naturally. I don’t care who it is. I just want to win.

No matter who it is you’re competing against.

Yeah. When I won the other day, I didn’t think anything about anybody else. I just thought about my team. I thought about people that were with me. People that have sacrificed their time away from their families. People who were giving that extra bit of time in their day when they could have left early to go home and see the kids, and they’ve given that extra time to build these parts that got us that result. That’s who I think about.

Originally published on Esquire US

Since its inception in a riverside warehouse on Jiak Kim Street, Zouk has been the epicentre of Singapore’s nightlife. Founded by Lincoln Cheng, the 35,000-square foot club thrived in an ever-evolving industry. Its success can be attributed to key figures like general manager Benny Heng, marketing manager Tracy Phillips, and later Sofie Chandra.

Also instrumental to Zouk’s legacy was Wayne Lee, who oversaw music and entertainment. Today, Lee is the general manager of HighHouse and NOVA, two dining concepts under OUE Restaurants. On a cloudy afternoon, we talk with Lee at HighHouse.

ESQUIRE: How is HighHouse different from Zouk?

WAYNE LEE: There’s the dining element, which is quite a big thing and that extends to the rooftop when we open up in July. The whole venue is OUE Sky: there’s HighHouse and NOVA—two concepts in one venue. What I used to deal with back at Zouk was more music- based. Here, there are four pillars, which are music, food, beverage and art.

We are into our fifth month and our dining has been quite stable; most of our meal services are filled out nicely; the menu direction is quite clear. We’ve been quite successful at stabilising that.

A lot more can be done about pushing out house and techno music that we believe in and getting it out there. Which is if you look at our programming, we have a couple of international DJs coming in. They are aligned to the kind of sounds that we’re doing and we want to do more collaborations with local music collectives. Building the local scene is quite important.

Back at Jiak Kim Street, the art was a little more intense, right? Lincoln [Cheng, founder of Zouk] had all these wild pieces like Keith Haring’s “Healing Hand” but when the club moved to Clarke Quay, there were space constraints so art wasn’t the main focus. But at HighHouse, my bosses are quite keen to get some relevant pieces on the ample wall space.

ESQ: Are you art savvy?

WL: I go to art fairs, I visit museums overseas. I wouldn’t say that I’m an art connoisseur but I do enjoy the medium.

ESQ: So, what’s the idea behind NOVA?

WL: We were inspired by festivals, right? Not just music festivals but festivals in general. That was a big inspiration for the space. Coachella, for example, some of the stages themselves are built around large installations. Burning Man [culminates in setting fire to a giant effigy]. Which explains the [10-metre] star structure at NOVA. We commissioned this artist Jun Ong from Penang—we saw his work at ART SG about two years ago. He’s great at installations, basically lighting installations.

ESQ: We heard the opening of NOVA was delayed.

WL: We are reworking the interior design to make it more futuristic. We were done but felt that it didn’t really measure up to the branding yet. I feel that once NOVA opens up, everything will fall into place; there’d be more opportunities for activities like yoga, your fitness stuff.

ESQ: You had started at the magazine, Juice.

WL: Back then the [Juice] office was at Scotts Road and that was one of the reasons why I wanted to work there. I was freelancing for them. Being quite keen to continue working for Juice, I took up a full-time position after I graduated.

I was very into electronic music, which helped. I was studying journalism in Melbourne and their rave culture was quite strong and that inspired me. So, when I returned to Singapore and there was quite an interesting underground electronic music scene between 2001 and 2004. This was the period where the government was more lax on people using venues and the neighbours weren’t complaining so much about the noise. I’d write about the scene. The process was so old school that I’d take pictures with this crappy DSLR and develop the photos.

ESQ: You had to shoot as well?

WL: Yeah, I took photos and wrote the reviews when I first started. I had to develop the film at Lucky Plaza. I remember that I had to pick five photos out of the 26.

That was what got me into Juice, the love of electronic music. Not so much the clubbing and partying—those were a byproduct. Juice started to change at that point because we needed the ad revenue, right? We were a free magazine and we needed to attract more advertisers. So we moved into the fashion space but we were not fashion people. The one thing that we could tap on was that the rave culture was connected to streetwear. We brought that element in. Me and the team were inspired by Japanese men’s magazines like Popeye. We had to go to Kinokuniya and buy it along with i-D and Dazed and Confused. That was quite a good time.

ESQ: How did you get to work at Zouk?

WL: It’s really a combination of circumstances. Because I worked at Juice, I was in close contact with Zouk’s marketing team and Lincoln as well. When they opened up a head of entertainment role, sort of a music director gig, in 2011, I was the first person they thought of and they approached me for it. I had been nine years in music publishing at the time, so I thought, since I’m already doing the theory portion of it, I might as well do the practical. That’s how I got to work for Zouk.

