Back To One

After 30 years in the business, with credits ranging from "Angels in America" to the "Harry Potter" films and everything in between, Jason Isaacs has cultivated an approach to the craft of acting aimed at bringing himself fully into the moment. As he talks about in this episode, that approach involves not memorizing his lines, erasing all descriptors in the script, making no decisions before seeing what the other actors bring. “I try to do nothing. I try to be an empty vessel.” In Fran Kranz’s "Mass"—a real-time, one-room, four-hander where every actor shines—Isaacs plays a father of a child killed in a school shooting. He gets to play with sadness, sarcasm, vulnerability, rage, restraint, revelation, and manages to ground it all in a solid emotional realism that leaves the viewer rocked and changed. What does Isaacs have to say about how he created this amazing performance that just might be one of the best we’ve been given this year? “I don’t remember…It’s like a black out.” Follow Back To One on Instagram

He already had an Olivier Award for his amazing performance as Miss Trunchbull in “Matilda” when Bertie Carvel made his Broadway debut in that unforgettable role. He went on to win a Tony the next time he stepped on the New York stage, playing a young Rupert Murdoch in “Ink.” Notable recent television credits include the BBC series “Jonathan Strange & Mr. Norrell,” “Doctor Foster,” and in November he stars in “Dalgliesh” on Acorn TV. In this hour, I get him to reflect objectively about his process and philosophically about acting in general. He talks about why collaboration (or even the illusion of collaboration) is the key to unlock an actor’s potential, how sometimes a director’s “arrogance of ignorance” can actually be helpful, how he navigated the urge to share his ideas on the Joel Coen production “The Tragedy of Macbeth” (which will be out later this year), why he  believes a good actor can elevate mediocre material, plus MUCH more.  Follow Back To One on Instagram

“Phantom Thread” solidified Vicky Krieps as an acting force to be reckoned with. Her incredible performance in that film felt new, like a beginning of sorts. Her latest is Mia Hansen-Løve’s “Bergman Island.” She talks about figuring out ways to turn the difficulties of that production into opportunities to create something magical. Plus she gives us a glimpse inside her process-less process, made up of deconstruction, openness, acceptance, listening, embracing chaos, exploding the method, living with failure, holding space for the unknown, and letting intuition lead the way.  Follow Back To One on Instagram

Noomi Rapace returns to the podcast (first time: Ep. 43) to talk about her new film, the atmospheric, slow-burn thriller “Lamb.” Set in Iceland, which Noomi knows well from her childhood, the film’s landscapes feel almost like supporting characters. She talks about using the emotions they brought up in her, and the delicate way she entered grief into the performance. After I share my embarrassing animal parenting story, Noomi matches it, and illustrates why it was not hard at all to make her motherly love for the lamb baby believable. She schools us on the importance of not sticking to decisions that are “expired,” avoiding the trap of self awareness, and operating on instincts. Plus much more! Follow Back To One on Instagram

Julia Ducournau’s new film “Titane” is, on many levels, an overwhelming cinematic experience. If you’re like me, it might take a second viewing to begin to fully appreciate the astounding work Agathe Rousselle and Vincent Lindon deliver (no pun intended) to us in this film. Lindon is a seasoned actor with decades of accolades and experience in French cinema, and Rousselle is a wet-behind-the-ears newcomer making her feature film debut. But, serendipitously, as you’ll gather from this discussion, that is precisely what each of them needed in the other to energize their own performances. They talk about facing fears, letting go, finding freedom within restriction, and the instinctual, trancelike experience of filming that intense final scene. Plus much more! Follow Back To One on Instagram

Tom Skerritt is the very definition of a veteran actor. “MASH,” “Alien,” “Steel Magnolias,” “Top Gun,” “A River Runs Through It,” and countless other supporting credits in films and television grace his esteemed resume, plus an Emmy for “Picket Fences.” But never a lead role in a feature film! Until now. “East Of The Mountains” just might be 88 year old Tom Skerritt’s best work on the screen. It’s an assured, vulnerable, simple yet extremely powerful performance, utilizing, as he describes in this episode, his “less is more” approach to acting. He talks about what he learned mentoring with Robert Altman and Hal Ashby, on the other side of the camera, that still helps his work today. And I ask him what’s the worst thing a director even did to him. Get ready for a laugh and some inspiration. Follow BACK TO ONE on Instagram

