How did Jacob Elordi's acting process change for Euphoria season 3?

Elordi had limited prep time and creative direction for Euphoria season 3, which led him to adopt a more spontaneous and "day-by-day" approach to playing his character, Nate Jacobs.

What has playing Nate Jacobs taught Jacob Elordi?

Elordi says playing the complex "bad guy" character of Nate has taught him valuable lessons about empathy and patience, and he wishes everyone could approach relationships with the same level of understanding.

What can fans expect from Nate Jacobs' arc in Euphoria season 3?

Elordi teases that Nate's season 3 storyline will involve "the end of hubris" and "the end of arrogance" as the character struggles to "survive."

Home / Arts and Entertainment / Euphoria Star Elordi Embraces Spontaneity for Season 3 Filming

Euphoria Star Elordi Embraces Spontaneity for Season 3 Filming

8 Nov

•

Summary

Elordi had limited prep time for Euphoria season 3, leading to a more "relaxed" acting approach
Elordi loves playing the "bad guy" character of Nate Jacobs, as it teaches him about empathy
Nate's season 3 arc will involve "the end of hubris" and "the end of arrogance"

Euphoria Star Elordi Embraces Spontaneity for Season 3 Filming

In a recent interview, Euphoria star Jacob Elordi discussed his experience filming the show's upcoming third season. Elordi, who plays the complex character of Nate Jacobs, explains that the logistical constraints of the season 3 shoot actually enhanced his performance.

Typically, Elordi likes to "obsess over" his acting and have ample time to prepare. However, for this season, he had very limited prep time and often received scripts and creative direction from director Sam Levinson just on the day of filming. This forced Elordi to adopt a more spontaneous, "day-by-day" approach, which he found liberating.

"Because I had no choice, I got to be free in the acting process, 'cause it was kind of just throwing s--- at the wall and seeing what would stick," Elordi says. This allowed him to focus more on the immediate needs of the scene rather than overthinking the character's motivations.