HUGO NICOLAU: A Worldview Through The Prism Of Music, Photojournalism, And Acting

Hugo Nicolau is a Portuguese actor, photojournalist, and musician who played the lead role in the profound social short film Avenue to Nowhere, directed by Jacob Migicovsky — a project that became deeply personal and significant for him.

This year, Hugo also appeared as a Maître D’ in Johnny Depp’s second directorial film, Modi: Three Days on the Wing of Madness, and attended three major premieres: the world premiere at the San Sebastián Film Festival, the UK premiere in London, and the North American premiere in Los Angeles.

Hugo’s creative journey began with music — from classical piano training to performing in successful rock bands such as Slave and Mary Me. Among all artistic disciplines, music has remained the one constant in his life.

His path then led him from studying economics to the media field — specifically photojournalism, where he worked with a strong ethical focus on respecting personal boundaries and developed a sharp eye for detail. Photography became Hugo’s second great love and an essential foundation for his artistic sensitivity.

Acting entered his life unexpectedly in 2001 and has remained with him ever since, gradually becoming a central part of his creative identity. All the disciplines he has been involved in have shaped and enriched his work as an actor, helping him bring his characters to life on screen.

About the role of music in his life, his work as a photojournalist for the Portuguese newspaper O Comércio do Porto, and his approach to choosing roles, Hugo opens up in conversation with Asya Radko, founder of Drive Music Media.

Interviewer: Music, photography, acting… you have pursued different creative paths throughout your life. Which of these areas holds monumental significance for you and why?

Hugo: All those creative paths make me feel alive in different ways, and each one came naturally into my life at different times with its own vital importance. But music is the creative path that holds the deepest significance for me. It lives in a special place in my heart and soul, because it has always been there when I needed it the most — which is pretty much every day.

As long as I can remember, music was always present in my life, and nothing beats the feeling of being deeply touched by it in its different ways and genres. For me, music transcends any other art. I feel something really deep and sacred in it. And my relationship with it has unfolded over my entire life.

Interviewer: What were your first steps in that field?

Hugo: I started piano lessons at five years old in a conservatoire in France, more precisely in Créteil (ed. — outside Paris). I remember that the teacher was very harsh and cruel to me in his way of teaching, but it didn’t matter — I was completely enchanted by the sounds coming from the piano. I kept learning it until I was seven years old. Because we didn’t have a piano at home, I remember that my parents gave me a wooden board so I could still practice the hand movements and finger positions. 

My grandparents and my parents were emigrants, and my parents decided to return to Portugal when I was eight. Two years after returning, my brother and I joined a music school called Europa in my village, Arouca. There, I moved from piano to organ. I kept progressing while also learning music theory. My parents bought an amazing and a very modern Sony organ for us to practice. In my teenage years, I started to lose interest in playing, but, at the same time, my interest in listening to and discovering more and more music grew (from my parents’ vinyl collection, pirate radios, house parties, etc). Around 1994, an opportunity came to do something I’d never done before: sing at a rehearsal of a local rock band. I never had any vocal training, nor did I have a “great” or “unique” voice. I remember not singing very well, but a member of the band saw that I had the energy and delivery needed to join them. 

The feeling of being in a rock band was unforgettable! We called ourselves ‘Slave’, recorded three demo tapes on cassette, played dozens of concerts all over Portugal, and even won a national rock band contest.

A few years later, the band split up, and I started using my record collection to DJ and do radio shows — something I still do today.

Later, in 2008, I and other musician friends formed another rock band in Porto called ‘Mary Me’, which lasted for only two years. We only recorded one demo and played three concerts. But it was really nice to get back on stage. Creatively, playing live with a band is the best feeling ever.

At the moment, I don’t have a band, but I think about it a lot and have a strong desire to start another musical project soon. 

Interviewer: Photography. For some time, you worked in journalism, and it was through this that you transitioned into photojournalism… could you tell us about this stage of your life? What principles did you adhere to in photography, and what meanings did you embed in your work? How has photography influenced you the most?