ESQ: What’s an average day for you at HighHouse?

WL: The office starts early. And meetings take up a large part of my afternoon all the way to about dinnertime. Then, from dinnertime onwards, I try to be on the ground [at HighHouse] just to make sure service is in order; to make sure our guests are settling in nicely. On certain nights—obviously, we do some late-night programming on Wednesday, Friday or Saturdays—I try to stay late. Again, just to see how things are going. Letting my presence be felt, I guess [laughs].

ESQ: This goes beyond your typical nine-to-five. Are the hours something that you took to easily?

WL: I came on board with OUE Restaurants in 2022 so I spent a good year-and-a-half being in a regular office working regular office hours; I enjoyed it. So now I’m back to those long, weird hours, but I’m used to it, because back at Zouk, it was the same thing, right? Daytime, I’d handle the corporate stuff and at night, I’d handle the nightlife.

ESQ: But is it easier now or harder?

WL: Harder. Back at Zouk, in my 30s, it was easier. It was also different because that environment had more high energy. We had a club that hosted 1,500, 2,000 people at any one time. That was intense. But now at HighHouse, the product is quite focused so we don’t have to bring in so many different demographics. We have a certain target audience and the music direction is clearer. The total capacity at HighHouse is about 400.

ESQ: Is social media important to what you do?

WL: I think it’s super important now, man. We’re always talking about Gen-Zs relating to TikTok and stuff. I was in Shanghai two months ago and... You know 小红书 [“Little Red Book” in Mandarin]? It’s big over there. I signed up for an account because I wanted to look for vintage shops in Shanghai but suddenly, I’m fed with other content like techwear, cycling...

So, yeah. social media is important. Especially when you’re running a business establishment, right? But, it’s important that you’re tapping onto the right platform. 小红 书started out as a place where people came to discover places of interest to go to but now it’s the equivalent of Instagram in China.

ESQ: China is ahead when it comes to connectivity.

WL: I’m really impressed by Shanghai. Everything is online for them. Lose your phone in China and you’re screwed.

ESQ: Do you think Singapore can get to that stage?

WL: It’s tough because we are not a super-huge city. We won’t get to where China is but what we have right now isn’t bad. Hopefully, Singapore will get there one day.

ESQ: What was your childhood like?

WL: It was good. I was quite blessed. Parents are mostly supportive. My dad was an engineer and my mom was a school English teacher. My dad was always urging me to take up mathematics, which I hated. And then I screwed up my A-Levels so badly that he gave up. But they gave me a very comfortable childhood, a good environment to grow up in.

ESQ: Are they still on your back about your life choices?

WL: My dad passed last year but he was ok with where I am today. My mom has, well, a lot to say, you know, because I’m still single so there’s that. If it happens, it happens, right?

ESQ: How was the pandemic for you?

WL: I don’t know about you guys but it was the worst. I mean, minus the pay cuts [at Zouk and the deaths] I think it was a reset button for a lot of people that I knew and a lot of efforts were taken to sustain the business.

ESQ: The pivots.

WL: Yeah. Back then, we put 50 bikes in the main room at Zouk and converted it into a spin cycle class. Capital [a whisky bar and cigar room] was turned into a restaurant. We even worked with Lazada to convert Phuture into a live-streaming studio... that lasted for a good three or four months before they decided to do their own studio. So that was challenging but it was nice. There was a sort of team spirit going on during the pivots. And I also enjoyed some normal hours, ending at 10:30pm instead of 4am, so that was quite nice.

ESQ: Was it worrying? Because, at the time, nobody knew when they could see the light at the end of the tunnel.

WL: It was frustrating because the first year when we pivoted, we thought by December 2020 it should be over, right? Everyone believed that myth that this was like SARS and the pandemic would soon be over. But it didn’t get better and then it got worse with the [COVID] variants popping up. We had to downsize the team quite a bit. It was painful to do but it had to be done.

That gave us a new thought process in how we run the business. If you look at Zouk, you see it is trying to expand overseas to Vegas, to Japan, by working towards F&B projects combined with nightlife concepts like fine dining with ultra lounges. Since COVID, operating solely on nightlife has shown its risks, hence diversification.

ESQ: What kind of manager are you?

WL: I think... I genuinely think I operate with empathy. I’m not the sort who goes like, “it’s my way or the highway”. I try to give the team a lot of room to run and grow in... but then again I am very blessed that to have quite an experienced team, both for the front and back of the house. Occasionally there will come a time to bring down the hammer, so I’ll do it. But as much as I can, I will try not to. I usually tell everyone that we are all adults, right?

ESQ: You also get to wear a suit and tie at HighHouse.

