IN CONVERSATION WITH LUKAS GAGE

words and interview by JANA LETONJA

LUKAS GAGE has become one of Hollywood’s most exciting and unpredictable multi-hyphenate talents, building a career defined by sharp performances, genre versatility and an unmistakable screen presence. After breaking out in the Emmy Award–winning first season of The White Lotus (2021), he has continued to move seamlessly between prestige television, psychological thrillers, indie cinema and dark comedy, with standout roles in projects like Euphoria (2019), You (2023), Road House (2024), and Rosebush Pruning (2026). With a packed slate ahead, including Hulu’s reimagined Prison Break, Lukas continues to establish himself not only as a compelling actor but also as a writer and producer interested in bold, emotionally layered storytelling that pushes beyond convention.

chain ALEX MOSS

Your career has moved across so many genres in a short amount of time. What excites you most about that versatility?

I think just continuing to challenge myself and surprise myself. A lot of times people send you the same thing over and over again based on roles you’ve done before, or unfortunately, things in your personal life. I’m always trying to grow, and I try to not keep repeating myself or play it safe. Lately, I’ve been making a conscious effort to challenge myself and be thoughtful about the projects I take on, rather than saying yes just for the sake of staying busy.

Looking back, how much did The White Lotus change your career and the types of opportunities coming your way?

So much. I think the very specific moment in that one episode — the one a lot of people remember when they think of that character — became such a zeitgeisty moment. We live in an era where, for better or worse, if something becomes viral and memorable like that scene in TheWhite Lotus did, it can really put you on the radar as an unknown actor. It completely opened doors for me.

Not only because so many people watched the show, which is a blessing in itself, but because of how much I learned on that set. Watching actors I looked up to like MOLLY SHANNON, MURRAY BARTLETT, and JENNIFER COOLIDGE was like a huge acting class for me. Learning improv, comedic timing and watching MIKE WHITE work with them completely changed the way I approached acting.

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It was also in a similar time period as Euphoria, where you also had a memorable role.

I think Euphoria was about two years before The White Lotus. With both shows, we didn’t know they were going to become what they became. I chased after both projects really hard because I was obsessed with the creators behind them. I wanted to work with HBO, and when I read the scripts, I just knew there was no way those shows wouldn’t become huge. You don’t go into projects just because people are going to watch them, but it’s nice when audiences connect to the art you’re making. 

You’re leading Hulu’s upcoming new Prison Break. How do you approach stepping into the universe of such an iconic franchise?

There’s definitely pressure because it’s such a massive franchise and something I was personally a fan of. Those are actually the hardest projects for me because I watched the original show growing up. You want to do it justice.

At the same time, it’s such a different energy from anything I’ve done before, which was intentional. I don’t want to be put in a box. I hate being put in a box. I’ve always loved films like Norma Rae (1979) that explore gritty class dynamics and Middle America, worlds I personally didn’t grow up around because I’m from Southern California. Going to West Virginia to shoot and immersing myself in that environment really transformed me into a character I’ve never played before.

full look ZADIG & VOLTAIRE

What can fans expect from this new version of Prison Break?

We’re all huge fans of the original show, and there’s a real commitment from everyone involved to honor what made it so special while telling this story in a way that feels truthful and earned. A lot of that comes from ELGIN JAMES. He’s an incredible storyteller with a remarkable life experience, and he approaches the material with so much authenticity, empathy and respect. He built a career in independent film and TV, and then had his own personal experience being incarcerated. He’s lived a perspective that very few writers could possess to tell this story. He cares about getting these characters and this world right. He’s created an environment where every story choice feels grounded in honesty, and that’s been inspiring to be a part of.

His perspective was what really drew me in. I was honestly nervous when I first heard about another reboot because part of me feels like we should also focus on original stories. But hearing his take on it, informed by his own experiences with prison, combined with my own experiences visiting prison as a kid, because my stepdad was incarcerated, made me feel personally connected to this version of the story.

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You also recently appeared in KARIM AÏNOUZ’s unnerving tragicomedy, Rosebush Pruning. What was the most unique thing you’ll take with you from this film into your future career?

I think that project completely changed my process as an actor, similar to The White Lotus. Earlier in my career, I approached acting more like trying to “get it right.” But Karim challenged me to completely let go of that mindset. Every day on set felt like an exploration.

