“Tuner” is Leo Woodall’s first leading movie role—and it marks a bit of a shift for him. He’s known for playing mysterious, hard-to-read men, like Jack in The White Lotus or the boyish object of Rachel Weisz’s desire in Vladimir. Here, he’s still guarded, but in a new way that feels more exposed.
As Niki, the piano tuner, his vulnerability is right on the surface. He has hyperacusis, an extreme sensitivity to sound that makes ordinary noise physically painful, turning even the idea of connecting with someone into a struggle. But when he stumbles upon a group of contractors trying to crack a safe in a client’s mansion on Long Island, his condition becomes an unexpected—and criminal—gift: his hearing is so sharp he can hear the tumblers click into place. Soon, safecracking becomes his new job, especially after his mentor Harry (Dustin Hoffman) gets sick. But a new romance with Ruthie (Havana Rose Liu), a piano composition student, makes everything even more complicated.
“Tuner” got a warm response at both Sundance and TIFF. It’s the kind of movie people don’t make enough of anymore: fun, romantic, suspenseful, and made for everyone. We sat down with Woodall to talk about his craft, Dustin Hoffman, and dead fish.
Vogue: A piano-tuning romantic heist movie isn’t something I ever expected to see. What was your first reaction to the script? What pulled you in?
Leo Woodall: I read it and immediately wanted to watch it. That’s always a big factor for me—whether I actually want to see the movie. It’s the kind of film I love.
In the movie, Niki describes hyperacusis as an allergy rather than a disorder. I found that interesting.
That was always Daniel [Roher, the director]’s phrase—that Niki is allergic to loud noises. Honestly, I didn’t think too much about that specific word. What mattered to me was understanding the condition without relying on exposition, without Niki explaining it to Ruthie in a way he never would in a real conversation.
The character’s connection to sound is so physical. Are there any musicians or artists you’re deeply connected to that would trigger that kind of reaction in you?
There’s no artist I listen to that makes me want to cover my ears and block everything out [laughs]. But one of the first ideas behind this film for Daniel was: if you had a passion, a talent, something that felt central to who you are, and it was taken away, who would you be?
Would that be acting for you? Are you as obsessed with it as Niki is with music?
I definitely wouldn’t put myself in the same league as Niki at the piano, but with acting as my passion, that’s the question I ask myself. And not just acting—films in general. If you love cinema and imagine that tomorrow there were just… no more movies, what would that do to you? It would mess me up.
Seeing you now, I assume all those tattoos were just for the film. One of them is a fish that also shows up in the title card. Is there a story behind that one?
There were a few—a watermelon, a little red devil. Honestly, a lot of it came down to what we thought looked cool or made us laugh. None of them are real for me. Daniel and I both loved the fish—it’s actually a dead fish, because of the way it sits on my hand, upside down. I think we liked the idea: Niki tunes pianos for a living… it’s not what he dreamed of. So he’s got a little tuna on his hand, and it’s dead. I think that was some subliminal message Danny wanted to sneak in.
The dead fish comes up in that van scene with Dustin Hoffman’s character—he goes on about tuna and mercury. I heard a lot of that was improvised.
Yeah, that whole tuna-mercury thing came out of improvisation, from Dustin. It was this 10-minute sequence.The part that ended up in the film was cut down, but he tells these stories that seem like they’re going nowhere, and then they come full circle. He’s a master of his craft, and I got to see it up close. I know how lucky I am to be able to say that.
What surprised you most about working with him?
A lot of things surprised me, but what moved me the most was how much care and passion he still has for it. He was 87 when we filmed, and there’s this contradiction. It seemed so easy for him, which wasn’t surprising, but seeing someone so gifted and experienced still have moments of self-doubt was a big lesson for me as a young man. It made me feel like I didn’t have to have everything figured out. A lot of young people feel that pressure, and here’s this great man showing you that maybe that uncertainty never fully goes away—and that’s okay.
Niki has this savant quality that’s hard not to compare to Rain Man—especially with Dustin right there. Was that reference ever brought up, with him or with Daniel?
I think it was, yeah—probably more with Daniel and Dustin. The scene where Havana plays the chords and he calls them out, that was the closest I felt to it.
Who’s the better piano player, you or Havana?
Definitely Havana. She was a better pianist when we started and when we finished.
Did you take lessons together?
