On The Record: Nat Wolff
Words by Dio Anthony, Photography by Michelle Malek, Styling by Charlie Ward
You’re familiar with the name Nat Wolff because you’ve heard it for decades. He’s been a child star, he’s been a mu- sician, he’s been a leading man, and now at 29-years old, he reflects on it all.
DIO ANTHONY: You transitioned from a child actor to more mature and complex roles. What were some of the challenges you faced during this transition and how did you overcome them?
NAT WOLFF: When we were kids, we got really well known as musicians and actors on the Nickelodeon show and it was confusing and a little bit terrifying. Then at about 14,I grew really tall and started looking different and nobody knew who I was all of a sudden. I think having that experience was formative for me because I realized that chasing fame, or money or validation or success, was boring and futile. It made me double down and refocus on the original reason behind why I started doing these things—my love of music and acting and my need to be creative.
DIO ANTHONY: You have also explored your talent in music as a singer and and songwriter. How does your approach to music differ from your approach to acting, and what kind of fulfillment do you find in each?
NAT WOLFF: My approach to both acting and music is similar. I like to come from as personal a place as possible. I think if you make things personal, then they're universal. If you try to make things universal, they fall flat. But one of the great things about making music is that I have a partner in my incredible brother Alex.
DIO ANTHONY: You've worked with renowned directors like Josh Boone, Adam Wingard and Gia Coppola. What have been some of the most valuable lessons you've learned from collaborating with these filmmakers?
NAT WOLFF: One of the best lessons I've learned from working on films with such great directors is when you're working with someone great, sometimes submitting to or accepting the reality of each job and not trying to impose your own idea of what you want is important and freeing. Being open to whatever the process is for that particular movie, and not having a bag of tricks, but rather allowing each movie, or play, or show, whatever it is, to be its own experience. When I did the movie with Gia, Palo Alto ” I was 17; we all lived together, and it almost felt like a summer camp. It was a lot of improvising and looseness. And then I’ve done movies where you’re not allowed to change a single word of dialogue or plays where you’re not allowed to do that, and some of those have been the best experiences. So just go on the ride.
DIO ANTHONY: Youngest marked your directorial debut. What inspired you to step behind the camera, and how did this experience shape your perspective as an actor?
NAT WOLFF: My ex’s little sister and I became really close; she was five when we met and seven when we made the movie. It was such a wild experience to see somebody going through such a huge shift in self-awareness and it was a chance for me to explore some themes from my own childhood and it gave me a chance to work with some incredible young actors like Michael Gandolfini and Jake Ryan.
DIO ANTHONY: You've had the chance to work with some incredible actors throughout your career. Is there a particular actor or actress who has had a significant impact on your approach to acting? If so, what valuable lessons did you learn from them?
NAT WOLFF: Working with Christoph Waltz on The Consultant was an invaluable learning experience because of the way that he applies his intelligence, wit, creativity and looseness to each role he plays. There’s a level of relaxation he has that I aspire to. And he’s also a great person, and makes people feel very comfortable on set.
DIO ANTHONY: Many of your films, such as "Palo Alto" and "Home Again," explore the complexities of relationships and human connections. Why do you think these themes resonate with audiences, and how do you approach portraying such nuanced dynamics on screen?
NAT WOLFF: I think any time you read a script and there’s a level of honesty to it, there’s going to be emotional complexities because people are so vast and have so many different sides to them. So if you present them honestly, it’s going to become complicated. For me, it’s much harder to play someone that’s not written in a complex way because I don’t know people like that and don’t think those people exist; I think that everyone is very, very multidimensional and in a lot of weaker movies and scripts, people are relegated to two or three quirks or qualities but any part worth investing in, has many different facets.
DIO ANTHONY: Looking back on your career so far, what has been the most rewarding moment or project for you, and why does it hold particular significance?
NAT WOLFF: My album that I just put out with my brother “Table for Two” is my proudest achievement. It came out of our time during Covid lockdown where my brother and I were living together for the first time since we were teenagers. It was a creative highpoint in my life and a real moment of connection for my brother and me, and my whole family, and I’m very, very proud of it. Also, I just impulsively adopted this puppy for my mother, so I’m proud of that manic thing that we did.
DIO ANTHONY: Lastly, as your journey in the industry continues, what are some goals or aspirations you have for yourself, both professionally and personally?
NAT WOLFF: My goals aren’t that lofty. I just want to be the GOAT; the greatest of all time, in all things, including basketball and windsurfing and ping pong and Parkour.
