Sallieu Sesay is a Sierra Leonean-American actor who has had recurring roles on CBS’ “Seal Team” and HBO’s “Barry,” and, in his latest, delivers an incredible supporting performance in John Trengove's nihilistic thriller “Manodrome,” alongside Jesse Eisenberg. On this episode he talks about doing tons of research before taking on that part, having so little in common with the character, and facing the pressure of being at the center of a movie’s most pivotal scene. He gives us a glimpse at his dedication to this craft, his continuous training with some of the best acting teachers around such as Ivana Chubbuck, how substitution plays a part in his preparation, the significance of journaling, why empathy and curiosity are two important words for the actor, what “it’s all about trusting the work” really means, and much more. Back To One is the in-depth, no-nonsense, actors-on-acting podcast from  Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram

Jack Huston has worked with Scorsese, Ridley Scott, David O’ Russell, The Coens, had meaty roles on series like “Mayfair Witches,” “Fargo,” and, maybe most notably, “Boardwalk Empire,” where he played Richard Harrow. His latest project is Lulu Wang’s Amazon series “Expats.” On this episode he talks about gaining 30 pounds for that part (which wasn’t as much fun as it sounds), why it all starts with the voice for him, writing and directing his passion project “The Day of The Fight” for Michael Pitt and Joe Pesci, and he reveals a common trait of all great directors he’s known. Plus we discuss the current state of Independent Film, what we think should change, and much more. “Expats” streams on Amazon Prime starting January 25th. Back To One is the in-depth, no-nonsense, actors-on-acting podcast from  Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram

You know Spenser Granese from memorable roles on “Better Call Saul,” “Fear of the Walking Dead,” “Pam & Tommy,” and, perhaps most memorably, the character of Bevel in the final season of “Barry.” On this episode, he talks about landing that role after trying hard to get on the show for 3 seasons, and the incredible working environment he found on set. He opens up about his unique approach to the craft having no formal training, why he keeps the lines barely memorized, avoids expectations, operates on his instinct, and much more! Back To One is the in-depth, no-nonsense, actors-on-acting podcast from  Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram

Discovering Michelle Monaghan in “Kiss Kiss Bang Bang” was like finding evidence that the old school Hollywood comedy actress gene, long thought extinct, was alive and well. She did more than hold her own opposite Robert Downey Jr. and Val Kilmer, she stole the movie. I’ve been rooting for her ever since. A few “Mission Impossibles,” “Gone Baby Gone,” “True Detective” followed, as well as some significant work in small indies like “Trucker,” “Fort Bliss,” and “Nanny.” She returns to comedy with her latest, “The Family Plan,” which is streaming now on Apple TV+. On this episode, she talks about how her deep desire to be a journalist is actually still playing out in her career, why a good vocabulary is the best trait for a director, what precipitates the necessity to protect the arc of her character and how she does it, plus much more. Back To One is the in-depth, no-nonsense, actors-on-acting podcast from  Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram

Melora Hardin is best known for playing Jan on the American version of “The Office.” She was nominated for an Emmy for her work on the series “Transparent.” Recently she stepped back into the role of Trudy Monk for “Mr. Monk’s Last Case: A Monk Movie,” which is streaming now on Peacock. On this episode, she talks about bringing the character Mabel Montgomery-Mayflower to life in the new independent film “Golden Vanity,” and how the perfect combination of director’s vision and true collaboration helped her deliver that tour-de-force performance. She takes us back to her early days as a child actor, lessons learned while getting 10,000 hours of experience before her 18th birthday, tells an incredible story about Stella Adler, and a touching one about Gene Hackman, plus much much more. “Golden Vanity” is playing at the Cinelounge Sunset in Los Angeles through December 17th. Back To One is the in-depth, no-nonsense, actors-on-acting podcast from  Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram

You might know Robbie Tann from “Preacher,” “The Deuce,” or when he played Billy on “Mare of Easttown,” or Whitty in the “Mazey Day” episode of the latest season of “Black Mirror.” Currently he plays Shipley in this year’s most exciting and original sci-fi film, “The Creator.” On this episode, he tells how the run-and-gun style of shooting on that production, combined with the cast and crew’s infectious passion for the project, helped with all aspects of his work. He explains why he now bypasses a straightforward “roadmap” of preparation, focusing instead on letting the role seep into his unconscious. And he talks about what a director can do to get the best of out him while still respecting the ideas he brings to the set. Plus much more! Back To One is the in-depth, no-nonsense, actors-on-acting podcast from  Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram  