Hugo: After dropping out of my Economics course three years in, I took a Media course. It was very interesting, and I learned a lot in various areas. Along the way, I decided to take a basic photography course, and I fell in love with the medium. A new world opened up. I started photographing more and more, increasing the diversity of what I was capturing. I was very interested in the graphic aspects of life, and the surprise element of situations. I often went out into the street to see life happening and photograph the unexpected.

I felt that my place in journalism was through photography.

Eventually I made a portfolio and went looking for a job as a photographer at the best Portuguese daily newspaper at the time, ‘Público’. They said they liked the portfolio very much, but that there weren’t enough people in it. I then went to the second-best newspaper, ‘O Comércio do Porto’. There, Carlos A. Tavares (the sub-editor) gave me an opportunity as an intern, and a few months later I joined the group of professional photojournalists at the newspaper. 

From that moment on, things changed a lot. I started photographing all kinds of events related to the city and the country every day. My experience and sensitivity developed rapidly with the daily practice of reporting. I photographed everything from the palaces of the rich to the huts of the poor. This gave me an incredible social and anthropological experience that I still carry with me today and use in my work as an actor.

Besides photojournalism, I always had a more personal and artistic approach to photography. I was “shooting” everything around me — people, things on the floor, landscapes, lights, shadows, etc. — anything that triggered something in me. A freestyle approach. Then, when looking at the material later during the edit, I would find some things not so interesting, but many others very surprising.

I have always been very observant by nature, and my experience as a photojournalist further honed this sense, which still helps me greatly as an actor in the creation and development of characters.

In photography, I was always guided by principles of respect and dignity for those being photographed. I never tried to invade people’s private lives.

One of the things I loved most about doing it was that it gave me an amazing sense of freedom, adventure, and independence. Not knowing what would happen, or what type of picture I was going to make, was always very exciting to me.

To dive into the unknown of life unfolding was fascinating.

That reminds me of a quote from my good friend and incredible acting coach, Joe Ferrera, which I relate to very strongly: “When we’re in a creative state of mind, nothing is a distraction; everything is an inspiration.”

Interviewer: Since 2001, you have been actively pursuing a third creative direction — acting. At what point did you realize you wanted to try yourself in this field? What was the trigger?

Hugo: I’ve always been a film lover and had a taste for the aesthetic culture of films and their characters, but I had never dreamed of being an actor. It arose from the circumstances of my life as a photographer, which led me to a defining event.

When I did a photo report on a theatre festival in Porto, I felt something awaken within me. I attended several rehearsals, and I will never forget the feeling of being next to the stage, watching the actors prepare, and, moments later, stepping onto the stage. That atmosphere ignited a flame that later led me to want to try acting.

What truly sparked that interest was in 2001, when a good friend, Fernando Rui, and I made a very personal and experimental short film called Nós (ed. — Us). He directed it, I helped produce it, and I also played the main character. It was a very poetic story. The film ended up being selected for Fantasporto, one of the best film festivals in Portugal, which was a pleasant surprise. This experience deepened my desire to continue learning and developing this craft.

From that point on, I wanted to deepen my understanding and went to study Acting for Film and Television at the New York Film Academy in 2002. Taking that course confirmed that I wanted to follow this path. Everything was fascinating. After returning to Portugal, I continued attending as many theatre workshops as I could, while still working as a freelance professional photographer.

I started auditioning and playing roles in small short films that taught me a lot. Only a few years later was my love for photography naturally replaced by my love for acting. I decided to emigrate to London in 2010, where I could continue learning and take more risks. Even though I had to work several part-time jobs to survive, I was able to start building an increasingly solid career as an actor. 

Interviewer: One of the works where you played the lead role is Avenue to Nowhere… a short film with strong dialogue about betrayal and revenge. 

Your character lies on the bed and says: “My fight is over. Nothing to do but sleep.” Surely, this is the most powerful line that says more than anything else… What does this moment and story mean to you? Is this moment more about the calm or the helplessness of the main character for you? What was the process of filming and transformation like?

