After two decades in the entertainment industry, Avan Jogia has definitely learned a thing or two.
Getting his start in Hollywood early on Nickelodeon’s Victorious and later the teen drama Twisted, it was a bit of a whirlwind getting spit out of the “kids’ television program machine,” as the 34-year-old actor describes it. Though it took some time, Jogia eventually realized he has full control “to navigate where I want this ship to go,” choosing roles and directing films that truly resonate with him.
“[After] 20 years of having been making stuff, I might be arriving at what my boundaries are,” he tells The Hollywood Reporter. “It takes a long time, not just time elapsed, but inside yourself to be like, ‘Maybe I do deserve to decide how I want to make and what I want to make.’ And so I’ve arrived at that part of the play.”
Jogia’s now diving into projects that lean into world-building and allow characters to exist beyond “the very narrow window of human expression,” he says. That’s exactly why the Prime Video romantic psychological thriller 56 Days caught his attention and saw him star opposite Dove Cameron earlier this year. And it’s why he jumped at the opportunity to work with Kane Parsons on his Backrooms film, which released Friday.
Below, Jogia opens up about transitioning from kids’ television and into more mature roles and directing, what it was like working on Backrooms, the success of 56 Days, collaborating with his fiancée, Halsey, on their new movie and more.
Going to go back to the beginning, what made you initially want to pursue a career in entertainment?
I really liked the concept of being able to be seen as a professional and be taken seriously and also to be able to professionally play, which is what I do for a living. And so I started talking about it when I was like six. Once I understood what it was, my parents held off as best they could and I bugged them until I was like 12 and then they sort of were like, “OK, let’s go to this acting class and sort of like satisfy this thing.” And because of that, I got a lot of commercial work. … And then I started taking more narrative parts in Vancouver, Canada.
Then I dropped out of high school, which I recommend to no one. And I tell this story very rarely because of what I ended up doing, which was kids’ television. You end up being the sort of de facto ambassador and co-parent for every single person of an entire generation or two. And I dropped out of school and drove down to California and lived in a trailer behind someone’s house for $300 in the valley. And then I got the show called Victorious, which is this sort of cultural phenomenon.
We were kids who were a little bit more driven and so we were plucked out and put into this kids’ television program machine, and once it spits you out, as it did for me, it spit me out in my late teens, early ’20s. And I was fortunate enough to go onto the second intermediary step on the ladder, which is teen television. I was on the ABC Family (now Freeform) show called Twisted, which is a beloved cult show for many people because around the time it was one of those shows that was in that pack of Pretty Little Liars and all the other ones.
Denise Richards and Avan Jogia in ‘Twisted’ season one.
Everett Collection
Having got your start in acting, when did you know you wanted to transition into directing?
After that show [Twisted] was done, it was sort of my choice to navigate where I want this ship to go. And though that’s the year that I did the two Sundance films and I had the mini-series I did with Sir Ben Kingsley come out, Tut, it was this sort of like, OK, so this is approaching the reason why I came to the party in the first place. I love acting and I will continue to do acting my whole life. Then you get started in one thing and you realize the journey of life, and if you’re listening carefully and you’re not just accepting the first truth that you learnt, you can alter your life in the way that you want.
So I directed a film that I wrote. I wrote the film when I was actually 23, out of frustration that I really didn’t like the parts that were available, and so I wrote these parts for other people, the kind of parts that I wanted to do and I grew up wanting to be in. I like frenetic, energetic movies where characters get a real opportunity to be characters, to be extreme, to not exist in the very narrow window of human expression.
Backrooms is your newest project, and since audiences don’t technically see you on camera in the film, how did this role come about?
Kane’s [Parsons, director] so smart. I’ve liked him since he was 16 years old making his videos, and he got this opportunity and I was happy to be involved in anything to support his vision for what this thing is. I love the world building. That’s the kind of film that I wanted to be able to be in when I got out of the machinery of kids’ television and into my 20s.
Me and Kane, I don’t know what it was. We kept on talking. We talked way more than I think a part like this normally would merit, because he’s a world builder and I just love that stuff. So am I. And there’s no part of this film, when watching him work, that isn’t important to him. He’s got lore and he’s got myth and he’s got depth for every aspect of it and that’s how you make things that I like. We had many conversations and I think there was a bunch of different versions of how I was going to be in this, but he just was like, “You’re in it. I don’t know in what capacity.” And it was because I said to my agents and managers, “Whatever the capacity is, I’m a gamer. I want to play ball.”