I did tons of preparation and backstory work for the character, but the minute I got on set, I had to throw all of it out the window and trust him. Karim is an artist who always pushes against the expected reaction. He encouraged us to go completely against instinct and embrace unpredictability. That experience made me much more present in my work.

There’s nothing else like this movie. I hope audiences feel disgusted at times, unsettled at times and strangely emotional at times. Because underneath all the disturbing parts, I think the film is really about loneliness. It’s about what happens when people become isolated emotionally. The important thing is not to judge the characters you’re playing. The second you start playing “crazy” or “disgusting,” the movie dies. Everyone in that family is starving emotionally for something.

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trousers CASABLANCA

How has your experience as a writer and producer influenced the way you approach acting?

It’s given me immense respect for every aspect of filmmaking, even more than I already had. Just getting a peek behind the curtain and seeing how difficult it is to make anything has made me incredibly grateful.

As a writer, I understand how much intention exists behind every word and every detail, so I want to make sure the writer’s vision comes through clearly. As a producer, I’ve learned how much of this business is completely out of your control. There are so many variables behind casting and decision-making that have nothing to do with you personally.

That’s actually helped me as an actor because I take things less personally now. Writing has also made me a better actor because I understand story structure and character arcs more deeply. And when I work with actors as a writer or producer, I want them to make the material their own. I love when actors take my words and transform them into something truthful for themselves.

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trousers HUGO BOSS
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What kind of stories are you most interested in telling as a producer?

I think I’m really drawn to reviving genres that I feel are disappearing. We were talking earlier about comedies, parodies and erotic thrillers, those BRIAN DE PALMA–style films that had danger and sensuality and weirdness. I miss those kinds of movies.

I also think modern rom coms sometimes feel too clean. A lot of the great 90s and 2000s romantic comedies worked because there was deception, messiness, awkwardness and emotional risk. There’s a part of me that’s just a huge cinema addict who wants to bring back the kinds of movies I grew up loving. And honestly, I also love the idea of building creative communities with people I love working with and creating environments where artists feel supported.

Many of your characters feel emotionally raw or morally messy. Do you actively seek out flawed people to play?

I think it goes both ways. I’m drawn to those characters, and they also seem drawn to me. I love playing people who feel feral or emotionally unpredictable because they allow me to express things I normally wouldn’t in real life. I really believe that hurt people hurt people. That’s usually my starting point with any “bad” or messed-up character. I enjoy humanising them. Human behaviour is so nuanced and absurd and complicated, and I find that complexity exciting.

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What’s the biggest lesson you’ve learned while navigating Hollywood over the past few years?

I’ve learned that attention is not the same thing as fulfilment. If everybody likes you all the time, you’re probably not making anything interesting or taking enough risks. Real confidence comes from authenticity and vulnerability, not from being universally liked. It’s very easy to build your identity around being wanted or successful or cool, but eventually you realise all of that is noise. What actually matters are your relationships and the people in your life. You have to protect that part of yourself from constantly chasing validation because otherwise it never ends.

sweater ANN ANDELMAN
trousers WAX LONDON

What’s a recent film that really affected you emotionally, and what are some of your all-time favourite films?

Recently, I loved ALEX RUSSELL’S Lurker (2025). I thought the way he built tension around parasocial relationships and fandom was incredible. The whole film felt claustrophobic and emotionally competitive in a way that really stuck with me.

As for favourites, The Worst Person in the World (2021) absolutely destroyed me emotionally. I watched it twice in a row when it came out. I saw it during a breakup, and it really made me think about whether people truly change over time, or whether every relationship just becomes a reflection of all our previous experiences and emotional baggage. The timing of when you watch a movie can completely change how deeply it resonates with you, and that film hit me at exactly the right moment.

TEAM CREDITS:

talent LUKAS GAGE
photography NINO MUÑOZ
stylist CARLEE WALLACE at ART DEPARTMENT
grooming NATALIA BRUSCHI
styling assistant CHRISTINA LOUGHBOROUGH
lighting technician WILLIAM MATHIEU
digital technician GRAY HAMNER
production COPIOUS MANAGEMENT
editor and casting TIMI LETONJA
interview TIMI LETONJA and JANA LETONJA
cover design ARTHUR ROELOFFZEN