In The Envelope: An Awards Podcast

Singer-songwriter-turned-award-winning actor Cassandra Monique Batie goes by Andra Day—a stage name inspired by one of her biggest influences, Billie Holiday. It feels meant to be, then, that Andra’s recent Golden Globe win and Oscar nomination are for her portrayal of the iconic musician in Hulu’s “The United States vs. Billie Holiday,” adapted for the screen by Suzan-Lori Parks and directed by Lee Daniels. From singing and dancing as a child in San Diego to being discovered by Stevie Wonder and collaborating with Spike Lee and Common, the Grammy- and Daytime Emmy–nominated Andra has now joined the ranks of musical leading ladies with Academy Award nods for their feature film debuts (including Julie Andrews, Barbra Streisand, and Diana Ross—also as Billie Holiday in “Lady Sings the Blues”). “It is okay that feelings will come up,” she says to her fellow artists. “Show up anyway in the midst of those feelings.” Read more about “The United States vs. Billie Holiday” here: https://bit.ly/31SdhRN Stay tuned as

Attention, SAG-AFTRA members! We’re dedicating this episode to a deep dive on the SAG-AFTRA Foundation, your guild’s 501(c) non-profit organization. Board members Sharon Lawrence and Jason George are here to check in on the state of the biz in 2021, offer advice to their fellow working actors, and remind union and non-union artists alike of the resources, programming, and aid the Foundation offers. From the award-winning children’s literacy series Storyline Online to over $6 million and counting in COVID-19 relief, the SAG-AFTRA Foundation “is dedicated to helping performers reach their highest heights while always landing firmly on their feet,” per their official site: https://sagaftra.foundation. Sharon Lawrence, Second Vice President of the SAG-AFTRA Foundation, is a SAG Award winner and four-time Primetime Emmy nominee, for “NYPD Blue” and “Grey’s Anatomy,” and has starred on “The Ranch,” “Shameless,” “Dynasty,” and the upcoming series “Rebel.” Jason George, a Foundation board member and chair of the di

Often referred to as one of the best “character” actors around, Bill Camp memorably appears—or often disappears—into countless supporting roles, and can be counted on to give a truthful, compelling performance each time. His “In the Envelope” interview sheds light on how to do so, from heightening material onstage or onscreen to harnessing the power of imagination and sense memory. “I’m recalling from memories all the time,” Bill says of his character work. “I am content.” Raised in Massachusetts and eventually trained at regional theaters and the Juilliard School, Bill has worked for years on New York City stages, garnering an Obie Award for “Homebody/Kabul” and Tony nomination for “The Crucible.” Within the last decade, he’s built a prolific body of screen work, including on series “Manhattan,” “The Leftovers,” “The Looming Tower,” and an Emmy nod for “The Night Of,” as well as films “Lincoln,” “12 Years a Slave,” “Birdman,” “Love & Mercy,” “Jason Bourne,” “Molly’s Game,” “Wildlife,” “Vice,” “Joker,” “News

Daniel Kaluuya is now a two-time Academy Award–nominated actor, in 2018 for his breakout in “Get Out” and this year for playing the assassinated Black Panther Chairman Fred Hampton in “Judas and the Black Messiah,” which has also earned him SAG Award, BAFTA film, and Golden Globe recognition. The electrifying stage and screen star takes us into the depths of his subconsciousness, describing the process that goes into building such characters: “I’m using who I am to show you who I’m not.” Born in London and trained in theater improvisation since childhood, Daniel starred on, and wrote two episodes of, the U.K. hit teen series “Skins.” Working his way up from sketch comedy and short films to “Sucker Punch” on the West End to Channel 4 and Netflix’s “Black Mirror,” Daniel has now worked with the likes of Jordan Peele in “Get Out,” Ryan Coogler in “Black Panther,” Steve McQueen in “Widows,” and Melina Matsoukas and Lena Waithe in “Queen & Slim.” This episode is brought to you by Warner Bros.’ “Judas and the Blac

Daveed Diggs is best known for his Tony Award–winning portrayals of Marquis de Lafayette and President Thomas Jefferson in the Broadway musical “Hamilton,” released last year as a TV film on Disney+ and garnering Daveed a SAG Award nomination. Here, the singer-rapper-songwriter and actor-writer-producer reveals much of his creative philosophy to Backstage—a publication he used to read in the early, blissfully uncertain days of his career. His advice: “Be fully creative and really experiment with things, and then learn what your process is.” Born in Oakland, California, and studying theater at Brown University, Daveed joined early versions of Lin-Manuel Miranda’s “Hamilton” after scraping by with regional stage gigs and Marc Bamuthi Joseph’s choreopoem “Word Becomes Flesh.” He’s collaborated with an eclectic array of musicians, including his experimental hip-hop group Clipping, and writer-performer Rafael Casal, with whom he wrote, produced, and co-starred in the award-winning 2018 film “Blindspotting.” Davee

