Having spent the better part of four decades working alongside the industry's most storied directors, Lukas Haas has maintained a career defined by versatility and a soulful depth. Now, he's shifting gears, trading his usual empathy for the sharp, stylized shadows of the Spider-Man Noir universe. It is a role that finds him leaning into the grit of the 1930s, with zoot suits and noir archetypes while navigating a newfound chapter of his musical journey. As he prepares to step into a massive global franchise, Haas remains remarkably grounded, viewing his career as a natural extension of a life lived entirely within the industry.

Hat by Nick Fouquet
Coat by Entire Studios
Shirt by VENROY
Pants by Entire Studios
Shoes by Bruno Magli

You've built a career on playing versatile, often deeply empathetic characters. What was the best part of finally stepping into the shadows to play a villain in the Spider-Man Noir universe?

It's a clearly defined universe; the character already had a whole vibe before you even read the script.

You already have this feeling of what the story is about and what that world is like. It's fun to step into that, and it's extremely stylized. I have a big hat and a suit; the lighting is all dark and beautiful. It's really fun to get to step onto a project and a set that has that much richness.

Spider-Noir is being released in both black-and-white and full color. Did the "noir" aesthetic of the show—with the shadows, the grit, and the classic 1930s vibe-influence how you physically approached your character's movements or demeanor?

Yeah, for sure. Everything's slightly more angular. In my case, I was wearing a zoot suit, those big collars and stripes. I have a gun and a big hat, like a real "bad guy in New York" kind of thing. I've always loved classic noir films, and I did a movie called Bride that was a take on noir. Noir has always been something I've been attracted to, and it's definitely fun to do something that's so specific, which is rare.

A lot of times you're making a show or a movie and they're kind of just "middle of the road." It might be great, but it's sort of basic; however, in this case, it's extreme. I'm hiding my face at times; you're kind of using the shadows to hide, to become more mysterious. Or, to reveal yourself, you use the light. It's like a fun playground to get to play on.

Leather Jacket by John Varvatos
Shirt by John Varvatos
Gloves by Seymoure Gloves

You're starring alongside heavyweights like Nicolas Cage and Brendan Gleeson. What was the energy like on set?

They're both really just cool, chill, nice guys. You'd think the energy might be kind of tense or serious, but it was really relaxed, and everybody's just friendly and very professional. Nick is probably one of the most professional actors I've ever worked with, meaning he is hyper-focused. Sometimes I feel like I'm not even as well-prepared as him. At times he knows all of my lines; I'll skip a line or miss a line and I'll be like, "Just tell me what the line was." It's amazing to get to work with such great talent, and it makes the whole experience that much cooler.

Audiences are currently very drawn to layered antagonists rather than one-dimensional villains. How did you work to find the humanity or the specific "why" behind your character's darker actions?

My character, I would say, on the whole, is pretty dark. The thing about him is he's extremely loyal and trustworthy. Within the group, like his crew, he is a solid guy. The kind of guy you would want on your side. He's definitely an authentic friend and crew member. That's one aspect of him I think is more human-like and relatable.

Jacket by Entire Studios
Pants by John Varvatos
Gloves by Seymoure Gloves

You've mentioned that the song's nomadic message resonated with a "former version" of yourself. How does it feel to revisit those younger, more restless years through your music now that you're in such a grounded, successful phase of your career?

It's fun. "Ramblin' Man" is a song by Hank Williams that I covered; I'm going to put that out in like a month. It's interesting because there's a side to the song that I completely relate to. I always wanted to be a musician on the road, but I was kind of an actor on the road. I was always traveling. For the first half of my life, I was barely in one place for long at all. It's in my blood to some degree. When I heard that song, something about it made me think I could make this more interesting and try to turn this old, yodely country song into something current. That theme resonated with me for sure because I can totally relate. It's kind of more a part of my past, that kind of life, but it's in your blood no matter what.

It's fun to express that through someone else's words.

Tank Top by Levi’s
Pants by John Varvatos
Gloves by Seymoure Gloves
Necklace by Tarina Tarantino

How do you find that your work as an actor informs your storytelling in music?

I think big time, because there are so many interrelated elements. They inform each other. I really love ADR. ADR is like looping for a movie. Most actors hate ADR or just sort of tolerate it. I would say at moments I don't love it, but I kind of enjoy ADR because I can play with the performance using the melody in my voice. I think the same goes for what I do with music. It's definitely cinematic. My music moves; it tells a story; it's not super repetitive. I love that whole story, how it grows and evolves and sort of peaks. I sort of view them as the same thing in a way. My acting and my music are interconnected on a deep level.

