Editor’s Note: This story originally appeared in Volume 2 of B.H. Magazine. For access to future issues, subscribe here.
B.H. Magazine: Can you pinpoint the exact moment you realised you wanted to be an actor?
Lincoln Younes: I had bluffed my way into a global Rock Eisteddfod tour of Peter Pan when I was 14, and despite having heart palpitations of being found out, I fell in love with the art of storytelling and disappearing into characters.
You spent much of your childhood in Bendigo, Victoria. As somebody with Lebanese heritage, what was it like growing up in regional Australia in the ’90s?
There can be a passive racism and conservatism in rural parts of Australia and I remember that being the case at times, but I feel fortunate to have such vibrant heritage and I have always shared that side of myself wherever possible, despite the tension that can arise.
Do you think your cultural origins helped to inform your role playing John Ibrahim in Last King of the Cross?
Definitely. There is an ambition born by necessity with immigrants, and to be able to tap into that side of my culture was invaluable for the role and I relished the chance to do so.
Acting is an enviable skill. Do you have any others we should know about?
I grew up playing soccer and thought I wanted to do that professionally, until I realised the short career lifespan of an athlete. But, If I wasn’t an actor, I’d be a chef! Without a doubt. Food is my biggest love affair away from acting and I regularly cook for my family and friends. I’m a feeder!
Ibrahim’s story is filled with moral grey areas. How did you navigate portraying a character that walks the line between antihero and villain?
The interest is always in the grey; black and white is boring. So for me, not ever making a character judgement is important and my first priority is to always seek the “why” in everything that someone does. People do things for a reason, there is always a motive, and that is where the gold of storytelling and acting lies… and from there, you let the audience make up their own opinion.
A large portion of the show is filmed at night and captures the essence of the Cross in its heyday. How did you manage the nocturnal working hours?
It was difficult. I am a bit of a routine animal and that went out the window while filming this job. Your body craves daylight as much as it does sleep, so to not really have either one in healthy doses was hard. But my lordy, coffee is the ultimate currency on set. My caffeine tolerance was Olympic level by the end of filming.
Did you ever get a chance to visit the Cross or any of its nightclubs when you were younger?
I did. I got the last five years of the Cross and loved it. Piano Room was a regular weekend spot and I have a lot of great, blurry memories from there. It was research… I swear.
What do you think makes Last King of the Cross stand out in the landscape of Australian crime dramas?
The scale, the unique culture, and the story. It is rich in universal themes, local struggles, and deeply human needs and desires, but at its core it has an insane tale of ascension through adversity, which all great stories have.
Original productions by streaming services in Australia have created more opportunity for local talent. How important are these shows for launching international careers?
Very. We have a wonderful industry here, but it doesn’t always get the airtime or access that is needed to burgeon and bolster careers overseas. With streaming services creating a platform for local content to be seen globally, it bridges the gap and gives our creatives the opportunity to have their time in the sun.
When you’re not hustling, how do you like to blow off steam?
The ocean. Just laying in that big, watery, glorious mess. It’s hard to get existential when you’re having to contend with something much bigger than yourself. That and cooking copious amounts of food for friends. I have problems with portion control.
You’re often spotted wearing a Hublot timepiece. How does the brand complement your personal style?
It is rugged, it is masculine, it is edgy and unique without being overly showy, and there is a depth of material and history to each piece made. I love the brand and love their want to work with masters of craft to constantly evolve. It is inspiring for a luxury brand.
After taking on such an intense and layered role, what type of projects or characters are you looking to explore next?
Just anything vastly different to what I have played before. I want to keep evolving and keep shifting. So I guess, in short, a character or project that scares me, in a good way.
And how has this experience influenced your choices as an actor?
It made me want to be more involved in the process of how a story comes together, so I have since ventured into creating and producing. I will always want to act, but I also want to see my taste on screen and the only way to viably do that is to create your own stories, which is what I’m doing currently.
Speaking of choice, are there any actors or directors you’re keen to work with in the future?
Too many overseas creatives to name here. But if I were to keep it local: Jeffrey Walker, the Philippou brothers, and Emma Freeman are directing wonderful things here. Also, I’d love to act with Ben Mendelsohn again – he has been an acting compass for me ever since Tangle.
What’s one piece of advice you’d offer to an up-and-coming actor on how to future-proof their career?
Stay inspired, stay active, and stay healthy, in whatever way you can. It’s a marathon career, not a sprint, so approach it that way mentally, physically, spiritually, and financially. Your energy and your soul will dictate your direction.
Finally, what are your plans for summer?
Jumping in that Big Blue whenever I can. Can’t wait to get thrashed around by the waves and become some random Kookslams meme.
Seasons 1 and 2 of Last King of the Cross are available to stream on Paramount+
