After 13 years grinding it out as a model and aspiring actor, Paul Anthony Kelly landed the keys to Camelot when he was cast on the FX limited biographical series “Love Story.” Created by Connor Hines and executive produced by Ryan Murphy, the show follows John F. Kennedy Jr. (Kelly) and Carolyn Bessette (Sarah Pidgeon) through their whirlwind romance, struggles with fame, and untimely demise. Kelly sat down with us to talk about his preparation process, building chemistry with Pidgeon, navigating his sudden brush with fame, the joys of new fatherhood, and why “Young Frankenstein” remains his comedic gold standard.
What was the most challenging part of preparing for this role?
Becoming left-handed. John was a lefty. I am a righty. So for the six months of filming—and the three weeks before, when I was cast—I really had to switch my brain and start doing everything with my left hand. I worked with a dialect coach, [and] a physical trainer because I had to get a little bit bigger; John was a very active guy.
[I listened] to John Jr. narrate his father’s book, “Profiles in Courage.” I listened to that religiously—in the morning, in the gym, for a run, for a walk, before work, during work, at lunch, after work. Sometimes I would listen to it sleeping; I would fall asleep to it. Just to get into his cadence and rhythm. He had this really cool, easy, lackadaisical, kind of middle-of-the-tongue speak. So I had to teach my tongue how to move differently in my mouth. It was an amazing process. I really gave everything I had into this, and it was very rewarding.
What was the most challenging scene to perform?
Honestly, all of it was challenging. This was my first role and [I was] thrown right into it. Every day was a very welcome challenge. I feel like I really rose to the occasion and surprised myself almost on a daily basis.
But being so emotionally available—certainly in Episode 3, when Jackie [Kennedy Onassis] passes. Just being present. I got to do that with Naomi Watts, who [is] amazing. Just to get to that emotionality, and then be vulnerable enough to do it with 30 people around you and a camera in your face. Those [scenes] were really challenging. Any time you have to just completely let your guard down and go to a place that you can relate to… My mother has never died, so I don’t know exactly what that feels like—but I know what loss is, so I really leaned in, creating fictional scenarios that would just be so devastating. It sucks to think like that, but it gets you where you need to be. You’re calling on things that you’ve done in your own life, and a lot of these things are hypotheticals, too, so you just really lean into it and let her rip.
Do you have other methods of preparing for emotionally taxing scenes?
I listen to a lot of music. A lot of ’90s jams. The soundtrack in the show is so good. Honestly, [for] those taxing things, maybe not so much. I really would just go to a quiet place and ponder, and then live in that hypothetical.
Did you have a favorite scene to perform?
My favorite scene was my first day on set. It’s the scene where John walks into Calvin Klein. Everyone is like, “Oh, my God, it’s him; that’s the guy.” Because for me, it was real. It was just like the physical announcement of Paul as this character, John, in front of everybody. I think that was my favorite, because it was like, “Here we go. We’re moving on this.”
Also, any time I got to drive a car, that was fun. That Mustang—that was nice. The bicycling in the rain was a lot of fun, too. I’ve never done anything like that—going nowhere fast, covered in rain.
How did you build your chemistry with Sarah Pidgeon?
It’s so easy to build chemistry with Sarah. She’s such a wonderful actress and an incredible human being. From the moment we met… We did a chemistry read shortly after my callback, and we just got it. There was this unspoken sense of trust in each other, like, “OK, we understand the assignment. I’m ready to go the distance for you. I feel that you’re ready to go the distance for me.” When we were in the room doing the screen test—it’s a very kind of public thing that we’re doing in front of [executive producers] Ryan Murphy, Nina Jacobson, Brad Simpson, and Max Winkler, the director. You want the job, but you’re also there to just have fun. There’s a pressure in that room, but we had each other’s backs.