‘Backrooms’
A24/Courtesy Everett Collection
It was recently announced that you’re going to be directing and co-writing the film Replacer with your fiancée, Halsey. How did the idea come about and how excited are you to be collaborating together?
One of the joys of my life is being able to live and collaborate with someone who I think is immensely talented in every medium that she’s exploring. And we work really well together. We have a similar writing sensibility, which made the writing process super easy, and I’m just excited to watch. Again, I want to watch actors have fun exploring something larger than themselves or larger than the everyday, the mundane and the rote. I want actors to come in and swing on a person and on a character. And watching her be able to do that, I mean, I wrote it with the attention that in your 20s, she was busy being wildly successful in a very, very hard field. So she didn’t have time to do movies like this. And so I was like, “You should have had one of these, so let me write it.”
That’s a pretty grand romantic gesture to be like, “Let me write a movie for you.”
Yeah, that should have been something that happened, but it didn’t because you took this different dimension jump, but there’s a dimension where you could have been doing this and doing this and doing this. And part of loving someone is also being able to see all the different versions of them that could have been or that might yet still be.
You mentioned that you were avoiding romantic lead roles at one point in your career, but then you just starred in 56 Days, which became a hit on Prime Video. What made you want to join this project, as well as what was your reaction to how it resonated with fans?
It’s a romantic lead, but there’s so much there. There’s meat on the bones. There’s something for me to perform. There’s a constant tension that’s there that I can do it really, really sweetly, or I can do it with the weight of all the internal stuff that Oliver’s going through. Also, not for nothing, it was quite a physical part because I had my shirt off all the time (Laughs), which, insert massive sigh about how it’s a lot of work. But that was something to do. I’d done a couple of those, but I hadn’t really done something like this.
And then of course it’s a number one show situation, which is amazing and I’m so humbled by that, and people have been really, really nice about it and kind. I don’t think anyone expects a show to be a cultural moment. I think you would have to be quite mad as a person to be like, “Oh yeah, No. 1.” But it’s always a nice thing. It ended up being sort of a choice for me because once you do a show like that, what happens subsequently is you get a million more opportunities to do that sort of thing and people are intimating that you should keep going on this train even if it takes you further from what you want to do. And because I’m oppositional defiant, I was like, “Let me go direct a movie.” (Laughs.)
Avan Jogia in ’56 Days.’
Prime Video
Fans have also been fancasting you to potentially portray Xaden in the Fourth Wings Prime Video adaptation. I know your focus is on directing at the moment, but would you be open to doing that role if presented the opportunity?
Everything has something interesting to it, not for nothing. I’d love to do fantasy. When you’re a little boy and you’re growing up and you want to be an actor, you have a list in your mind of things that you would love to do. I saw The Lord of the Rings and was like, “I would love to be able to one day be included in fantasy.” And I grew up. I’ve played every large-scale fantasy video game that there is to play. I’ve spent tens of thousands of hours of my life living in a fantasy world. I would love to be able to be in a movie or a TV show that has fantasy elements to it. I would love to be a pirate. That’s what I’m saying when I say acting. What I got into this to do is to make myself as a child happy by playing in worlds that have always excited me since I was a kid. And so the concept of dragons and a fantasy world like that, that sounds awesome.
If you had to describe what makes Avan Jogia, Avan Jogia, what would you say?
I’m passionate. I’m curious. I love creative collaboration. In a world where there’s so little community, film set, the pirate ship, the us all go to sail and we find whatever this thing is out in the open ocean, that community of people that I get to work with every day, that is what I’m always looking for. That creative community of ideas where we’re all rolling up our sleeves and we all believe in a thing and we’re all doing it together is way more important than what the result ends up being. The result is a byproduct of the time spent with a community. … I’m someone who’s always made for the sake of making and then sometimes I lose my way. But I think [after] 20 years of having been making stuff, I might be arriving at what my boundaries are. Like I said earlier in the conversation, it takes a long time, not just time elapsed, but inside yourself to be like, “Maybe I do deserve to decide how I want to make and what I want to make.” And so I’ve arrived at that part of the play.
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