With the entertainment industry still in flux due to the ongoing COVID-19 pandemic, we at Backstage want to keep actors and storytellers informed on the latest trends—and how they can best pursue their craft in 2021. Our ""In the Envelope"" casting insider Christine McKenna-Tirella has assembled an international panel of experts from the Backstage casting team to do just that. Joined by Backstage’s vice president of casting Luke Crowe, voiceover casting specialist Sonja Smith, UK casting specialist Hannah Williams, and L.A. casting specialist Christina Kleppinger, Christine leads a deep-dive discussion on the latest Backstage updates, audition trends as evidenced by our casting notices, and advice for artists at all career levels. “We all feel passionate about giving as much opportunity and information to both creators and actors as possible,” Christine says. If you’re navigating a life in the arts amid this uncertain time, let this conversation guide and inspire you. To read more about the pandemic and help

In both navigating her impressive career and approaching the acting craft, Nicole Beharie has never given less than 100%. In this fun and forthright conversation, she delves into her artistic process, which differs from role to role but ultimately entails an earnest examination of her proximity to a character. And through it all, Nicole advises, you have to love acting and be clear on why you love acting. “Sometimes you end up with a few scratches and bruises,” she says of life in the biz. “But when you’re on an adventure in your life, and you’re ready for it, then that is what it is.” A South Carolina native and Juilliard School graduate, Nicole broke into Hollywood with a starring role in the film “American Violet,” going on to lead the network drama “Sleepy Hollow” and appear in “Shame” and “42,” and on “Black Mirror” and “Monsterland.” Her work as Turquoise Jones in last year’s indie from Channing Godfrey Peoples, “Miss Juneteenth,” earned Nicole a Gotham Independent Film Award and Spirit Award nominatio

Throughout a stage and screen career spanning decades, Delroy Lindo has intentionally set out to play the widest possible variety of characters. “I want to be able to encompass different human beings,” explains the actor, detailing the ebbs and flows of his career on this week's episode of “In the Envelope.” Delroy’s advice is balanced between optimistic encouragement and no-nonsense realism. It is inevitable that a life in the arts will bring dry spells, he says, but “don’t be dissuaded by the trauma of being told ‘no.’ Because at some point you will be told ‘yes,’ just as I was.” Born in London, raised in Canada and the U.S., and trained in San Francisco, New York City, and regional theaters, Delroy has pursued performing since his elementary school Nativity play. He’s appeared onscreen in “Soul of the Game,” “The Cider House Rules,” “Get Shorty,” and “The Chicago Code,” earned a Tony nomination for “Joe Turner’s Come and Gone,” and currently stars on CBS All Access’ legal drama “The Good Fight.” After wor

If you’re an auditioning actor, Yahya Abdul-Mateen II has a strange but effective tip for you: wear mismatched socks. “It takes the pressure off of trying to be perfect,” says the Emmy-winning star, who has many other practical tips for his peers. The former architect’s rigorously methodical approach to both his career and craft is proof that there’s no one path to success in the entertainment industry. Read his 2016 cover story here: https://bit.ly/37pg7AD Born in New Orleans, raised in the Bay Area, and studied at UC Berkeley and the Yale School of Drama, Yahya broke into the biz just after graduate school on the Netflix series “The Get Down.” His roles since have run the gamut from musicals like “The Greatest Showman” to action hits “Aquaman” and “Watchmen,” and he’ll next star in the upcoming sequels to the “Matrix” franchise and “Candyman.” Yahya is currently SAG Award–nominated as part of the cast of Aaron Sorkin’s Netflix film “The Trial of the Chicago 7,” in which he plays real-life activist Bobby Se

Happy Black History Month! As part of Backstage’s ongoing mission to provide platforms for BIPOC storytellers and amplify inclusive stories, we’re presenting a very special podcast episode for Black and non-Black listeners alike. Echoing questions the arts community has faced with particular urgency over the last year, “In the Envelope” has asked recent guests about the state of the biz: How do Black actors and creators navigate the entertainment industry today? How can white people leverage their privilege and allyship in creating a more inclusive Hollywood? What should individual artists of all backgrounds do to instigate systemic change? Prentice Penny, Aldis Hodge, Bob the Drag Queen, Rashida Jones, Justin Simien, Simone Missick, Jonathan Majors, and Janet Mock gave us frank answers to these questions and more. For Black listeners, there’s plenty of actionable advice on working in the biz; for non-Black listeners, we hope these conversations provide perspective, reflection, and a call to action. As Prent