You know Olli Haaskivi from his work in series such as “Winning Time”, “Manifest”, and “The Sinner,” and films like “Motherless Brooklyn”, “Nancy” and of course, this Summer’s blockbuster “Oppenheimer,” where he played scientist Edward Condon. On this episode he shares his experience of working with Christopher Nolan on that film (which he says seemed less sprawling than some student films he’s worked on!), why he felt the freedom to bring his ideas and “all of himself” (spoiler: Nolan is not afraid of actors!), and how all this affected the work in the moment. Plus he talks about his “this IS the job” approach to auditioning, something post-strike that he’d like to see implemented about the work, why you can’t get to the great stuff “without risking that it might all go off the rails,” and much more. Back To One is the in-depth, no-nonsense, actors-on-acting podcast from  Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram

Brit Marling is an inspiration. The talented multi-hypenate became an indie darling in 2011 with “Another Earth” and “Sound of My Voice”—collaborations with Mike Cahill and Zal Batmanglij respectively. She avoided various vapid roles and unfulfilling career paths and instead went on to star in (and co-create with Batmanglii) the hit Netflix series “The OA,” which was bafflingly cancelled after two seasons, despite a rabid and large fan base. The two are back with another series, “A Murder At The End of The World”—a cool Zoomer detective whodunit set in a remote super-hotel in Iceland. On this episode, she talks about how knowing she will have to play a character affects the writing process, the “shared loneliness” of collaboration, using AI as a story element before the world even knew it existed, why she has to hold on to her character during the editing process, the cosmic concoction she uses to make her ideas grow, and much more. Back To One is the in-depth, no-nonsense, actors-on-acting podcast from  Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram

The SAG strike is over and Back To One returns in the most fitting way—with The Sixth Annual Kevin Corrigan Episode. The living patron saint of the indie actor fills us in on what’s been going on in his world over the past year, talks about playing off of Tim Blake Nelson in his latest film “Bang Bang,” takes us way back to his first time on a film set as an extra in 1987, describes a recent rewarding experience of performing his own ultra personal material, and ponders his strange case of involuntary lens spiking. Plus stories about “manhandling” Christopher Walken, a horrific "Sopranos" audition,  sitting down with Pacino at a diner, and much much more. Past Kevin Corrigan Episodes: Ep. 1, Ep. 67, Ep. 133, Ep.185 Ep. 234 Back To One is the in-depth, no-nonsense, actors-on-acting podcast from  Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram

“Dogleg” is one of the best films of the year. A unique and hilarious feat of cinematic inventiveness, it follows amateur director Alan, played by Al Warren, after he loses his fiancé's dog at a gender reveal party on the day of an important shoot. Warren also wrote and directed the film, which took more than half a decade to finish. On this episode, he tells us why he was in no hurry to complete the film, and why he has taken a much more intentional and meaningful approach toward bringing it to the audience. He takes us back to his childhood, and a story of how prematurely promised stardom, followed by years of actively avoiding acting, led him to arrive at the craft in a genuinely meaningful and life-enriching way, which is where we find him now. Plus he shares his philosophy of comedy (which boils down to “Nothing is funnier than self-seriousness”), talks about his latest role opposite Nicolas Cage in “Dream Scenario,” and much more. Back To One is the in-depth, no-nonsense, actors-on-acting podcast from  Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram

Aidan Gillen returns to the podcast (first time: Episode 40). You know him from some of the most beloved shows of the century: “Game of Thrones,” “The Wire,” “Peaky Blinders,” to name a few. Now he stars in the Irish Neo-noir film “Barber,” where he plays a private investigator hired by a wealthy widow to find her missing granddaughter. He talks about why he doesn’t look at the lines until the day before shooting, how his latest venture on the stage affected his work, why he still doesn’t like rehearsal for film, what bothers him about the idea of an “actor-centric” production, and much more. Back To One is the in-depth, no-nonsense, actors-on-acting podcast from  Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram

Onur Tukel is a boldly independent writer-director-actor who, for more than a decade, has been making cutting edge comedies in New York City that sometimes land in the horror category, sometimes social satire, are often absurd, mostly hilarious, and always thoughtful—“Catfight,” “Applesauce,” “Summer of Blood,” “The Misogynists,” “Scenes From An Empty Church,” to name just a few. His latest, “Poundcake,” about a serial killer who only targets straight white men, is maybe his boldest yet, which says a lot. In this hour, he talks about his reluctant approach toward acting in his own films, the ways he has navigated low budget indie film production consistently enough to make a film every year, what rejuvenated his excitement for making movies after almost quitting, why he won’t stop taking big storytelling risks, and much more! Back To One is the in-depth, no-nonsense, actors-on-acting podcast from  Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram

The great actor of the stage and screen, Ron Cephas Jones died on August 19, 2023, at the age of 66. On this episode from 2020, he details the value of a true collaborative relationship with the director, why the script never leaves his side in preproduction, talks about what it was like to slowly build “William” on “This Is Us” through many seasons of that show, and takes us back to his early days at LAByrinth theater in New York City to explain how Philip Seymour Hoffman forever changed his approach to work, plus much more! This is an expanded version of his episode, recorded on June 29, 2020, featuring a few minutes of extra material not included in the original release. Back To One is the in-depth, no-nonsense, actors-on-acting podcast from  Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram

Please Note: These interviews were recorded prior to the SAG/AFTRA strike, in June 2023, as part of the Tribeca Festival. On this special episode of Back To One, actors Sophia Lillis, Hannah Gross, and Michael Cera talk about their work in writer/director Dustin Guy Defa’s wonderful new film "The Adults." We get a glimpse into each of their general preparation processes before doing a deep dive into their work on this actor-centric production. They each talk about how they built the reality of their complex sibling relationship, why the songs and dances that play such a big part in their characters’ past feel so organic, the extremely hard task of being truly unfunny, and much more. The Adults opens in select U.S. cities on August 18th. Back To One is the in-depth, no-nonsense, actors-on-acting podcast from  Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram

On this very special episode, I visit the picket line at each of the four SAG/AFTRA strike sites in New York City, in one continuous, unbroken audio “take.” Actors Michael Gaston, Clarissa Thibeaux, and others talk to me about what’s at stake, and en route to each location I share my own thoughts on the issues at hand, make some predictions, voice concerns, and offer up my total and complete solidarity to the cause, all supported by the loud and never-ending symphony of the New York City streets! Get ready for the strangest, but definitely most sonic-rich, episode of this podcast yet! This episode was recorded on Monday, August 7, 2023 from 9:56am ET until 10:48am ET For more information of the SAG/AFTRA strike, click here Back To One is the in-depth, no-nonsense, actors-on-acting podcast from  Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram

(This episode was recorded prior to the SAG/AFTRA strike) Dierdre Friel always finds a way to ground her characters in such a deep reality that you feel like they aren’t written at all, just simply among the living. Two examples of this can be found in “Ella” on the NBC show “New Amsterdam,” and “Greta” on “Physical,” the Apple TV+ hit that enters its third season on August  2nd. On this episode, she details the helpful exercise of laying out the similarities she shares with the character, and using Meisner’s “what if” when the differences outweigh them. She talks about her amazing experience training at the Globe Theater, the “detective work” that is so integral to her process, the risky decision to take a part in a play that continues to pay dividends, and much more. Back To One is the in-depth, no-nonsense, actors-on-acting podcast from  Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram

Chris Messina is that rare character actor leading man who is the go-to supporting actor in seemingly everything. From “The Mindy Project” and “Newsroom,” to “She Dies Tomorrow” and “I Care A Lot,” he handles ultra-serious roles (like in “Blame,” which I loved) or uproarious ones (such as this year’s hit “Air”) with what seems like effortlessness, and now he’s starring in the new series “Based on a True Story” with Kaley Cuoco. In this hour, he generously takes us on an extended tour of his process. He talks about learning to “experience” rather than “act,” why the thought of preparing a role “for 14 years” excites him, and the elements that make up “Air” which elevated his work past simply being four phone calls. He tells wonderful stories about his time at the Actors Studio in New York, getting a helpful note from Amy Adams that has profoundly affected his work, why a recent viewing of “Raging Bull” got him emotional, and leaves us with much more inspiration and wisdom than we had before. Back To One is the in-depth, no-nonsense, actors-on-acting podcast from  Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram

Dave Burd, known by his stage name Lil Dicky, is a multi-platinum rapper, comedian and actor. For three seasons now, he has been the co-creator, executive producer, writer and star of the critically acclaimed comedy series, “Dave.” In this hour, he takes us from the beginning, being the laugh machine for his friends, through the discovery of his musical talent and the viral comedy video years, and finding his happy place in pitch meetings, convincing the money people that he could not just make a good TV show, that’s easy, but maybe one of the great shows of all time. He talks about the hard work he puts into every aspect of “Dave,” learning and growing from the amazing writers, the unique collaboration with the directors, and the true secret to his outstanding comedic performance: not having any time to think about it at all. Plus much more! Back To One is the in-depth, no-nonsense, actors-on-acting podcast from  Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram

Few television show characters are more iconic than “Mad Men’s” Don Draper. Jon Hamm played him for 7 seasons and just might have changed television forever. Since then Hamm has ventured into film and exercised his funny muscles. Last year’s “Confess, Fletch” was a wonderful example of what Hamm can do with good material, and so is his latest, “Maggie Moore(s),” directed by his friend (and “Mad Men” co-star) John Slattery.  In this episode, he talks about how Slattery worked with him to establish the very specific tone of that film, and what he needs from a director in general. He details how his previous television work prepared him for “Mad Men,” how he didn’t let the hype of that show overwhelm him in the final season (for which he won an Emmy), plus much more. Back To One is the in-depth, no-nonsense, actors-on-acting podcast from  Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram

Mark Duplass is the living patron saint of the indie filmmaker. Honest, simple, modest, positive, affirming about the work, Duplass, first with his brother Jay and now on his own, has become a household name in the film world for producing projects in a DIY style foregrounding authenticity, improvisational humor, and human connection. As an actor, both in his own productions and also series like “The Morning Show,” he finds a way to keep that homegrown genuineness alive in front of the camera. His latest film, “Biosphere,” which he co-wrote with director Mel Eslyn, is a true two-hander (with the wonderful Sterling K. Brown) that never fails to surprise and is sure to be a summer crowdpleaser when it opens on July 7th. On this episode, he talks about how his approach to acting grew out of necessity as a filmmaker, what he loved about being directed by his trusted partner Eslyn, why he himself hasn’t directed for over eight years, what he needed to adjust when working in more precision-oriented productions, why he’s cautiously optimistic about the AI effect on acting, and much more! Back To One is the in-depth, no-nonsense, actors-on-acting podcast from  Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram

In recent movies like “Air” and “Funny Pages,” television series like “Our Flag Means Death,” and plays like Annie Baker’s “The Flick,” Matthew Maher has made a name for himself as someone who can bring an oddball or weirdo to life with enough charm, charisma, and genuine gusto to make us love him unconditionally. On this episode, he talks about his acting foundations, the tools formative teachers have given him, and some theories he has developed as a teacher himself. He explains the allure of experimental theater in 90s New York City, makes a case for embracing contradictions and obstructions in a character, and brings it all back to the simple act of “owing it.” Plus much more! Back To One is the in-depth, no-nonsense, actors-on-acting podcast from  Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram

It is extremely hard not to love Jeff Hiller’s character Joel, opposite Bridget Everett’s Sam, on the hit HBO series “Somebody Somewhere.” Their friendship is sweet, revelatory, and concerningly codependent, all at the same time. On this episode, he talks about how he got good at auditioning while wondering if he’d ever play someone with an inner life, “or a name.” He tells the story of landing “Joel,” the surprising connections he shares with the character, the secret ingredient that makes his chemistry with Everett work so well, and much more. Back To One is the in-depth, no-nonsense, actors-on-acting podcast from  Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram

Owen Teague is only 24, but he’s already had an opportunity to show his range as an exceptional young actor in shows like “Bloodline,” “Black Mirror,” and “The Stand” and films like “To Lesley,” “Montana Story,” and the new Nicole Holofcener film, “You Hurt My Feelings” (which opens Friday, May 26th). On this episode, he talks about gleaning “a lot” from the great actors he’s worked with, knowing when to “separate yourself,” the importance of feeling scared but not intimidated, discovering how central a character’s physicality is for him, plus much more! Back To One is the in-depth, no-nonsense, actors-on-acting podcast from  Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram

With incredible performances in films like “Midnight Cowboy,” “Coming Home,” “Deliverance,” and “Runaway Train,” Jon Voight has earned himself a spot in the acting Pantheon. At 84, he has never stopped working. Seven seasons of “Ray Donovan” being a recent highlight. On this episode, he talks about how he “starts slow” when developing an approach to a character, letting “things drop into my psyche.” He pinpoints directorial characteristics of John Schlesinger (director of “Midnight Cowboy”) that worked well for him, details a scrappy fight scene with Jonathan Rhys Meyers on his latest film “Mercy,” reminisces about working with Cassavetes on “Love Streams” the play, and much more! “Mercy” is Select Theaters now, On Digital May 19, and On Demand June 2. Back To One is the in-depth, no-nonsense, actors-on-acting podcast from  Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram

You’ve seen his work in such films as “Interstellar” and “Cloud Atlas,” and television series like “Containment” and “Carnival Row," now David Gyasi plays Austin Dennison in Debora Cahn’s new hit Netflix limited series “The Diplomat.” On this episode, he talks about the rare collaboration he had with Cahn in developing Dennison, the part of the job he finds “sacred,” loving re-HEARsal, the real reason why he is so picky with the roles he takes on, and much more. Back To One is the in-depth, no-nonsense, actors-on-acting podcast from  Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram

The 4K restoration and re-release of the comedy “Party Girl” brings Parker Posey to Back To One. Shortly after the success of that movie in 1995, she went on to star in so many independent films, like “The Daytrippers,” “Clockwatchers,” “The House of Yes” (not to mention a bunch of Hal Hartley and Christopher Guest classics), that she was dubbed “Queen of the Indies.” On this episode, she explains why that moniker was oddly detrimental to her career. She talks about recent experiences on the sets of “Beau Is Afraid” and “The Staircase;” the connection between actors and athletes; why, for her, it all starts with “shoes and hair;” and much more! Back To One is the in-depth, no-nonsense, actors-on-acting podcast from  Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram

My first encounter with the work of actor, writer, director Betsey Brown was her captivating and shocking performance in “The Scary of Sixty-First.” Then, in her first feature film “Actors,” she and her brother Peter Vack play over-the-top versions of themselves in a wildly fictional, yet super-personal exploration of their relationship that boldly pulls out all the cinematic stops. It’s the kind of rare indie that gives you hope for the future of film. In this episode, she talks about the aspects of the acting craft that are central to her—patience, relaxation, fearlessness, appreciation, and the importance of the present moment—plus the unique ways she and her brother bring out the best in each other both in front of and behind the camera, and much more! Back To One is the in-depth, no-nonsense, actors-on-acting podcast from  Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram

Emily Meade is best known for her roles in the HBO shows “The Deuce,” “The Leftovers,” and “Boardwalk Empire.” Her latest project, the Amazon series `Dead Ringers,” premieres on April 21st. She became an advocate for intimacy coordinators on set following a lack thereof on “The Deuce,” where she portrayed a sex worker. After urging HBO to hire an intimacy coordinator, her advocation ignited the use of intimacy coordinators on all HBO sets and beyond, creating a new standard in Hollywood. In this episode, she talks about needing to base her characters on real-life people she knows, how being a true empath affects the work, the struggle of shifting what characters casting people see you playing, and much more. Back To One is the in-depth, no-nonsense, actors-on-acting podcast from  Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram

For three decades, Julio César Cedillo has been delivering authentic, nuanced, fully realized performances in films and television series such as “Sicario,” “Cowboys and Aliens,” “The Three Burials of Melquiades Estrada,” “Narcos Mexico,” and the new Netflix film “Chupa,” to name just a few. In this hour, he generously shares what he’s learned from being a “lunchbox actor,” doing this work he loves. He talks about why, as an actor who happens to be Mexican, his first read of a script is a “search for traps.” Through stories detailing his experiences on-set, he explains why it’s better to ask for forgiveness than permission, the importance of “owning it,” why humbleness doesn’t serve the work, and much much more. Back To One is the in-depth, no-nonsense, actors-on-acting podcast from  Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram  

