Back To One

Jason Manzoukos has made a living "bringing the funny" in tv shows like “The League,” “Parks and Recreation,” “Brooklyn Nine-Nine,” “The Good Place,” and movies such as “The House,” and “The Dictator.” Now he stars in Hannah Fidell's “The Long Dumb Road” with Tony Revolori (“The Grand Budapest Hotel”). In this half hour, I send him down a rabbit hole on the evolution of comedy, he tells a great story about getting the hard truth from a casting director early in his career, and talks about when to “pitch an alt.” Plus I forbid all comedic podcast banter and he graciously complies.

James Ransone doesn’t like to talk about himself. He also doesn’t like to talk about acting. This might have been a disastrous interview except that his expressed frustration at having to speak about these things actually spawned an interesting and raw conversation about acting. I first noticed Ransone in the role of Ziggy in Season 2 of “The Wire.” He went on to star in the HBO miniseries “Generation Kill,” and in movies like “Sinister,” “Tangerine” and Spike Lee's “Oldboy” remake. This year he played an astronaut in Hulu's “The First” and he's now shooting “IT Chapter 2.” His direct, non-filtered responses to my questions (some of which he downright rejects) are bound to give you lots to ponder about this elusive and wondrous endeavor, and, if you're like me, leave you wanting to hear more from Mr. Ransone.

You recognize Eric Lange. He’s been a working actor for 20+ years, with extensive theater work and a long list of television and film credits ("Narcos," "Lost," "Weeds," "The Bridge," to name a few recent ones). For "Escape at Dannemora" (directed by Ben Stiller), he gained 40 pounds to play Lyle, husband of Patricia Arquette's character, in the Showtime limited series based on the real-life prison break. He tells a wonderful, "outside-in" tale of finding a way into Lyle through some magic teeth, and waxes about the “getting paid to wait” life of acting for the camera.

Simone Missick is best known for playing Misty Knight in the Netflix/Marvel series "Luke Cage" (as well in "The Defenders" and "Iron Fist"). She tells a great story of getting that part, and her game plan for auditioning in general, and also talks about knowing when to offer script changes, even for Marvel material! Then we talk about her important new film "JINN", about a teenager torn between her burgeoning sexuality and her mother's newfound Muslim faith. "JINN" is now available on VOD and Digital.

Melissa Leo has acquired a lot of acting wisdom. On this episode, she graciously shares some. She was nominated for an Academy Award for her incredible performance in "Frozen River," and won one for playing Alice Ward in "The Fighter." Recent notable performances can be found in “Francine," "The Most Hated Woman In America," and her latest, "Unlovable," where she plays opposite Charlene deGuzman, who co-wrote the script based on her real-life experiences in a program for sex and love addiction. Leo talks lovingly about that production, and about how she sometimes gleans more substantial info from a dolly grip than a director. Plus she issues this warning - "Don't lie to an actor." 

With over one hundred films in his legendary career filled with versatile, bold, and iconic performances, Willem Dafoe is one of the most respected actors of our time. His artistic curiosity in exploring the human condition leads him to projects all over the world, giant Hollywood movies as well as small Independent films. In this episode he talks about inhabiting Vincent van Gogh through the act of painting for his latest film, "At Eternity's Gate," and how being part of a strong director's vision is actually freeing. Plus I try to get him to talk a bit about the nuts and bolts of his craft.

From her breakthrough in “Kick-Ass” through great roles in “Let Me In,” “Hugo,” and “Carrie,” Chloë Grace Moretz has become one of the hottest young actors in Hollywood. In this half hour, she talks about her recent decision to take time to “reassess who I am and find myself within my roles again,” which led to her brilliant performance in “The Miseducation of Cameron Post,” this year’s winner of the Grand Jury Prize at Sundance (now streaming on demand). She also talks about avoiding what she calls “emotional cavities,” and how she craves to be taken off guard in her performances. 

With riveting performances in films such as "Hell or High Water," "The Messenger" and "3:10 to Yuma," Ben Foster established himself as an intensely serious actor who goes all-in for a role. With this year's “Leave No Trace,” Foster takes that same intensity and brilliantly turns it inward, portraying a laconic veteran who suffers from PTSD and survives in the woods of Oregon with his teenage daughter, played by Thomasin McKenzie. Foster talks about working with McKensie to establish the connection they needed, why he took performance enhancing drugs to play Lance Armstrong, and the “emotional erectile disfunction” of over-directing.

Elsie Fisher was not just some 13-year-old Bo Burnham plucked from Middle America to star in his debut feature “Eighth Grade.” She has been a working child actor in Hollywood since infancy. She did, however, just finish eighth grade in public school when filming began, and she managed to create a performance so vulnerable and true that the seams of the acting craft are invisible. In this half-hour, I attempt to get Fisher and Burnham to open up about the origins of this movie and how this young lady carried it so successfully that it just might be the performance of the year.

Jim Cummings' performance in the Sundance winning, one-shot short film "Thunder Road" was the talk of the indie film world in 2016. And then he turned it into a feature, and it won the Grand Jury Prize at the SXSW Film Festival. Now Cummings has decided to turn down the less than thrilling distribution offers and make the risky decision to distribute "Thunder Road" himself. It was the right move. The film has not even hit American screens yet and it has already made its money back and more. He talks to me about “performing” the script into existence, mastering the long take, and his passion for demystifying the idea of making movies, and inspiring people to follow him and make and distribute their own. Now.