Emma Corrin is best known as the SAG- and Golden Globe Award–nominated star of Peter Morgan’s Netflix drama “The Crown” Season 4, where she took on the daunting role of Lady Diana Spencer, the Princess of Wales. As the breakout star points out, there’s something inherently effortful in the term “breakout”—Emma earned the part of Diana after a rigorous, years-long process, first serving as a reader in the audition room, doing extensive research, and at one point being spontaneously asked to sing. “It was really important for me that anything I replicated, like her head tilt, or her voice, or the way she waved, or the way she held herself, was justified,” she says of building this character from the inside out. Born in Kent, England, and trained all over the country including at the University of Cambridge, Emma has been single-mindedly focused on acting, performing onstage, making voiceover gigs her side job, and practicing on-camera work with self-taped auditions. In addition to “The Crown,” she’s appeared o

If you’re a performer who has recorded a self-taped audition over 300 times, Aldis Hodge is your craft and career guru. An actor and entrepreneur since childhood, Aldis has risen through the ranks of Hollywood and made thoughtful, intentional choices on- and off-screen (including resisting Black stereotypes). “Put that hustle in,” he advises fellow artists. “I find the true professionals to be more dedicated and more motivated now than they were when they started. Because they realize how much hard work it takes to get there.” Aldis moved around often as a kid, with military parents who were supportive of his artistic mission. After booking bit parts and studying at the Art Center College of Design, he earned his big break on TNT’s “Leverage,” going on to star in “Straight Outta Compton,” the SAG Award–winning “Hidden Figures,” WGN America’s “Underground,” “Black Mirror,” “Clemency,” “What Men Want,” “The Invisible Man,” and now, Showtime’s “City on a Hill.” Catch him next starring as athlete-actor Jim Brown

Inspired to try acting at a young age and single-mindedly focused on it ever since, Olivia Cooke has appeared in some of the most acclaimed film and TV projects of the last decade, reinventing herself on screen each time. Her “In the Envelope” interview is a crash course in several key tricks of the trade: accent work, self-tape advice, even the nuances of crying. Inhabiting a character inside and out, she says, requires selfless collaboration and detailed backstories. “Otherwise, you’re coming in as you and you’re wearing funny clothes.... You’ve got to convince yourself.” Hailing from Oldham, Greater Manchester, Olivia acted onstage in youth theater groups before booking BBC miniseries “Blackout” and “The Secret of Crickley Hall.” After not being accepted to drama training programs, she focused on screen work, breaking out in “The Quiet Ones” and, across the pond, the “Psycho” prequel series “Bates Motel.” She’s starred in “Ouija,” “Me and Earl and the Dying Girl,” “Thoroughbreds,” “Ready Player One,” “Van

Narrowing down an actor’s artistic philosophy to one all-encompassing statement can be tricky, especially if that actor is the prolific, terrific Sarah Paulson. But if there’s a credo guiding her creative decisions throughout such a remarkable career, it’s this: “I only think about what is truthful.” (She also offers a second pro tip for working actors: use Backstage!) Sarah began acting onstage in New York City before graduating high school, making her screen debut on “Law and Order” and climbing Hollywood’s ranks all the way to an Emmy, Golden Globe, and SAG Award. She’s delivered compelling work in “Studio 60 on the Sunset Strip,” “Game Change,” “12 Years a Slave,” “Carol,” “Blue Jay,” “American Crime Story: The People v. O. J. Simpson,” “Glass,” “Mrs. America,” and Ryan Murphy and Brad Falchuk’s “American Horror Story” anthology, in which she’s played upwards of 10 characters. Sarah now executive produces the Netflix drama “Ratched,” starring as Nurse Mildred Ratched, and recently led Hulu’s Aneesh Chaga

Given his wide array of screen roles, it makes sense that Paul Bettany would approach each character with dramatically different processes. By zeroing in on the tricks of the trade that always help, and the techniques he’s picked up over a decades-long career, Paul provides “In the Envelope” listeners several key takeaways. For example: actors should determine what they can and cannot control, whether that’s on set or in the audition room. “The thing that I could control and could promise to be,” he says, “is the most prepared person walking in.” Born in England and trained at the Drama Centre London, Paul worked onstage for years before Brian Helgeland helped launch his Hollywood career. Breaking out first in the U.K. in “Gangster No. 1” and then the U.S. in “A Knight’s Tale,” Paul has transformed himself again and again, in films like “A Beautiful Mind,” “Master and Commander: The Far Side of the World,” “Dogville,” “Wimbledon,” “The Da Vinci Code,” and “Solo: A Star Wars Story.” He plays Frank, a gay man

