Back To One

She claims she doesn’t know how to talk about her process, but on this episode, Cristin Milioti eloquently lifts the hood and let’s us peek in on the engine fueling her incredibly varied work, across all genres on the stage and screen, like the Broadway musical “Once,” “How I Met Your Mother,” “The Wolf of Wall Street,” the “USS Callister” episode of “Black Mirror,” this year’s “Modern Love” and the huge Sundance hit “Palm Springs,” which just dropped on Hulu and in drive-ins across the nation. She talks about feeling protective of her characters, why it’s necessary to let go of the “death grip,” and the importance of trust, which leads to a powerful testimony for the appreciation of Elizabeth Berkley. Plus much more! Follow Back To One on Instagram

Ron Cephas Jones won a Emmy for his work on the hit series “This Is Us.” His latest series, “Truth Be Told,” just got picked up for a second season on Apple TV. In this episode, he takes us back to his early days at LAByrinth theater in New York City, starring in Stephen Adly Guirgis’ “Jesus Hopped The A Train,” and explains how Philip Seymour Hoffman, who was directing, forever changed his approach to work. He also talks about the importance of collaboration for the actor, why the script never leaves him in the days leading up to production, and how the three words “work begets work” removes all worries, plus much more!

Eve Lindley enjoys puzzles, so you can imagine her delight at finding out that she was recently a crossword puzzle clue. The breakout star of AMC’s “Dispatches From Elsewhere” sat down with me (outside, with physical distancing, and following strict safety protocols) to talk about why she loves auditioning, her belief that “it’s all in the text,” how picking the brain of Jason Segel (creator and star of “Dispatches”) helped her find her character, and much more! Plus we get deep about hopes and hurts as we gaze at the New York City skyline.

She’s barely in her 20’s,  yet Daisy Edgar-Jones has given us a 12-part acting technique masterclass in the form of her portrayal of Marianne in Hulu’s hit series “Normal People.”  Every state of emotion, every point of transformation is reached with striking authenticity stemming from this complex character. It’s a timeless performance for the ages. In this episode, she breaks down some of that work, talks about her love of acting with accents, the importance of creative chemistry, how she manages her acting insecurities, and much more. Follow Back To One Podcast on Instagram

Few actors in recent memory have made a bigger impact with their very first performance in a television series. Paul Mescal’s assured and quietly masterful portrayal of Connell in “Normal People” feels like the work of a veteran. He talks extensively about the “chemistry reads” portion of his audition process, before and after connecting so brilliantly with his equally gifted co-star, Daisy Edgar-Jones. He also goes into detail about the struggle filming one of the most talked-about and emotionally affecting scenes in the series. Plus he tells us why the “light and fun side” of all the attention on his costume accessories “has definitely come and gone.” And much more!

Tom Pelphrey is getting accolades from both critics and viewers for his performance as Ben (brother of Laura Linney’s character Wendy) on the third season of Netflix’s hit series “Ozark.” In Pelphrey’s hands Ben’s vulnerability and explosiveness both seem to have deep-seated roots; there is a vast world behind his piercing eyes. On this episode he talks about how the atmosphere on the set of Ozark helped him bring that character to life, how his early success on daytime television prepped him for other aspects of the work, and why endless takes with David Fincher was heaven. Plus much more!

British actor James Norton gives an affecting and haunting performance in Agnieszka Holland’s important new film “Mr. Jones,” which opens June 19th. Last year he played James Brooke (Meg’s love interest) in Greta Gerwig’s “Little Women.” The discussion in this episode comes back often to those two directors, as Norton generously takes us on a deep dive into his stage and screen work, lets us peek under the hood of his process, and talks about why he’s not consumed by his expanding “leading man status.”

In these last 10 years, stage and screen veteran Peter Friedman has enjoyed a steady flow of work, more than the first 30 years of his career. Recently, he got raves for his Polonius in Sam Gold’s production of “Hamlet” at the Public Theater, had a recurring role on the Hulu series “The Path,” and now plays Frank Vernon on the hit HBO show “Succession.” On this episode, he talks about how being the “new kid in class” as a day-player on set makes him nervous, why it’s ok to dismiss work that doesn’t speak to you, how performing with The Muppets messed with his acting training, and much more! Follow Back To One on Instagram

He was an acting legend before “Succession,” but Brian Cox’s brilliant portrayal of Logan Roy on the smash hit HBO series just might put him in the pantheon. He gets deep into the psychology of that iconic character on this episode, and takes us back to his early days of discovering Shakespeare, creating the role of Hannibal Lecter in “Manhunter,” learning the importance of cultivating mystery in a character, freeing himself in the work, and not taking his characters home with him. Plus much more!

You might know Hong Chau from “Watchmen,” or maybe “Downsizing,” where her astounding performance opposite Matt Damon was recognized with a Golden Globe nomination. I first took note of her in “Inherent Vice,” where she left an indelible impression as “Jade.” Now she stars in Andrew Ahn’s delicate and touching new film “Driveways,” which is currently in “virtual” theaters. I ask her about her very first play, Annie Baker’s masterpiece “John.” She gives fascinating examples of just how much her body wouldn’t let that performance go. She also talks about finding tiny clues in the minute details of a script or the director’s wardrobe selection for a character. And she leaves us with a wonderful tribute to  her “Driveways” co-star, the late Brian Dennehy, plus much more!