Mostly separate, though we did have a few joint lessons. Thankfully, not too many. She was better than me, and it would’ve been discouraging to be reminded of that every time.
Photo: Courtesy Everett Collection
When I was talking to someone who had seen the film and I told them I was interviewing you, they had no idea you were British.
I thought you were going to say they had no idea who I was!
No—they thought you were a New Yorker. I also thought you sounded very naturally New York. What do you credit that to?
I’d been lucky enough to spend a decent amount of time in New York before this. I had a foundation, but I wanted to be more specific, so we went to Brooklyn. There were a few small things—not true for everyone from Brooklyn, of course—but I thought it’d be fun to include. Like saying “Haaaarry” instead of “Hairy.” Little details that made it a bit different.
We never get to see Niki in his home life in the film. What does this guy do when the day is done, when he’s finished tuning pianos or picking locks? He seems like a very old-school, pre-internet kind of guy. A loner.
That’s one of the sad things about playing Niki—but also one of the reasons I wanted to play him. He’s forced into a kind of limited life. His condition narrows what he can do, even when he’s alone. What a character’s life looks like outside the script always informs your performance. But for Niki, it was so specific and unique that I thought about it a lot, more than I usually would.
Can you give me a detail from that backstory you built for him?
I imagined him being much more well-read than people would expect. You get a glimpse of him in his den, smoking endless cigarettes, trying to crack the safe, but I liked the idea that he finds some peace in solitude through reading. One of my favorite films is Good Will Hunting, and there’s that quality to Will: he can just go home and read six books. I liked the idea that Niki has that.
He moves through some pretty distinct groups in this film: Israeli security contractors and Korean gangsters. You’re playing the straight man, the dramatic anchor, while the comedy happens around you. What was the energy like in those bigger ensemble moments? I imagine it being a rowdy and funny set with someone like Johnnie Park.
I loved working with them. We’d already shot many scenes with just Lior, Gil, and Nissan, but doing that sequence was incredibly fun—especially for me.I got to step back a little and just watch them come up with new things in every take. They’re really talented actors and genuinely funny people. Park and Rek Lee already had great chemistry, but when you added the whole group, it was pure magic. A lot of the humor came from the tension between them.
Since I asked about the piano playing, I feel like I should ask if you can crack a safe. Did you do any research or training for that too?
It wasn’t as involved—it’s a lot less technical than piano. You can actually learn how to crack safes on YouTube. I haven’t managed to crack a real one yet, but I do remember as a kid having a little lunchbox where I kept my pocket money, with a tiny padlock on it—the kind you could probably just chew through. For fun, I took apart a paperclip, bent it into a little scissor shape, and tried it because I’d seen it in a movie. And it actually worked. That feeling was so exciting—but I wouldn’t recommend it. Let’s not all go around learning how to crack safes.
This conversation has been edited and condensed. Tuner opens in limited theaters on May 22.
Frequently Asked Questions
Here is a list of FAQs about Leo Woodall and the article Tuner star Leo Woodall is just getting started
BeginnerLevel Questions
1 Who is Leo Woodall
Hes a British actor best known for playing Jack in the Netflix series One Day
2 What is Tuner
Tuner is a new TV series or project that Leo Woodall is starring in
3 Why is the article saying hes just getting started
Because hes still early in his career Hes had a big breakout role but the article suggests he has a lot more potential and bigger projects ahead
4 Is Leo Woodall related to anyone famous
Yes His grandmother is actress Julia McKenzie and he has other family members who work in the entertainment industry
5 What else has Leo Woodall been in
Besides One Day he was in the TV show The White Lotus and the movie Citadel
AdvancedLevel Questions
6 What is the main theme of the article about Leo Woodall
The article focuses on his rapid rise to fame after One Day and how hes handling the pressure of being a new star It highlights his grounded personality and his focus on choosing roles that challenge him rather than just chasing fame
7 How does Leo Woodalls role in Tuner differ from his role in One Day
Without spoiling specifics Tuner is described as a very different more intense character While One Day was a romantic drama Tuner involves a darker more complex role that shows his range as an actor
8 What does just getting started mean in terms of his career strategy
It means hes not resting on his success Hes actively seeking out diverse gritty roles to avoid being typecast as the romantic lead It signals hes building a longterm career not just a onehit wonder
9 What practical advice does the article give for new actors
The article implies that staying humble working with trusted collaborators and choosing projects that scare you a little are key Leos approach is