Joining Backstage at the very end of 2020, Rashida Jones invites listeners to both look back at her wandering journey through the biz and anticipate what’s to come in 2021. The actor has had her finger on the industry’s pulse since also finding her voice as a writer-producer-director-activist, and offers as much valuable insight into the state of Hollywood today as she does audition advice. “The truth is,” she tells fellow artists, “you only become great when you’re yourself.” Rashida grew up in Los Angeles surrounded by entertainers (including parents Quincy Jones and Peggy Lipton), but didn’t begin auditioning until after Harvard University. After attempting a New York City theater career, she broke out on “Boston Public,” “The Office,” and “Parks and Recreation,” then led the series “Angie Tribeca,” her screenplay debut “Celeste and Jesse Forever,” and award-winning documentaries. Rashida stars on Kenya Barris’ Netflix sitcom “#blackaf,” and in Sofia Coppola’s AppleTV+ awards-contending film “On the Rocks

As a teenager, Carey Mulligan wrote letters to filmmakers asking for advice on breaking into the biz. After tepid responses, and rejections from U.K. training programs, her determination paid off with a screen debut in 2005’s “Pride and Prejudice” and stage performances in her native London. In her “In the Envelope” interview, Carey reveals the intricacies of her creative process in the years since, including how to protect her own emotions from those of her characters. “I’m just really interested in playing women that feel real,” she says of all her film, TV, and theater roles. “And I’m fascinated by this idea of the ‘unlikable’ woman.” Carey broke into Hollywood with her Oscar-nominated, BAFTA Award–winning work in “An Education,” going on to star in “Never Let Me Go,” “Drive,” “Shame,” “The Great Gatsby,” “Inside Llewyn Davis,” “Mudbound,” “Wildlife,” and onstage in “The Seagull,” “Skylight,” and “Girls & Boys.” In 2021, she leads Netflix’s “The Dig” and is the producer-star of Focus Features’ acclaimed f

Aspiring writers and directors should take a page out of Julia Hart’s book: don’t wait to tell your story. And if that story experiments with or outright subverts filmmaking genres by centering those typically underrepresented on screen, all the better. “What I find exciting and interesting as a filmmaker is finding new ways to tell old stories about different people,” she says, taking us inside her writing, casting, and directing processes. A New Yorker who for years taught high school and wrote screenplays on the side, Julia made the leap to full-time artist after her 2014 feature “The Keeping Room” ended up on Hollywood’s Black List. With her husband, writing partner, and film producer Jordan Horowitz, Julia has brought to the big screen her directorial debut “Miss Stevens,” superhero riff “Fast Color,” this year’s Disney+ teen musical drama “Star Girl,” and Amazon Studios’ hit “I’m Your Woman,” a 1970s-set crime noir starring Rachel Brosnahan. Check out her Meet the Maker feature on “I’m Your Woman” here

For inspiration on how to empower yourself as an actor—a profession that doesn’t usually feel empowering—listen to “All Rise” star Simone Missick’s advice: “So many more actors would be so much happier with the process of going to work, the process of auditioning, which is another part of work, if we recognize the power that we do have to advocate for ourselves.” That includes advocating for actors’ safety, particularly when filming amid the COVID-19 pandemic. A Howard University graduate originally from Detroit, Simone appeared Off-Broadway and in bit TV and film roles before breaking out as Marvel’s first black female superhero, Misty Knight, on Netflix’s “Luke Cage.” She recently starred as a bounty hunter on Season 2 of Netflix’s sci-fi venture “Altered Carbon,” and now leads Greg Spottiswood’s CBS legal drama “All Rise” as L.A. County Superior Court judge Lola Carmichael. Read everything you need to know about COVID-19 resources for artists here: https://bit.ly/2KrDocU --- Backstage has been the #1 res

How can actors master dialects? How important is it for a performer, in an audition or after booking a job, to have specific regional accents in their skill set? Among the many resources available to actors looking to expand their craft, dialect coaching is a growing field of study that most of today’s successful actors have undertaken. This “In the Envelope” episode, featuring experts Barbara Rubin and Jerome Butler, serves as an introduction to the ins and outs of dialect training. Check out more on accents on backstage.com: https://bit.ly/3aqQx0m Barbara Rubin hails from South Africa and works as a dialect coach and theater director in New York City. She’s recently coached actors in the Williamstown Theatre Festival on Audible, is the associate director of Broadway’s “Girl From the North Country,” and has been helping stars (including Julia Garner, Daniel Radcliffe, Samira Wiley, and Jennifer Hudson) incorporate accent work into their craft for years: https://barbararubin.net Jerome Butler is based in Ne