WL: [looks at his short-sleeved shirt and jeans] Yeah, sorry to let you down. [laughs]

ESQ: You don’t dress like that at Zouk.

WL: Because we operate a dining space, so out of respect for Steven, my manager, who is already in a blazer, I try to be in a suit and tie. It was a huge change from the Zouk days. Now I’m dressed up so that people can take me more seriously. [laughs]

ESQ: Any pet peeves?

WL: Sometimes people are not willing to change. It takes a while, of course. But, in our industry, change is the only constant; we always have to adapt and flip. When you are working with an older generation of managers and workers, it takes a while for them to be flexible. It’s frustrating but you still need to be patient to explain to them and get them on the same course.

ESQ: What’s your biggest fear?

WL: My biggest fear? That’s a really good one. So far all my work in Singapore has touched on culture, right? My fear is Singapore becoming stagnant culturally instead of moving forward. I’m talking about soft culture and things like that. Generally, things have been getting better. Singapore has always been a nation that’s built on finance, manufacturing and stuff like that. And obviously, what we call soft culture is super sub, right? Our generation did well but there are still purveyors pushing the scene in music, art, design, and stuff like that, and of course, aided by the government. Sometimes it helps, sometimes it doesn’t but I’m hoping the next generation can continue.

It has to be a generational effort. This generation sets the path and the next gen will come in and take it forward. Let’s talk about culture, right? Obviously, there are your Edison Chens, Shawn Yues, John Mayers, the Pharrells even. They have gone from being musicians to extend themselves into fashion, designing watches even. They have done their part. So the next generation has to take over. Tyler, the Creator, he’ll be the next wave, right? He’s going to be the next Pharrell.

Going back to your earlier question about what I’m afraid of is that: I know there are a lot of very good content creators on TikToks who are in their 20s. But can we name that many? Can we find another, for example, Tracy Phillips? I feel that it’s tough to find someone of that calibre. Maybe it’s because the scene is quite diluted as everybody is doing it so it’s hard to stand out.

ESQ: You struck me as someone who prefers to be behind the scenes.

WL: You’re right. I don’t go to events, I stay at the back of the room. Eleven years of the club scene and my social battery is at its lowest. But now with the OUE Sky project, HighHouse and NOVA, I do have to be at the forefront of things to help push the brand.

ESQ: Along with Lincoln and Tracy, your name pops up as one of the few architects of the way the club scene is.

WL: Thank you for saying that. I appreciate it. It’s nice that in the course of what I’ve done, at least, my efforts have amounted to something.

ESQ: What do you like to do in your free time?

WL: I used to skateboard when I was younger but I’ve stopped. I’m trying to get back to the board again. I [laughs] can’t do the ollies and stuff. Actually, I cleared one but these days, my risk appetite is a lot less. So I just cruise along East Coast Park. It’s that or running.

ESQ: Do you fear getting old?

WL: Definitely. I think it is on everyone’s mind but—and this is going to sound corny—it kind of pushes you to do more each day because you know time is limited.

ESQ: Was this a recent realisation?

WL: I’m 43 going 44 and I think when you hit your 40s, you tend to think a lot more about the time that’s left and how much more you can achieve. Sometimes I can’t believe I’m middle aged, but it is what it is so you have to make the best of it. [points to his tattoo] “Memento mori”. Remember that you’ll die so you’ll appreciate life. [laughs] This all sounds dark.

ESQ: What’s that one book you always go back to?

WL: One of my favourite authors is Paul Auster, who died recently...

ESQ: I love Auster’s metafiction.

WL: Power, right? He passed away a few days ago. Very sad. Lung cancer. [thinks for a while]. [Haruki] Murakami is another. I’d usually return to Kafka by the Shore.

ESQ: Was that an introduction to the rest of Murakami’s work?

WL: That would be Norwegian Wood. Another book would be JD Salinger, [The] Catcher in the Rye. These are the few books that I’d reread if I had the time.

ESQ: Do you have enough time to do so though?

WL: The funny thing is that if the book is on a Kindle, you don’t read it as much as when it was a paperback. But I still buy books on Kindle due to space constraints, right? And my concentration on a Kindle is so limited. Ten pages and I put the device down. When it comes to the tactility of it, paperbacks can’t be beat.

ESQ: I usually borrow from the library so the due date forces me to finish it.

WL: That’s amazing. And that brings me to this one habit that I feel all of us should adopt, and that is, before sleeping, instead of going through Instagram, we should read. It’s tempting to pick up the phone and scroll through our social media but I’m trying to return to flipping the pages in books.

This interview was edited for length and clarity.

Photography: Jaya Khidir
Art Direction: Joan Tai
Photography Assistants: Nowo Kasturi and Ng Kai Ming