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ACTING

Jonathan Groff on Playing King George III in ‘Hamilton’

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Hamilton

“It’s this idea that [Lin-Manuel Miranda] had that King George would sing the equivalent of kind of a break-up song. … I had no real rehearsal. I rehearsed for about a day, and then went into the show. And so when I went into the show, I had no British accent. … It was like I was doing the high school play. I just had no sense of character. I just came out in the costume and sang the song and walked offstage.

And through the course of the first month it was kind of like a rehearsal process in front of the audience, which was really awesome and really interesting. But it was a testament to the material that even without any sort of sense of what I was doing in those initial weeks, you could come out there and the song just kills, because the song is so great.”

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Linnea Berthelse on Her ‘Stranger Things’ Audition

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Linnea Berthelse

When she landed the part, Berthelsen hadn’t yet seen Stranger Things, but she went on to binge season one like the rest of us. While watching, she searched for clues about her character, since not much was revealed to her by producers, but since her character forms the central part of a standalone season 2 episode, there wasn’t much to find out.

“I got these scenes that were so different from the first season. They had nothing to do with the plot from season one. While I was trying to find out what I was going to be involved in, I was really just excited about the rest of the characters. But I was searching for clues about my part.”

“[My audition material] was only a breakdown and three scenes. It didn’t have any of the characters’ names on it. It only had four lines about her: “She’s emotionally damaged, she has a hard time connecting with other people, she suffered a great loss as a child, and she’s been seeking revenge ever since.” That’s all I knew. I had to create the character based on this breakdown.”

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Odeya Rush on How She Prepares for a Role

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Odeya Rush

Speaking of preparation, what is it like when you first get a script? What are the first things that you do?

Odeya Rush: I like to read it as a story, you know? Not just looking specifically at my character because a lot of the times even if your character isn’t big or if the dialogue isn’t exactly there as much as you want it, I feel like you can get a sense of whether or not it’s the kind of movie you want to be a part of. What’s the message behind it and who are the creative people behind it and who wrote the script, you know?

I feel like even if the character isn’t big or exactly what I want to play in that moment, I feel like when the story is so great and the script itself is great, I think that’s my number one thing that I look for. Because I know it’s gonna be a great film to be a part of even if critics don’t love it or whatever. I see this is a great script and these people making it realize that and that’s why they’re putting their money into it. It is a business and a lot of the time people look at ways to make money. When it’s just solely a great script, I know those are the people I wanna work with.

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Pierce Brosnan on Acting

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Pierce Brosnan

While Brosnan will likely always be best remembered as the 007 of the 1990s, the notoriety and success from performing in that role has enabled him to branch out into different types of work. He explains, “I’m at a point in my career where I can move around the map and have a great time doing it. I can pull off the occasional unexpected surprise, and all along, enjoy the work.”

It’s also encouraged Brosnan to try to push himself into great performances. He continues, “It’s a capricious old game, the world of being an actor. The pitfalls are many, and you have to be tough as old boots to stay at the table. I came in knowing full well it’s hard to be a great actor, and hard to be a good actor. But when you see great acting and good acting, it’s just intoxicating, and that’s what I wanted to be.”

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Gary Oldman on His Acting Heroes

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Gary Oldman

To explain why he considers Redford’ performance in All the President’s Men such a great performance, he speaks at length about performing with one’s eyes and compares it to his role in The Darkest Hour. He says:

It’s in the eyes. He’s not traveling away from himself vocally or physically, or doing all the pyrotechnics. There’s something about the psychology. I will always say this to students of acting—we talk about phone acting… There’s an example in Darkest Hour when I’m on the phone with Roosevelt. Often you’re not speaking to the other actor; someone is reading the lines in the room or you’re not even getting any of the feed. There are people who are very good at it and people who are not good at it. In All the President’s Men, there is one take of Redford switching phones, talking to different people; it’s about six or seven minutes long. Very, very slow push in on Redford. And I would say to students, “You want to see phone acting? That is the Michelangelo of phone acting.”

Domhnall Gleeson on Acting

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Domhnall Gleeson

Gleeson explains that he feels that acting should be a draining process. He says, “As an actor, you should feel like you’re wrestling the material, like it’s using up your energy and your resources. You should be drained by the process. I think the key is not to be comfortable.”

As an Irish actor, Gleeson had to work on his natural accent to ensure it didn’t creep into his portrayal of the character. His main technique was to use poetry to practice Milne’s voice. He explains, “I would recite poems with my dialogue coach to help practice my voice.” Gleeson used Milne’s accent from waking up to going to bed, believing this would help him portray Milne’s PTSD. He explains, “Portraying PTSD onscreen terrified me. I didn’t want it to come across as a melodramatic thing. I wanted it to feel contained and real.”

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