Back To One

One could easily call Josh Pais a scene-stealer, but that's not accurate. He actually feeds the other actor in the scene and they both grow. Check out “Leaves of Grass” with Edward Norton, “Synecdoche New York” with Philip Seymour Hoffman, Lynn Shelton’s “Touchy Feely,” and his recent work on “Ray Donovan,” to name just a few of his dozens of credits. This fall he's in Norton's “Motherless Brooklyn,” and “Joker” with Joaquin Phoenix. In this episode he talks about finding the character in his body, counting on spontaneity, partying in the unknown, creating not recreating, and "Committed Impulse," his high performance training course for actors and non-actors alike. Plus much more!

Carroll Baker's work in Elia Kazan's “Baby Doll” and Jack Garfein's “Something Wild” is just as impressive and valuable as any performance delivered by her legendary Actors Studio contemporaries Marlon Brando and James Dean. So why isn’t she talked about in the same way? After the simultaneous sensation and scandal of “Baby Doll” (it was condemned by the Legion of Decency), Baker became a star, but she spent most of her career either avoiding sex-symbol roles or begrudgingly accepting them. Despite a handful of other great performances (“Giant,” “Cheyenne Autumn,” “The Big County,” “Station Six-Sahara”), conflicts with studios, producers, and her husband (Garfein) marred her career. One can’t help but wonder what it would have looked like if she had her druthers. I sat down with Baker on the second floor of the National Arts Club in New York City to talk about her work as an actor, and also, with the publication of her new mystery novel “Who Killed Big Al?”, what she gets out of writing.   Thanks to the estee

Kaitlyn Dever's sophisticated comedic instincts were on full display throughout her teens in the sitcom “Last Man Standing.” This year she took it to another level, starring with Beanie Feldstein in the hit comedy sensation “Booksmart.” And now we get to marvel at another side of her incredible acting talent in the powerful new Netflix limited series “Unbelievable.” In this episode, she talks about how she dealt with the emotional weight of the material in that series, and one compelling monologue in particular where restraint was a key ingredient. Plus she explains how being a “moldy person” helps her work and the important role music plays in her preparation.

Despite growing up in a Hollywood family, Wyatt Russell didn’t seriously consider pursing acting until an injury ended his professional Hockey career. In a few years he’s managed to cultivate a subtle and distinct style in comedies (“22 Jump Street”), dramas (“Overlord”) and a unique and unclassifiable series that lies someone between (AMC’s “Lodge 49”). In this episode, he talks about embodying the lovable Dud in that series, embracing an enunciation lesson from Joe Wright, getting “caught watching” Michael Parks, plus much more!

A Groundlings and Saturday Night Live alum who has evolved beyond her improvisational prowess, Michaela Watkins continues to surprise us. “The Unicorn,” “Search Party,” “Transparent” and “Casual” are some of her television highlights. And I loved her in movies like “Afternoon Delight,” “Person to Person,” and the important and inspirational “Brittany Runs A Marathon.” We talk about the vital role she plays in that film, and what, if anything, has changed in regards to meaty roles for woman. Plus she talks about being Jill Soloway’s muse, and the importance of embodying a WHOLE person.

Lee Pace has one of those dream acting careers where he gets to be painted blue or dons elf ears to play Ronan (“Guardians of the Galaxy”) or Thranduil (“The Hobbit” films), sparking the imagination of countless fans around the world, and then he hits the Broadway stage and knocks ‘em dead as Joe Pitt in “Angels in America.” I ask him if he takes stock of that aspect of his career, and we talk about a curious note Barry Sonnenfeld gave him while making “Pushing Daisies” that he still uses to this day. Plus why he’s not bothered by line readings, and how you have to "inspire yourself" into a role, like he did to play John DeLorean in the new film “Driven.”

I first took note of Jake Lacy’s exquisite comedic delivery in “The Office” and “How to Be Single,” and was pleased to see him shine while going deep and dark, like in this year’s “Diane,” and last year’s “I’m Dying Up Here.” He even stands out playing opposite heavyweights like Rooney Mara in “Carol,” and Michelle Williams in “Fosse/Verdon.” I gathered from past interviews that he spoke with an authenticity that was going to work very well on Back To One, but I was not prepared for the level of comfort and delicacy with which he opened up to me about his acting process, experience, and evolution. He’s got two movies out now - “Ode To Joy” (in theaters and on-demand), and “Otherhood” (on Netflix).

