Awards Circuit Podcast: Also on this episode, the Roundtable looks at whether 'You Can See Everything' is nudging out 'The Odyssey' for Oscar frontrunner status. The star first had lunch with Tony Gilroy in late July 2025 about taking on the lead role of his latest movie, “Behemoth!.” But even before anything was signed, and before he knew whether the project would hold together, Pascal went straight to cellists Timothy Loo and Charlie Tyler and got to work. Cameras would eventually roll across Los Angeles at the end of that October, with a final day in Vienna.
Every lunch break and short weekend went to “the next thing, and the next thing.” Pascal calls it “a highly intense lip sync” that left him back-footed for the entire shoot, and “the hardest thing that I’ve ever done.” It was also his favorite filmmaking experience ever. I suspect a lot of Latinos felt the same. Pascal, 51, spent two decades in small roles onstage and on television before HBO’s fantasy epic “Game of Thrones” changed his life at 39.
He then became the internet’s shared boyfriend through Disney+’s “Star Wars” series “The Mandalorian” and HBO’s post-apocalyptic drama “The Last of Us.” No one gave him a part worthy of what he can do with his face when he has no lines. Alex, a gifted cellist who comes home to Los Angeles after 20 years on the road, is that part. The Searchlight Pictures film, written and directed by Gilroy, premiered as the centerpiece selection of the New York Film Festival on Oct. 2 and opens Dec. 4.
It refuses to reveal what it’s actually about until well past the midpoint. On this episode of the Variety Awards Circuit Podcast, Pascal digs into Gilroy’s ode to movie composers and a character who says more with a bow than he ever does with words. He also coughs up a line from the upcoming “Avengers: Doomsday,” teases his role in Todd Haynes’ anticipated “De Noche” and sends a message to his friend and favorite awards-season foe, Kieran Culkin.
Before that, the return of the Awards Circuit roundtable looks at this season’s Oscars contenders, including whether Nathan Fielder’s “You Can See Everything” is taking on frontrunner status over “The Odyssey.” The conversation has been edited and condensed for clarity. I wrote that this is the role I’ve waited a long time for you to play. Thank God Tony Gilroy is alive and well.
He is a spy for the rebellion. Tony kind of blows my mind. He’s so skilled at so many classical elements, classical music being a huge part of this movie and he’s so innovative and progressive in the way he deals with narrative structure while painting completely whole human beings.
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