The last time Alessandro Nivola was on Back To One (Ep. 37), he had just landed the role of Dickie Moltisanti in “The Many Saints of Newark,” the feature film prequel to “The Sopranos,” and had nearly six months to prepare the role. On this episode, he takes us from there, detailing the extensive research, geographical immersion, voice and body work that went into the preparation process for the biggest role of his career. He talks about the importance of authenticity in every aspect of the character, how “Raging Bull” played a big part in keeping him on track, why David Chase told him to ignore any mention of his character in the series, how “leaning in” to his various intimidations of Ray Liotta helped his work, and if starring in the biggest movie of the year after 25 years of supporting roles changes the game plan going forward. Plus MUCH more. (There are no spoilers in this episode. “The Many Saints of Newark” opens on October 1st in theaters and on HBO Max) Follow Back To One on Instagram

When Dominic Burgess is not stealing scenes as a guest star, he’s getting raves as Jerry Summers in “Dr. Death,” Ember in “The Magicians,” and Victor Buono in the Ryan Murphy miniseries “Feud.” On this episode, he talks about why the vibe on a set is a big factor in his work, his struggles lately gauging exactly what “gay” means as a descriptor in heteronormative projects, why he appreciates when actors don’t let their unsettling methods infect others on the set, and how nearly every golden opportunity he’s had recently can be traced back to something that will forever force us to put quotes around the word “failed” when speaking of auditions that don’t lead to the intended job. Plus much more! Follow BACK TO ONE on Instagram

John Pollono is a playwright, screenwriter, and actor. You know him from “Mob City” and “This is Us.” He wrote the film “Stronger” and the play “Small Engine Repair," which had successful runs in Los Angeles and New York. The filmed version, which he also stars in and directs, is about to open after Covid delayed its release. It co-stars Jon Bernthal and Shea Whigham. In this episode, he talks in-depth about working with those guys, the changes that needed to be made from stage to screen that served to enrich the experience, and the factors that played a part in it all coming together in an organic way. Plus much more! Follow BACK TO ONE on Instagram

Her riveting and revelatory performance in Kazik Radwanski’s “Anne At 13,000 Ft.” is the latest in a run of risky work by the Canadian indie phenom Deragh Campbell. In this hour, she talks about the process of sinking into Anne as the production went on and the great benefits and humorous backfires of immersing with non-professional actors in some scenes. Blending non-fiction into her performances is something she does often, particularly in collaboration with director Sofia Bohdanowicz. She talks about the character they created together, Audrey Benac, and the interesting ways performing as her has evolved over five projects. Plus how escaping from self-consciousness has helped the work and maybe even other aspects of her life. And MUCH more. Follow BACK TO ONE on Instagram

A Q&A with Dylan and Sean Penn on the opening night of their film "Flag Day" at the Alamo Drafthouse in Brooklyn, moderated by Back To One host Peter Rinaldi. August 20, 2021 Follow Back To One on Instagram

When it comes to her characters, Emmy nominee Jurnee Smollett is guided by truth. In this episode, the “Lovecraft Country” star talks about how painting in the tiny details helps her know how to live in a character, and why she doesn’t need to know what her character doesn’t know. She talks about why actors shouldn’t be afraid to speak up when they are not getting what they need, and why she needs to express herself through acting for her very survival. Plus we go off on a pretty cool Al Pacino tangent, and much more! Follow Back To One on Instagram

Actor, rapper, writer, producer, Daveed Diggs loves wearing many hats, often at the same time. “Hamilton” made him a star. He won a Tony for it. Now he’s nominated for an Emmy for his incredible work in the filmed version of the musical. In this episode, he talks about his need to find the character somewhere in his body, and why attending editing sessions for his new show “Blindspotting” on breaks from acting in the television series “Snowpiercer” was the opposite of overwhelming. He paints us a picture of his creative life in the lead-up to the life-changing experience of “Hamilton,” and the times, toward the end of his run, where it was hard to find the required energy. Plus I ask him about the time I watched him make a whole quiche from scratch, and MUCH more! Follow BACK TO ONE on Instagram

After six seasons, Matthew Rhys won an Emmy for his stellar work on “The Americans.” Spielberg’s "The Post,” and “A Beautiful Day in The Neighborhood” (opposite Tom Hanks) followed, and now he’s nominated for another Emmy for his incredible work in “Perry Mason” on HBO. In this half hour, he compares the experience of building (and “wrestling”) his two major television characters into life. He talks about the humiliating way he learned the acting lesson that listening is just as important as speaking. He shares a few tools he uses when he can’t get in the groove, explains why he’s easily distracted while performing, and lists the brand new worries he’s fortunate enough to have as a leading man. Plus MUCH more!  Follow Back To One on Instagram