He started out as a TV host in the 90s, but Greg Kinnear quickly made the transition to leading man thanks to legendary directors like Sydney Pollack and James L. Brooks investing in his acting talent. An Oscar nomination for “As Good As It Gets” followed, and he’s been making movies ever since, “Little Miss Sunshine,” “Auto Focus,” “Little Men,” to name just a few. This Summer he has three movies out - “Brian Banks,” “The Red Sea Diving Resort” (Netflix), and “Phil,” which he also directed. In this episode, we discuss the importance of tone, his penchant for playing real-life people, and how he reacts to being called a natural… plus much more!

Actor/writer/director Ruben Santiago-Hudson is the kind of artist whose awe-inspiring dedication to the work can almost be overwhelming. He won a Tony Award for his performance in August Wilson’s “Seven Guitars.” His autobiographical play “Lackawanna Blues” was a sensation at the Public Theater and went on to be an award-winning HBO film. He started directing plays (particularly Wilson’s) and is now one of the most sought after directors working in theater. His production of “Jitney” on Broadway won the Tony award for Best Revival of a Play. As an actor, he can currently be seen on Showtime’s "Billions" and recently on BET’s "The Quad." He wrote the screenplay for “Ma Rainey’s Black Bottom,” which is coming to Netflix (starring Viola Davis). In this hour he generously gives us so many golden nuggets about his approach to this amazing craft, both as an actor and director, that you’re going to want to listen with a pen and pad in hand.

It’s rare for one actor to be cast as the same real-life character in two different productions almost simultaneously. When that real life character is Charles Manson, that makes some news. Australian actor Damon Herriman has taken on this challenging role in both Quentin Tarantino’s “Once Upon A Time… In Hollywood” and the second season of David Fincher’s Netflix series “Mindhunter.” Herriman is perhaps best know for playing Dewey Crowe in the series “Justified” and currently plays Paul Allen Brown in “Perpetual Grace LTD.” We talk about the character of Manson, how good writing makes for good acting, and why it's important to NOT add strings to a bow you don't have.  

Kevin Corrigan will always have a special spot in the Back To One pantheon, not just because he was the very first guest, but because he set the stage for the discussions on the craft of acting that were to come—personal, steeped in the work, confessional at times, often inspirational, always educational. In this hour, he shares some more inspiring personal experiences from a life in acting, and also talks about the work of those who’ve inspired him, from his friend Natasha Lyonne and his current co-star Pete Davidson, to Marlon Brando, Glenda Jackson, Taylor Negron, the actor Bob Dylan, and much more!

While he might be best known for his Oscar nominated performance as Mark Zuckerberg in “The Social Network,” Jesse Eisenberg’s preternatural ability for making unique characterization choices has won him roles in wildly original films, both indie and studio, such as “The End of the Tour,” “Adventureland,” “Holy Rollers,” “American Ultra,” “Zombieland,” and two of my favorites, “The Squid and the Whale” and “The Double.” Now he continues that trend with Riley Stearns’s “The Art of Self Defense.” In this half hour he talks about the effort he put into finding the right tone to play the absurdity in that film, and the very specific thing he does when he’s not happy with a take, and why he never watches his films, ever, not once. Plus much more!

I first was introduced to the incredible talents of Emmy Harrington on the set of Caveh Zahedi’s “The Show About The Show” where she plays “Slut Machine,” and witnessed, first hand, her ability to adapt to all types of run-and-gun shooting environments and unorthodox directing styles and deliver a great performance take after take. You can also see her work in shows like “High Maintenance” and “Jessica Jones,” and an award winning film she wrote, directed, and stars in—“Two Little Bitches"— is currently making the festival circuit. I sat down with her a couple of days after directing her in a little project of my own, and I ask her to assess that experience, plus she talks about her monthly comedy show “SCORE: Interpreting Epic Cinema Through Comedy and Dance,” which is slowly becoming a sensation in the New York improv scene.

David Zayas has so many television, film, and theater credits that it’s hard to believe he was also a New York City police officer for 15 years. He’s played a lot of fictional cops too, so many he’s lost count, but he says his career highlight was portraying Angel Batista for 8 seasons on Showtime's hit series “Dexter.” Before that he dabbled on the other side of the law, playing Enrique Moralez on the HBO drama “Oz.” He was an early member of the LAByrinth Theater company with Paul Calderone, John Ortiz, and Phillip Seymour Hoffman, and is currently the co-artistic director of the exciting Primitive Grace Theater Ensemble, with Calderon. In this episode he shares a little of what he's gleaned from being a working actor for nearly 30 years, alleviates a long-held fear I have about acting, and explains why he’d happily portray another cop. 