Hugo: That film holds a special place in my heart. It was the first proper professional project I was cast in after moving to London. Directed by the very talented Jacob Migicovsky, it was a pure homage to the French Nouvelle Vague, shot in black and white on 16mm.

Set in Paris in the 1950s, it is a love story between a mysterious man trapped between a dangerous life of espionage and his desire to destroy the political system, and a woman who feels compelled to help him. The line you mentioned summarises the despair of a man weary of a life of silent and clandestine armed struggle, while also finding comfort and love in this woman — something he knows may be short-lived.

For me, this moment was all about the helplessness of my character, softened by the loving calm of the woman in front of him.

The filming process was excellent. We filmed interiors in London and exteriors in Paris, a city I love and where I lived for many years as a child. Returning there to film was thrilling. All departments did an excellent job, and the film’s quality is evident. 

It’s one of the works I’m most fond of. I’m very proud of it.

Interviewer: How important is the theme of the film you act in to you? What do you focus on when choosing future roles?

Hugo: When I started working as an actor, I didn't have much choice regarding the subject matter of the films. For me, the important thing was to work, and I didn't want to let any opportunity that came my way slip away. That's why I did some work where I didn't identify with the theme or the way it was approached. But I always saw the work as a way to learn more and gain experience.

Over time, you can be more selective, and the goal is to reach a point where you can choose the projects you get involved in. Lately, I've been lucky enough to work on projects with themes and characters that I identify with deeply. In terms of the future, I continue working to be cast in roles that allow me to keep exploring something new (and to help the director and writer bring their visions for the story to light — stories we will tell together.

Interviewer: How difficult is it to establish yourself in your country, and compared to your international experience, what differences would you highlight in the film industry?

Hugo: Beyond personal difficulty, the biggest differences I’ve experienced are structural and cultural.

Aside from exceptional cases, for the vast majority of actors, I think it’s very difficult to establish yourself in your own country, and even more difficult in a foreign one.

It’s a profession that demands a lot of effort, persistence, and patience to keep fighting for work. Things take time to happen, and you have to go through several phases to mature your “instrument” (your body and mind).

The big difference between Portugal and England (and other European countries) is the lack of Portuguese government investment, which dedicates only a meagre portion of the budget to culture.

As a result, there is much less money and far fewer projects compared to England. There is also little investment from the private sector in culture. All of this leads to far fewer opportunities for actors. But even with this lack of support, Portuguese production teams perform small miracles, creating world-class content with much smaller budgets.

I’ve done some film work in Portugal since returning, and I can say that there isn’t a big difference in how things work or how the structure is organised. There may be some minor differences, but overall, the demanding professionalism and rigour are the same. Portuguese film crews work hard to achieve the best possible result. At this level, Portugal is second to none.

Interviewer: What advice would you give to those just starting their path in this field?

Hugo: Starting an acting career is much more than just learning lines and performing. It’s about mastering this incredible craft, navigating auditions, and building a professional reputation while managing your own business. It is difficult, but at the same time, it’s amazing when you start investing your energy in something you love and that pulls you out of your comfort zone.

Believe! Study, practice, make mistakes, be patient, be determined, learn to deal with rejection, put your ego aside, watch movies, read, observe the world around you, open your mind, and above all, experience life!

This profession is a marathon, not a sprint. Therefore, I advise you to have a lot of confidence and determination. Things don’t happen quickly. You have to go through many ups and downs to keep moving forward. Those who enter this profession to make quick money or become famous should choose something else to do.

It is a profession that is as rewarding as it is difficult, especially when it comes to getting regular work that pays enough to provide financial security. And if you are not getting work, create your own opportunities. Write a story, film it, and explore that experience.

Fight for your dream. Accept and embrace unpredictability! 