It’s difficult, right now, to find the words “Kayli Carter” without the word “breakthrough” nearby. The adjective refers to her brilliant performance in Tamara Jenkins’ PRIVATE LIFE, in which Carter unflappably shines next to her more seasoned co-stars Kathryn Hahn and Paul Giamatti. She talks about the chemistry she had with those three, and about her formative experience with Mark Rylance in the play “Nice Fish” (including a 60 minute audition!), plus how she’s perfectly fine with passing on parts that do not depict young women as fully formed characters.

Kathryn Hahn has joked about her plethora of “best friend or randy crazy lady” roles in comedies like “How To Lose A Guy In Ten Days,” “Anchorman” and “Step Brothers.” But recent projects by Jill Soloway (“Afternoon Delight” and “I Love Dick”) and Tamara Jenkins (the new Netflix film “Private Life”) have cast Hahn in the lead role, and suddenly we have an exciting leading lady who’s much more than a scene-stealer-extraordinaire. She lets us in on a fascinating process she has for getting into the “I” of the character, talks about the road that led to “Private Life” with co-stars Paul Giamatti and Kayli Carter, and cites the Alan Watts quote “You’re under no obligation to be the person you were five minutes ago.”

When Nicolette Robinson made her Broadway debut in September, taking over the lead role of Jenna in “Waitress,” she was not just fond of Sara Bareilles’ hit musical, she had been listening to the cast album cathartically as she went through emotional ups and downs in her own life. This might be part of why I found her “Jenna” so connected to the material, so alive. We talk about what led up to that Broadway debut night, stepping through the complex engulfing that is “Hamilton” (her husband Leslie Odom Jr. won a Tony for the musical), and what her inner actor needs before that curtain rises. (Robinson’s limited run in “Waitress” is through October 28)

The hilarious Taran Killam lets us peek under the hood of his comedic craft in this half hour. He stars in the new ABC series “Single Parents” (premiering September 26th) and the comedy “Night School” (opening September 28th) opposite Kevin Hart and Tiffany Haddish. He’s probably best known for his 6 years on Saturday Night Live. We talk about how that “bootcamp” prepared him for almost anything. But his talent goes beyond comedy. He writes, directs (check out his film “Killing Gunther” on demand), and sings (he was King George III in “Hamilton”). Plus he finally answers a question I have been trying to ask comedic actors since this show began.

Linus Roache has played upstanding characters on “Law and Order” and “Homeland” but he had to plumb the depths and reach the epicenter of narcissism to play Jeremiah Sand in “Mandy,” and it’s a frightening joy to behold. He talks about the draining yet rewarding time bringing this character to life and the guidance and trust he had from director Panos Cosmatos. Plus he answers a listener question about the faith life of his character, King Ecbert, in the TV series “Vikings.”

Ashlie Atkinson is getting kudos for playing Connie Kendrickson, the motherly yet evil KKK wife, in Spike Lee’s “Blackkklansman.” We talk about the unique prep work that went into inhabiting her and the tools she used to stay present inside such a sick character. We also chat about her approach to comedy, particularly in the Ingrid Jungermann web series “F to 7th,” and working with Craig Zobel in both “Compliance” (a favorite of mine, as may listeners know) and now the brand new CBS All Access show “One Dollar.”

John Cho is perhaps best known for playing Sulu in the “Star Trek” reboots and Harold in the “Harold and Kumar” films. His new movie “Searching” takes place entirely on computer screens. Cho’s performance is one of the reasons why it is a successful piece of true cinema and not a novelty. We discuss the unique challenges of performing alone in some scenes and trusting director Aneesh Chaganty to navigate him through the space. We also talk about one of my favorite recent indie films “Columbus” (directed by Kogonada) and the connection he felt with co-star Haley Lu Richardson that truly powers the film.

His portrayal of “Richie" on the HBO series “Looking” brought Raúl Castillo some serious recognition and started moving him into bigger and better parts. One such role is “Pops” in the astonishing queer coming-of-age film “We The Animals” (in theaters now) directed by Jeremiah Zagar from the Justin Torres best-seller. Castillo talks in depth about his process of bringing this complex character to life, and the importance of owning your space as an actor. Plus we do a deep-dive into the straight man’s approach to same-sex on-camera kissing.

His performances in “Spring Awakening” and “American Idiot” are probably what John Gallagher Jr. is most known for at the moment (he won a Tony for the former), and are often what get him labeled a “musical theater guy,” but they were the only musicals he’s done in his nearly 20 year career. I ask him about two recent play productions (“Long Day’s Journey Into Night” and “Jerusalem”) that I suspect were very formative for him, and his latest screen role in the important and moving indie “The Miseducation of Cameron Post.” And, of course, I couldn’t let him go without talking about Sorkin. 

Seven seasons on the sitcom “That 70’s Show” led Topher Grace to roles in Steven Soderbergh’s “Traffic,” “In Good Company,” a not entirely successful turn as “Venom” in “Spider Man 3,” and lighter projects like “Win A Date With Tad Hamilton,” and “Valentine’s Day.” He then decided to change the trajectory of his career. He told his agents he wanted to work exclusively with great film artists in environments that inspired him. Worthy projects like “Interstellar,” “Truth” and “War Machine” followed. And this year, Grace’s next chapter continues with David Robert Mitchell's “Under the Silver Lake” and the challenging role of David Duke in Spike Lee’s “Blackkklansman” (Opening August 10th). In our woefully brief time together, Grace talks about his work in a charmingly straightforward and insightful way.