You've often played characters that audiences feel a protective instinct toward. Is there a certain thrill in playing someone that the audience is actively supposed to root against?

Yeah, for sure there is, because number one, you're playing against your own hype or against your own personality to some degree. I think it can make the performance pop more because you're trying to find a part of you that's not as obvious. It's sort of more surprising. If people see you a certain way, it's fun surprising them, like in a movie or on TV shows. When you surprise people in a performance, that's always kind of the best thing you can do. I love that reaction, when people are like, "Whoa, I didn't know you could do that." It is definitely fun to go against my own grain, and I think it usually leads to more interesting performances.

**Left:**
Jacket by John Varvatos
Shirt by SKIMS
Pants by John Varvatos
Shoes by Bruno Magli
Belt by John Varvatos
Rings + Bracelets by Brosway
**Right:**
Jacket by Entire Studios
Pants by John Varvatos
Gloves by Seymoure Gloves

You started your career in Witness and have worked with some of the greatest directors in cinema history. Looking back at that 30-year journey, does this current chapter feel like a "full circle" moment or a brand-new beginning?

For me, a little bit of both. I guess it's kind of always a new beginning. I think for everyone in life, you know, it's like a new year, a new day, or whatever. If I look at it with perspective, it feels like a pillar, another pillar within my career. I started when I was five years old, and I've been working consistently ever since then. I actually don't know what my life is like without my career, either. It feels like my career and life are intertwined the way my music and my acting are. I can't really even tell the difference.

I couldn't separate my career from who I am. Another day, another project.

With Spider-Noir introducing you to a massive global franchise audience, how are you preparing for this new level of "superhero universe" recognition?

I don't really think about that kind of stuff generally because, for one thing, it's very easy to do a movie or a show and be like, "Oh, this is going to be awesome, it's going to be a huge hit," and all that stuff. I've been in movies that have great actors like Jack Nicholson and it seems like it's going to be a massive hit, and then it's just a flop. Or you do some movie that you think is crap and then it does really well. You just don't know. But that is true, it's a very particular audience. The superhero audience is one I've never been exposed to. I haven't thought about it yet.

**Left:**
Jacket by John Varvatos
Shirt by SKIMS
Pants by John Varvatos
Shoes by Bruno Magli
Belt by John Varvatos
Rings + Bracelets by Brosway
**Right:**
Hat by Nick Fouquet
Coat by Entire Studios
Shirt by VENROY
Pants by Entire Studios
Shoes by Bruno Magli

Between acting, music, and your other creative projects, how do you decide which "version" of your artistic voice needs to be heard at any given time?

When it comes to acting, it kind of happens to you to some degree. For example, Spider-Noir, I auditioned for it, and I got it. They're like, "Okay, here are your dates," so I don't have a choice. I'm doing it during that time period whether I like it or not. But with music, that's just mine. I do that whenever I'm not doing films or shows. It's kind of based on that in terms of what I'm doing. I'm either acting when a show or a movie comes up, or I'm just making music when I'm on my own. The thing is, I haven't released much music over the years. I made a whole lot of music and just kept making it and making it and not putting it out, and I finally got to a point where I don't know what clicked in me, but I just went, "I need to." I released this Christmas song that I had written, it's like a joke song. and it was silly and easy to put out. I put that out and then it got me kind of going. Then I thought,

"All right, let me put this next one out," and I have all these songs that are close to finished. All I'd have to do is wrap them up and put them out.

Hat by Nick Fouquet
Blazer by LARDINI
Shirt by LARDINI
Pants by LARDINI

CREW CREDITS:
Talent: Lukas Haas
PhotoBook Editor-In-Chief: Alison Hernon
PhotoBook Creative Director + Photographer + Producer: Mike Ruiz
Fashion Stylist: Branden Ruiz
Groomer: Michelle Harvey at Opus Beauty
Photo Assistant: Ozzie Gutierrez
Tearsheets by Daniel López, Art Director, PhotoBook Magazine
Interview by Lily Kalbasz, Contributor, PhotoBook Magazine
Location: FD Studios

Lukas Haas on Music, Mystery, and Noir