She had never even attempted acting before Eliza Hittman cast her in “Never Rarely Sometimes Always,” but Sidney Flanigan’s quietly devastating performance feels like a revelation, something truly miraculous. On this episode she talks about bravely stepping into the role, giving herself over to instinct, and dipping into the well of her own emotional life to power Autumn’s journey. Hers is a heroic story of release and acceptance all actors can find inspiration in.

Talia Ryder gives a remarkable performance opposite Sidney Flanigan in her very first feature film, Eliza Hittman’s “Never Rarely Sometimes Always.” It’s the kind of subtle, assured, measured work you wouldn’t expect from a teenager. She talks about the benefits of getting vulnerable with Flanigan before shooting, and how being deliriously tired actually came in handy when shooting all night in Port Authority. Plus she explains what’s up with that suitcase, and much more! Later this year you can see her in Steven Spielberg’s highly anticipated remake of “West Side Story.” Follow Back To One on Instagram

Mega-talented multi-hyphenate Hannah Marks started writing “Banana Split” when she was still a teenager. It was loosely based on her real life. She rewrote it with her writing partner Joey Power as her acting credits piled up in stuff like “The Runaways,” “The Amazing Spider-Man,” and “Dirk Gently’s Holistic Detective Agency.” Then, after she co-directed her first feature (with Power), “After Everything,” she was able to get “Banana Split” made with herself in the staring role, directed by Benjamin Kasulke. In this half hour, she talks about the ups and downs of standing her ground and seeing the dream of making this hilarious and smart teen comedy come true, what directing has taught her about acting, why she refuses to get bitter about this business again, and much more! Follow Back To One on Instagram

Miriam Shor is unrecognizable as Lorraine Ela in the powerful new Netflix film “Lost Girls.” It’s the kind of performance that doesn’t feel performed, that doesn’t get recognized often because it’s invisible. We talk about that phenomenon this half hour, and break down a hilarious moment from the show “Younger,” where Shor played the beloved character Diana Trout. She talks about the importance of feeling like she is in collaboration with a director, and how being cast in a role you don’t think you’re “right for” can help you grow. Plus much more!

Haley Bennett has given us some great work in films like “The Woman On The Train” and “The Magnificent Seven,” but her performance in Carlo Mirabella-Davis’ “Swallow” is so fully-realized, so ground-shaking, so important, it feels like an artistic re-birth. In this half-hour, she talks about facing the doubts and fears she had with revealing herself in the role of Hunter, the importance of the fruitful and freeing collaboration process with Mirabella-Davis, and how this truly emancipating experience changed her approach to the work. Plus much more!

He got his big Hollywood break with “Pitch Perfect,” but Skylar Astin had already made it to Broadway in the musical sensation “Spring Awakening.” Lately, it seems he's been in every television show that features people breaking into song -- “Glee,” “My Crazy Ex-Girlfriend,” and now the NBC hit “Zoey's Extraordinary Playlist” where he plays Max, Zoey's best friend who is secretly in love with her. On this episode, he talks about the hard work that goes into making that show, being bribed into his first audition as a kid, and how his stage experience continues to pay dividends in front of the camera, plus much more!

I remember when I first saw Zach Woods. It was in the Armando Iannucci film "In The Loop.” His comedic sensibilities matched so perfectly with what I demanded as a consumer of comedy—bold choices, molded in subtlety, grounded in reality. He has continued to morph and advance his style with unforgettable roles on “The Office,” “Silicon Valley,” and now again for Iannucci on “Avenue 5,” where he plays cheerful nihilist Matt Spencer, Head of Customer Relations. In this episode we have a far-reaching conversation on his approach to the craft. Summary: the greatest comedic actors take the work VERY seriously, work hard, and still have fun.

It’s time we stop taking the preternaturally gifted British actor Andrea Riseborough for granted. She transforms so completely into her characters (appearance, accent, posture, mannerisms) that it’s easy to just believe she is the character and hard to measure her talents because we don’t know what “default Andrea Riseborough” is like. One thing is crystal clear though—she’s simply one of the best we have. On this, the 100th episode of “Back To One,” she talks about being surprised by the reactions to her chameleon-like abilities, how she uses the shooting environment (no matter how difficult) to fuel her work, why she pours her money back into funding female-made films, and much more! (She stars in the new Amazon series “ZeroZeroZero.”)

The brilliant British actor Lesley Manville has given us two of the truly great cinematic performances of the last decade, Mary in “Another Year” and Cyril in “Phantom Thread” (which landed her an Oscar Nomination). But those are just two in a long list of living, breathing characters she has inhabited with subtlety, nuance and depth, both on the stage and screen. In this episode, she talks about her latest--Joan in “Ordinary Love,” her formative years with Mike Leigh, the necessity of director input, why she doesn't want to take her characters home, and much more!

Zora Howard is a juggernaut. She stars in “Premature” and co-wrote the script with director Rashaad Ernesto Green. Her performance has an assured authenticity and a new brand of quiet desperation that is remarkable for a first feature. She’s been an award-winning creator for years though. Plays, poems, spoken word performances. Her play “Stew” just closed off-broadway to great acclaim. I gush about it and ask where her love of words began, and which of these various paths of creation she’s anxious to continue down. She talks about the necessary step of taking off the writer’s hat in order to perform in the present moment, and much more.