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ACTORS

Wendell Pierce On Becoming An Actor

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Wendell Pierce

Though Pierce is a classically-trained actor from Juilliard, he doesn’t believe that every actor needs to come from a classical theater background — but he does think that stage training is important. He explains:

My thing is have some training. Have some interest in the field about where you will go and learn how to do it. It shouldn’t be happenstance. You don’t have to get the full classical training, but you should at least take some class. You should come to an understanding of how you deal with material, how it broadens itself, all of that. Juilliard gave me the ability to go and do classical, contemporary, comedy, drama, everything.

You wouldn’t trust a writer who doesn’t read. I tell people all the time, get some training and become a student of your craft. My education about how to do this is ongoing. I’m getting one right now from Roger Robinson. Roger can make the simple act of lifting a spoon of yogurt into a work of art. I just gotta make sure I stay in the moment, because I’ll end up being a spectator.

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Holly Hunter On Acting

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Holly Hunter

Hunter notes that even successful actors find themselves in a constant state of transience. She explains, “An actor’s career is in a constant state of metamorphosis. I don’t know what I’ll be doing in two months. Where will I be?” For example, few would have expected Hunter to star in a movie produced by Judd Apatow at her stage of her career. She points out, “I love there’s a part of my life that’s uncertain and unknown. There’s a part of that that I resent, but I’ve learned to live with it. More than anything, I wanna keep it real. I wanna keep my face real. This is hard, particularly for actresses as they get older. I want people to understand my face. I don’t wanna do stuff to my face where people don’t recognize me anymore. ‘I think that’s Holly Hunter?’ [Laughs.] It’s a constant negotiation for actresses — you wanna be photographable, but you also wanna get older because that’s real. I don’t want anyone to ever wonder who I am.”

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Malcolm McDowell On Playing Comedic Roles

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Malcolm McDowell

McDowell admits that playing a role with greater range, like his character on Mozart in the Jungle,has allowed him to have a bit more fun as an actor. He explains, “Comedy is just telling the truth. It’s the situation really that’s comedic. So really, it’s just finding the timing of that, which is where the laughs are. But to be honest with you, it wouldn’t be much fun, I don’t think, playing serial killers every week. That would be a little tough. So to do a part like this is so refreshing for me because in movies, I’m always asked to play the heavy, and they give you sick scenes to make everybody hate you. This way, it’s a little bit more refreshing and more fun to be able to just relax a bit more and to just go for it and go for the comedy. I enjoy it very much, but I also enjoy playing heavies, too, because they’re also fun in their way.”

When asked by the interviewer if he felt a “calling” to become an actor, McDowell confesses, “I would have to say ‘Yes’ because I remember when I was a young actor, and my father tried to get me to give it up because nothing had happened in the first two years, which is nothing. But the thing is, all real actors know that things have to run their course, and you’re only ever one phone call away from the part that will change your life. That was certainly true in my case.”

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Star Timothée Chalamet on Call Me By Your Name

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Timothée Chalamet

Chalamet rejects the idea that acting is about expressing pain. He uses an example from Call Me By My Name as an example. He says, “Pain, after all, is mostly what Michael [Stuhlbarg]’s monologue is about. During that scene, I had a little voice at the back of my head saying, Hear this. Fucking hear this. When you’re suffering, or grieving, the only thing you can control or protect yourself from is the added layer of shame, beating yourself up over heartbreak, or forbidding yourself the pain. But there is no right way to grieve or suffer. If it ever was about pain— the pain that relates to heartbreak or love—it’s about how to deal with it.”

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Michael Kelly on Memorizing Dialogue

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Michael Kelly

You are in every single scene in the movie.

Michael Kelly: Yeah.

Were you like, “Yes, this is gonna be awesome!” And then, “Oh shit, how am I gonna do this?”

Michael Kelly: I was scared to death from the get-go man cause I was doing something different. But I did trust John and Timmy.

The hardest part for me was that I ended up going right from House of Cards to The Long Road Home. And, I was living on Fort Hood in Texas, and it was a lot of dialogue that I wasn’t used to. You know that military lingo is really hard to memorize, and it takes me a long time to memorize anyway. So, I’m working on that and trying to work on this role, which couldn’t be more opposite than the guy I’m playing in Texas. And it was tough. That was the hardest part for me.

It was just trying to prep both jobs at the same time. Cause I literally went from … I think I had two days after I finished House. I had a little bit of time on Long Road, and I had like a day or two before I was in Baltimore shooting All Square. It was tough.

So, I didn’t have too much time to stress about it because I was pretty busy. So I just kind of jumped in. I really just wanted to understand that character, first and foremost. And, once I bit that off, then I could start grinding away at the dialogue. That’s how it happened and all the beats throughout.

You said you have a hard time memorizing. I do to, man. Once I get it, I’m good. I just have a hard time committing my lines to memory. What do you do to make it stick?

Michael Kelly: I have a really cool tabbing system. You know those little yellow tabs? I tab everything, and I write the scene number on there. And then I asterisk it. A dot if there is no lines. One if it’s easy. Two if it’s somewhat difficult, and three if it’s like, “Oh shit, you really gotta work on this scene.”

So then I have them all tabbed. And then I take my schedule and I write out on the schedule, I write Monday, the 5th, and I write Scene 62, Scene 68, 64, whatever. And then I have the asterisks measured. So, as I go down my calendar of days, I’m always trying to stay a day or two ahead of getting all those words in me. That’s worked for me.

But as far as physically memorizing it, I think the best way for me, especially on House of Cards is that I drive back and forth to Baltimore all the time. And when I go the gym, I record all of my scenes. Both characters. I record everything in a very flat monotone so that I don’t get in my head how I want to do something. And I just listen to it over and over and over. And that helps a lot. And then, I write it out.

But I think for me, as much as a pain in the ass as it is to memorize, it’s probably the best thing for me because when I go over it 30 or 40 or 50 times, I’m always discovering new things as I go. So for me, as much as it is a detriment, it’s an asset. I discover new things all the time. And, I’m like, “Oh my God, that’s what I’m saying.” You know? One of those things. And it works for me.

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