“This is a summer of love”: Margot Robbie and Jacob Elordi on ‘Wuthering Heights’ and taking Queensland to Hollywood
Jacob Elordi wears a Bottega Veneta jacket, shirt and pants; Cartier earrings, necklaces, from top, and bracelet. Margot Robbie wears an Hermès dress, Paspaley earrings and collier.
Margot Robbie and Jacob Elordi were chasing the light. Down Sunset Boulevard and into the Hollywood Hills they went, in “this sick Chevy Impala”, says Robbie, top down, wind in their hair. Robbie, 35, was riding shotgun as Elordi, 28, manned the wheel. “Best day ever,” Elordi admits, without an ounce of pretension, a week after his first cover shoot for Vogue Australia. He turns to face Robbie, his partner in crime, seated next to him on a low-slung hotel lounge, legs curled beneath her. “Jacob’s Frankenstein posters were everywhere,” she adds. “It was just surreal.”
It’s a funny old town and movies are a strange old business. Before he booked Euphoria in 2018—before Frankenstein was even a glimmer in the eyes of awards season—the actor had been sleeping in his car on Mulholland Drive, not wanting to ask his parents for more money. The last shot of this cover story was taken in the very same place where he thought all his dreams would never come true. “People talk about the ‘I made it’ moment,” says Elordi, shrugging off his leather jacket to sprawl out like a banner. “I was like, ‘Wow,’” he says, sighing happily.
The pair grew up an hour and seven years apart in the Sunshine State. This month, they will appear on the big screen together for the first time in Wuthering Heights, directed by Elordi’s Saltburn collaborator, Emerald Fennell, and produced by Robbie under her LuckyChap shingle. It was Robbie who first suggested Elordi for Saltburn, the movie that made him a star. At the same time, she was headlining Barbie, which made more than a billion dollars at the box office. A year later, she gave birth to her first child. Now, here they are, a couple of Queensland kids adrift on the moors in Emily Brontë’s great gothic tragedy.
Like a restaurant known for its deconstructed small plates, they’re doing things a little differently in Fennell’s adaptation. Red skirts, wet shirts, gold teeth, tiny sunglasses, fingers in egg yolks, fingers in mouths. A deranged doll house with silver walls. Elordi, hulking and bedraggled, on the back of a stallion like the cover of a romance novel. Fall in love again and again. In their shared parlance, it’s a banger. Here, the pair discuss growing up in Australia, making it in Hollywood and their movie of the year—and it’s only February.