Interviewer: Recently, there was the premiere of Johnny Depp’s film Modi: Three Days on the Wing of Madness, which begins with your character actively discussing the main character with restaurant visitors… the film itself intersects with the question of “making yourself known” as a creative person. 

How did you get involved in the project, and from the perspective of the plot, what does being part of it mean to you?

Hugo: I was on holiday, enjoying myself at a music festival in Portugal, when I received a message from my UK agent saying that I had a self-tape request from a London casting agency for a character (a receptionist) in a film directed by Johnny Depp. I had to read the message more than once to be sure I wasn’t tripping on something and that it was actually real.

I then did the self-tape, and a week later they got in touch again saying they liked it and wanted me to come to London for an in-person recall audition. At the same time, they offered me the chance to read for another character (a policeman). So I went to London, met Sharon Howard Field (ed. — the casting director), Nathan Wiley (ed. — her assistant), and Vivi Stone (ed. — a producer from IN2 Film), did the recall audition for the receptionist, and auditioned for the policeman role.

One week later, my agent called me to say that I didn’t get either of the roles, but that they were deciding between me and another actor to be chosen for a different role, a French restaurant manager.

A few days later, I got the final call from my agent saying that I had been cast as the Maître D’ in the film. I was blown away with happiness and very emotional. A dream came true.

The film depicts three days in the life of Amedeo Modigliani, a painter and sculptor who is now world-renowned and recognised, but during the days on which the film is based, Paris 1916, he was a struggling artist — penniless, without recognition, and trying to survive by selling caricatures he made for clients in expensive Parisian restaurants.

That struggle mirrors my own experience as an artist. In short, we as artists struggle for both literal and artistic survival and are very dependent on others to have our talent recognised.

I have always been a fighter, in the sense of believing in my work and pushing forward, and that led me to this film, directed by Depp and produced and starred in by Al Pacino. Unbelievable!

From the perspective of the film’s script, with its harsh but realistic message about the art world, being part of this story was magical and truly special. We must always continue to believe in our art and our work, and also hope that luck is on our side.

Interviewer: The fight with the artist and other “daring” stunts — did you and the other actors do them yourselves? How did this happen?

Hugo: The first scene had a lot of choreography and required a team of Hungarian stunt professionals to work alongside the actors. Some scenes were performed by these professionals, and others were done by the actors themselves.

In my case, the scene where my character exits the restaurant through the broken glass and falls is completely real. In one of the takes, the chaos behind me was so intense that I was pushed and fell helplessly to my knees on top of the broken fake glass and tables that Modigliani had already smashed.

We immediately stopped filming to check that I was okay. I only felt slight pain from the impact on my knees. Then Johnny came over, asked if I was alright, and immediately told me a story about how he had also injured both knees during filming in Romania for a Roman Polanski film. It was really nice of him to come and comfort me. 

I said I was fine and that we could continue, so they put a couple of stunt knee protectors on me and we carried on filming. The footage of my real fall was the one used in the final cut of the film.

Interviewer: This event was very important for Johnny — his second film as a director. What was this collaboration like for you, and which moments from the shooting days were most significant? Why?

Hugo: Yes, the first film Johnny directed was in 1997 and is called The Brave. He also appears in the film and co-stars with Marlon Brando. Therefore, for him to carry out this project — which was also an idea of Pacino’s for decades — was very significant.

For me, it was like waking up in a dream world and realising that it was actually real. Suddenly, I was in Budapest, filming a movie over several days with two of the actors I like and respect the most. 

The entire Hungarian film crew was excellent. One of the most important moments was when I finally arrived on set and was greeted by Johnny and the rest of the crew. I was a little nervous—after all, I was about to meet and work with one of the biggest stars in the world. But he welcomed me in a very warm and pleasant way, which immediately set the tone for the rest of the shoot. 

His relaxed, humble, and gracious manner, while remaining highly professional, gave me even more confidence to explore the scene and my character. I can’t describe the feeling of being surrounded by his genuine artistic soul. Watching and listening to him deeply engaged in discussing the scene, giving directions and ideas, was priceless. He was truly kind, caring, humble, and a delight to work with. I’m forever grateful to him for having me be part of this adventure.