“Teeth,” “Somebody Up There Likes Me,” “Chained For Life,” “The Good Wife,” are just a few of the great Jess Weixler’s credits. Ten years ago she co-stared in “The Lie” with Joshua Leonard. They played a couple with a baby and one big problem. He directed. Most of the dialogue came out of improvisation. Now they’ve done it again with “Fully Realized Humans.” They again play a couple. This time the baby is in utero and the laughs are bigger, the situations more absurd yet also more thought-provoking. Weixler is credited as co-writer. In this episode she details the improv method they used to build the dialogue out of the circumstances in the scene. We try to figure out what Leonard meant by “the phantom leg of naturalism,” and she talks about what it was like to film this indie comedy while 8 months pregnant, including one moment of empowerment prompted from an unlikely source. Plus lots more!  Follow Back To One on Instagram

Phillipa Soo’s first time on Broadway was in the unprecedented phenomenon that is “Hamilton.” She was nominated for a Tony for her portrayal of Eliza, and now she’s nominated for an Emmy for her incredible work in the filmed version. In this episode, she talks about how she managed to not let the superlatives overwhelm her into paralysis during that run, and the surprising way deeper, more playable meanings began to grow out of the text. She details a few specific ways the tools she was given at Juilliard came in handy, particularly in her first New York stage production, “Natasha, Pierre & the Great Comet on 1812,” and why it’s important to “let the little guy drive,” plus much more! All of this recorded outside, in a thunderstorm, with only a tree as cover! This episode doubles as a soothing nature recording. Follow Back To One on Instagram

Jon Huertas is the first actor on the podcast to talk extensively about the “BMS Technique” for preparation. He plays Miguel on “This Is Us.” His past credits include “Castle,” “Generation Kill,” and the new film “Initiation.” He tells an amazing story about botching an audition so badly that he felt a formal apology was necessary (of course he landed the role). He talks about the importance of making different choices with every take, his mission, on the other side of the camera, to create content about Latinx people that completely avoids stereotypes, and much more! Follow Back To One on Instagram

For the past decade, Frank Mosley has been independent cinema’s go-to actor. “Upstream Color,” “Thunder Road,” “Some Beasts,” “Chained For Life,” “Freeland,” “The Ghost Who Walks,” are just a few examples of films that benefit from the authenticity, deep-rooted intensity, and “all-in” approach he brings to every performance. His talents extend to the other side of the camera as well. His uncompromising, visionary shorts and features have played around the world, from Slamdance to the Champs-Elysées. In this hour, he informs, inspires, and reflects on this wonderful and insane creative endeavor that he can’t stay away from without getting withdrawal symptoms. He talks about his fondness for rehearsal, how directing has helped his acting craft, what he did to give himself a boost when he felt the fire going out, the important power of empathy for the actor, why he’s never going to stop creating, and much more!  Follow Back To One on Instagram

It makes sense that “Cobra Kai” star William Zabka often uses phrases common to musicians, like “find the rhythm” and “in the pocket,” to help describe his acting process. Not only is he a musician himself, but music plays a fascinating part in his process. The phenomenal surprise success of "Cobra Kai” is due in no small part to the depth and intensity Zabka brings to the role of Johnny, which obviously has deep roots in his career. On this episode he talks about those roots, breaking down the text until it “falls into his belly,” the “rivers” that run through his characterization, the layer of secrets that “aren’t intended to be discovered,” and the necessity to “cut the lines” to all those things in order to lay in the moment. Plus much more! It’s a fascinating talk with an actor who is delivering a performance for the ages that has caught the attention of viewers across generations. Follow Back To One on Instagram

Ben Rosenfield has only been at it for 10 years, but he already has an interesting body of work behind him—“Boardwalk Empire,” “6 Years,” “Greetings From Tim Buckley” (in which he played Buckley), the third season of “Twin Peaks,” and last year’s “Mrs. America,” to name just a few. Not to mention the New York stage productions where he performed opposite Carey Mulligan and Zoe Kazan. Maybe this is why the 28 year old speaks with the wisdom of an acting elder. He talks about the “turning of the soil” that has to happen with the text before he builds anything on top of it, how each approach to a character has to be different for it to be creative, and why he’d like to beneficially incorporate rejection into his actual process. Plus he talks about his latest starring role, in Hannah Marks’ hilarious and poignant romantic epic “Mark, Mary & Some Other People,” which has brought him to the Tribeca Film Festival.  Follow Back To One on Instagram