Jacki Weaver’s “big break” story is unique because she was finally embraced by Hollywood at age 63, landing an Oscar nomination for her incredible performance in the Australian film “Animal Kingdom,” after being a staple in the Australian theater and film world for 30 years. She went on to great roles in such films as “Widows,” “The Disaster Artist,” and "Magic in The Moonlight,” plus the acclaimed new version of “Uncle Vanya” on the stage with Cate Blanchett, not to mention her second Oscar nomination for “Silver Linings Playbook.” And this year she stars opposite Diane Keaton in the cheer-elder comedy “Poms,” and the delightfully odd new series “Perpetual Grace, LTD” with Ben Kingsley. In this half hour, she tells two very different audition stories that occurred shortly after Hollywood rolled out the red carpet, and talks about how she’s become very tolerant of all types of directors, and has love in her heart for film crews and writers. I have love in my heart for Jacki Weaver and you will too.

Through six seasons on "House of Cards" and multiple Emmy nominations, Michael Kelly has brilliantly embodied the character of Doug Stamper, navigating him through the highs and lows of loyalty, devotion, and dark-heartedness, culminating with a new layer of antagonism in the final season. It was a tour de force performance. In this episode he sits down to talk about the nuts and bolts of his craft, his meticulous and elaborate script breakdown process, how David Fincher knocked him off his game, and why he will never stop worrying about the next job no matter what awaits him post-Stamper.

In this first Back To One live podcast event from the Made In NY Media Center, Christopher Abbott tells us some hilarious stories about his naive beginnings as a pavement-pounding young actor in New York, then he takes us into the nuts and bolts of the craft he’s developed both on the stage and in indie films over the past decade. And we find out what he makes of George Clooney’s claim that he’s going to be our next movie star. If you only know this talented actor from his breakthrough on “Girls,” it’s time to catch up. His powerful performance in “James White” shows the depth he’s willing to go in a role. This year’s “Piercing” has him at his most unpredictable and creepiest. And now he stars in the Hulu limited series “Catch-22” (produced by Clooney) where he shows his range, expertly playing absurdity and agony in equal measure. 

Lindsay Burdge is one of the bravest and best actors working in indie film this decade. Her breakout role in Hannah Fidell's "A Teacher" brought her raves for her intense performance of destructive obsession. Bold choices continued in movies like Nathan Silver's "Thirst Street," Karyn Kusama's "The Invitation," and Joe Swanberg's Netflix show "Easy." Now she's taken on the role of Mandy in the long-awaited second season of Caveh Zahedi's acclaimed "The Show About The Show," after the real Mandy (Zahedi's wife) left the show mid-production. She talks about the unique experience of working with Zahedi under these conditions, how she doesn't steer away from emotionally challenging material, and her “pen-free” gestation preparation process. Plus lots more! The first Back To One Live Podcasting Event is coming to Brooklyn on May 31st. Special Guest Christopher Abbott ("Catch-22"). Click here for tickets and more info.

He's got "authority" down. But the great actor Lance Reddick can do it all. Perhaps best known for playing Daniels on "The Wire" and Broyles on "Fringe," Reddick has now brought his quintessential warrior servant Charon to the 3rd chapter of "John Wick." In this episode he talks about the triumphs and frustrations of the work, dealing with "bad" directors, learning from great ones, and how surviving hard circumstances on set, especially ones that throw you off your game, can strengthen you and lead to a cleansing of your process.  The first Back To One Live Podcasting Event is coming to Brooklyn on May 31st. Special Guest Christopher Abbott (Catch-22). Click here for more info. 

Asia Kate Dillon is a true trailblazer. They* are the first non-binary (gender non-conforming) actor to play a non-binary character on a television show (Taylor on Showtime's “Billions”). That itself is noteworthy, but Dillon also happens to be an amazing actor who brings such depth and life to characters, making representation even more powerful. Now, In “John Wick: Chapter 3”, Dillon calmly commands attention as a mysterious character called The Adjudicator. Dillon talks about sliding into that role and what it takes to slide out of a role like Brady, the skinhead inmate, in “Orange Is The New Black,” plus their longing to do a musical and much more! (*preferred pronouns: They/Them/Their)