Then we found out we were staying at the same hotel, so I offered to drive her home. And we had this very private moment, which is also kind of how this whole show is: what we can infer in [John and Carolyn’s] private moments. It was nice to loosen the proverbial tie and be like, “Hey, what’s up? How’s your life? What do you like?”
In that little bit of time, just driving back to the hotel, we really solidified our chemistry, and we were able to constantly build on it. We had scenes where we’re falling madly in love with each other, and then they called cut, and it was like, “High-five! What do you want to do later? What are you doing this weekend? You like cooking food?” All of that really played into it. It was so nice to build this little romance, and all the ups and downs with each other.
Like Carolyn Bessette, you’ve been suddenly catapulted into the public eye. How does that feel?
It’s interesting. There are a lot of parallels between both characters and myself, I’m finding: the catapult into [the] public eye and now being a known figure—much like Carolyn and how she was dealing with that, [as] a very private person who was then not. In my dealing with that, and having it happen so quickly, I’ve really leaned into everything I’ve learned about John and how he would move in those scenarios and situations.
I’m thrilled for it. It’s great. The reception has been so overwhelmingly positive, and it’s nice to get recognized for your work. I’m ready for it. I’m smiling. I sign things. I love to meet people who have watched the show, and a lot of people have been like, “You really knocked it out of the park.” It means a lot to us. It’s just been fantastic.
Do you have a favorite memory from being on set?
Every day on set, honestly, was the best day. We were so gifted with the crew that we had. The cast is phenomenal, but everybody behind it—the wardrobe, the props, the grips, the PAs—was just so stellar. It really felt like a family. Going to work every day, I knew I was going to be challenged, but in the off time, I’m hanging out with dolly grips, just like, “Hey, what’s up? How’s your life? You got kids? Cool, what are they doing?” It was really nice to get to know everybody. I think that was my favorite part of the whole process—building this family and this trust where you can go and play, and it was allowed. Nothing was too big. It was a very safe space.
Speaking of kids, you recently welcomed your first child. How is fatherhood treating you?
Fatherhood was always something that was really on my radar. My wife and I welcomed a baby recently—happy, healthy—and it’s just the greatest thing ever. It really gives me such a sense of responsibility and love that I’ve never known before. I really feel like I’m in my element here.
Do you have any advice for actors who are still waiting for their big break?
Less than a year ago, almost to the day, I was like, “This isn’t for me.” I’d been at it for 13 years. Then all of a sudden I get this call—in a matter of days of having a conversation with my wife, like, “I don’t think it’s going to happen, babe.” And then here we are. So to those of you who are sticking it out, just keep at it. If this is something that you really, truly want to do and you feel like you’re meant for it, it’ll happen. Don’t give up. Keep going. Perseverance is key.
What’s next for you?
I’ve got lots of plans—whether they come through, I don’t know. I just recently signed on to something that I’m really excited to talk about eventually. It’s still a little under wraps at the moment, but it’s very exciting. [At the 2026 Disney Upfront, Kelly announced that he has been cast on Season 13 of Murphy’s “American Horror Story.”]
I love the TV realm. Doing a limited series was really great because it’s the best of both worlds—it’s television that’s shot like a movie. I would love to do a feature. I’d love to do an indie flick. I would love to do television again.
I just want to work. I want to tell compelling stories with creative and complex characters. Now that I’ve done this, and I know what I’m capable of, and I feel that much more confident as Paul the actor, I want to start taking bigger swings and exploring other facets of humanity and what makes people tick. I have no idea what’s in store, and I’m really excited for it.
Are there any TV shows or films you turn to as touchstones for great acting?
If it’s a comedy, it’s “Young Frankenstein.” Gene Wilder is so good. That whole cast is incredible. It’s so funny—I don’t know how they got through it all. In terms of a cool character who’s really going through something, I always go back to “North by Northwest.” Cary Grant is the most stylish guy, in my opinion. He has this cool, self-deprecating kind of swagger and debonairness. He has great comedic timing as well. Those are my go-tos.
This interview has been edited for clarity and length.