It was also great to meet and work with my fellow actors in the scene: Riccardo Scamarcio, Sally Phillips, Philippe Smolikowski, Nora Trokan, George Jovanovic and Adrian Estrela.

Interviewer: What was the hardest, and what was the easiest part during filming for you? Why?

Hugo: The hardest part was when filming ended, because all I wanted was to film more, more and more. I felt so good on set, so supported by the crew, colleagues, and new friends, that I just wanted to keep living that real dream for a few more days.

The easiest part was waking up every day with a huge desire to go to work, learn, and dive into the world of Paris in 1916.

Interviewer: What was the premiere of Modi: Three Days on the Wing of Madness like for you? What was the preparation process?

Hugo: I attended the world premiere of the film at the San Sebastián Film Festival, the UK premiere in London, and most recently the North American premiere in Los Angeles. A film premiere is always a special moment because it’s finally the day you show the world the result of many years of work and the collaboration of all the departments involved.

Many people think that being an actor is about walking red carpets and attending parties, etc. But that’s just one day among dozens, hundreds, and sometimes thousands of days spent working hard, often in very difficult conditions. Therefore, I see a film premiere as a well-deserved reward for those who worked so hard to make the film happen.

The preparation was simple: choosing an outfit that matched the occasion. That’s all.

All the film premieres were special for different reasons. San Sebastián, for being the world premiere at such an important festival in a beautiful city. London, because I got to return to the city where I lived for 12 years to premiere a film of this calibre. And Los Angeles, because it was my first time in the city of dreams, and I was able to visit so many places tied to my imagination as a young lover of film and music (David Lynch, Jim Morrison & The Doors, the Hollywood sign, etc.).

Interviewer: Tell us about your role in The Musketeers. What attracts you to historical films?

Hugo: This was my first job for the BBC, and I played a Spanish captain who sets a trap for the Musketeers when they arrive at a castle. The scene was filmed in the Czech Republic. It was only supposed to be a one-day shoot, but because of unstable weather, I ended up spending a week in Prague, which I used to explore, and then filming at the end of that week.

What I find most interesting about historical films is that, while they transport us to incredible settings from the past through the work of the art and costume departments, the themes, like love, ambition, injustice, freedom, fear, power, are always deeply relevant today. They’re all rooted in the human condition.

Interviewer: Is there a role you would never take… what barriers do you have in your profession and why?

Hugo: I don’t think I would accept a role where I had to play a war criminal, especially not any Israeli, American, British, German, etc. war criminals. And I’m not talking about soldiers, but about top world political leaders who have blood on their hands: those who continue, with impunity, to finance genocides around the world, displacing and killing millions of innocent people, simply because they are drunk on the bloody, explosive cocktails of money and power.

I would love to play the role of a revolutionary, an agent of peaceful disruption, a critical voice against the oppressive system, and a catalyst for positive social transformation.

There are many barriers in our profession, such as learning the craft, developing mental resilience, running your own business, having patience, dealing with auditions, callbacks and bookings, being on set, building a reputation (relationships with casting directors, producers, agents, fellow actors, etc.), and network strategy.

This is a lot to take on for just one profession individually. That’s why I believe that being an actor is one of the most challenging and difficult professions. 

nterviewer: With which word do you associate your creative path? Why this word? And what mission do you have as an actor?

Hugo: Fervour. I chose this word because when I dive into creativity, I feel passion, intensity, enthusiasm, and emotion.

In a more general way, the actor’s mission is to live truthfully in imaginary worlds so real people can feel, reflect, connect and feel empathy. 

In a more personal way, I connect very much with this quote from Marlon Brando: “To grasp the full significance of life is the actor’s duty; to interpret it his problem; and to express it his dedication.”

Interview was written by Asya Radko. Portraits for the main visuals were taken by Leonel de Castro. Pictures were provided by Hugo Nicolau