On this special episode, we’re talking all about voice! Neda Lahidji is an actor, singer, vocal health coach, voice teacher and a certified vocal health first aider. She specializes in the voices and vocal health of actors, VO actors, and singers, including any vocal athletes in the film industry as well as directors who use their voice tremendously throughout production. She talks about the different factors that affect the voice, gives us techniques to help maintain a vocal athlete’s optimal vocal health, shares her own stories of various vocal ups and downs, explains why it’s almost all mental, and much more! Whether you act, sing, or both: voice habilitation is preventative vocal care. Hopefully this conversation will inspire you to invest in your voice and vocal health! Find Neda on Instagram Check out her video about vocal health here Back To One is the in-depth, no-nonsense, actors-on-acting podcast from  Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram  

Edwin Lee Gibson’s stage career spans 40 years and over 100 U.S. and international theater productions. On television he is currently reprising his role as series regular "Ebraheim" in season 2 of FX's hit series “The Bear.”  On this episode, he talks about the importance of listening, “letting the character find me,” working with the late Peter Brook, cultivating a relationship with fear, how his stutter actually made him dig deeper into the study of speech, and much more. Back To One is the in-depth, no-nonsense, actors-on-acting podcast from  Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram  

Jeremy Jordan is probably best known for his Tony and Grammy-nominated portrayal of Jack Kelly in “Newsies” on Broadway, as well as his many roles on television including series regulars on CW’s “Supergirl”, NBC’s “Smash” and Disney Channel’s “Tangled.” And now he leads a star-studded cast as the tenacious record industry giant Neil Bogart in the epic new feature film “Spinning Gold.” On this episode, he talks about how finding a character’s physicality and where they hold tension informs his preparation, the importance of letting every single moment of a performance tell the story, why he’s still getting used to the non-transient nature of film, how having a child opened him in ways nothing else could, and much more. Back To One is the in-depth, no-nonsense, actors-on-acting podcast from  Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram  

Sophie von Haselberg stars as Sissy St. Claire in Amanda Kramer’s psychedelic fever dream musical “Give Me Pity!” It’s part mock 70’s television special, part monologue film, and requires the creation of a bigger-than-life persona on screen, and von Haselberg carries it all and delivers a virtuoso performance. On this episode, she takes us from Kramer “pulling me from the ether,” through extensive preparation, getting the character “into my body,” a frustrating Covid pause, on to the live theater-like 5 day shoot, and how she doesn’t think she would have “ever allowed myself to dream that something like this would fall into my lap.” Plus much more! Back To One is the in-depth, no-nonsense, actors-on-acting podcast from  Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram  

Spanish-American actor Marta Milans reprises her role as Mama Rosa in the second installment of the “Shazam” saga, which hits theaters March 17th. If you binged “White Lines” during the pandemic, you appreciated her work in that Netflix hit series. On this episode, we go way back to when she played Goneril in “King Lear”…at age 8! She takes us on a journey of her life as an actor, a job she says you cannot do well unless you “must do it to breathe.” She tells us the reason why language comes easy for her, how music plays a big part in her preparation, why Covid restrictions were rough on set, the next mountain she has her sights set on to conquer, plus much more. Back To One is the in-depth, no-nonsense, actors-on-acting podcast from  Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram

Mia Wasikowska’s first project in The States was the HBO series “In Treatment.” She was just 16 years old, but if you watched it then, you were probably in awe, like me, marveling at this seemingly fully formed acting artist, performing, with nuance and subtlety, well beyond her years. She continued to wow us with stellar work in “Jane Eyre,” “Madame Bovary,” “Alice In Wonderland,” “Stoker,” “The Double,” “Tracks,” “Damsel,” “Bergman Island,” to name a few. Her latest is an absolutely beautiful film called “Blueback.” In this woefully brief episode, she talks about the underwater acting she had to do in that film, why she doesn’t feel the need to prepare much anymore before ‘day one,’ “simple confidence” as a tool, why she turns down a lot of projects, and much more. Back To One is the in-depth, no-nonsense, actors-on-acting podcast from  Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram

You might know Todd Stashwick from “The Riches” or “12 Monkeys” (the Syfy series, where he played Deacon), but you definitely know him from his guest star work on countless shows, both dramas and comedies, spanning more than two decades. And now he plays Captain Liam Shaw in the new season of “Picard.” On this episode, he talks about how the little boy “Star Trek” fan in him leapt for joy when he sat in his captain’s chair for the first time, while the “all business” actor in him had to focus on the work at hand. Plus we discuss his “resting villain face,” he shares his secret approach to auditioning, the importance of knowing your character’s role in the story, and much more. Back To One is the in-depth, no-nonsense, actors-on-acting podcast from  Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram

Jonathan Roumie—actor, director, producer, and speaker—is best known for his award-winning role as ‘Jesus' in the groundbreaking series and global sensation, "The Chosen.” His new movie, the Lionsgate period drama “Jesus Revolution,” is based on the events of the last great spiritual revival in America. Roumie portrays the enigmatic, hippie street preacher, Lonnie Frisbee. On this episode, he gives us a peek at his in-depth approach to the work, which ranges from authentic ‘Method’ to ‘mystically inspired.’ He talks about how his occasional need for solitude on set stems from being easily distracted, why chemistry reads should be not just for romantic portrayals, how the role of Jesus has completely changed his life, and how he’s dealing with all that role demands from him. Plus much more! Back To One is the in-depth, no-nonsense, actors-on-acting podcast from  Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram

Elliott Crosset Hove is a true rising star in the Danish film world. The remarkable new film “Godland,” his third collaboration with Icelandic director Hlynur Pálmason, just landed him a European Film Award nomination for Best Actor. On this episode, he walks us through his extensive preparation “check list” which he uses to stimulate his unconscious mind and build a defense system to combat doubt. He talks about how the stunning but grueling environment where they shot “Godland” helped him stay in the moment, his method for approaching a character from another time period, and much more. Back To One is the in-depth, no-nonsense, actors-on-acting podcast from Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram

Clay Tatum and Whitmer Thomas wrote and star in the wonderful new comedy “The Civil Dead,” which Tatum also directed. On this episode, they discuss their long collaboration and friendship that goes back to Alabama at age 11, doing comedy events in Los Angeles with Power Violence, filming sketches, honing their craft, learning valuable lessons on the HBO/A24 production “The Golden One,” the importance of rhythm in comedy, the importance of trusting your own voice, and applying it all toward the modest indie film that won the audience award at Slamdance last year and is about to win audiences over everywhere—"The Civil Dead.” Back To One is the in-depth, no-nonsense, actors-on-acting podcast from Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram

British TV and film star Joanna Scanlan won the Best Actress BAFTA award last year for her incredible performance in “After Love.” She plays Mary, a devout convert to Islam who, shortly after becoming a widow, discovers her late husband's secret family. In this episode, she takes us on a little tour of the meaningful aspects of her acting process— the investigative phase of initial script reading, the “harnessing” of feelings, the mystical “clicking in” that happens through the words, and why it’s always been about the love of it. Plus much more! Back To One is the in-depth, no-nonsense, actors-on-acting podcast from Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram

To say Guslagie Malanda plays Laurence Coly in Alice Diop’s “Saint Omer” feels incorrect; she becomes her. It’s a performance that holds such subtle power and authenticity that it’s easy to take it for granted. On this episode, Malanda explains why she turned down countless acting jobs after her first film, “My Friend Victoria.” She talks about the year-long pre-production period that she needed to prepare for the role, the nightmares that plagued her during that time, the breakthrough of learning to breathe, and much more. Back To One is the in-depth, no-nonsense, actors-on-acting podcast from Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram

Tallie Medel is an award winning actor, educator, artist, and one third of the legendary Cocoon Central Dance Team. Her fiercely authentic and nuanced performances in films like Dan Sallitt’s “Fourteen” have garnered attention from critics and audiences alike. This past year she gifted us with Becky in the acclaimed  “Everything Everywhere All At Once.” In this episode, she talks about the communal environment on that production that benefited the performances, the importance of establishing true connection with her scene partners and using the present moment as a tool, how learning and teaching Clown has changed and shaped her work, plus much more. Find out more about Tallie's Clown classes here. Back To One is the in-depth, no-nonsense, actors-on-acting podcast from Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram

If the Back To One podcast has one tradition, it is the yearly visit from its very first guest, the living patron saint of the working actor, Kevin Corrigan. This is his fifth time on the show (Ep. 1, Ep. 67, Ep. 133, Ep.185), and as you’ll hear, he still has a healthy supply of great stories, laughs, and inspiration to dish out. He talks about his recent stints on “Law and Order: Organized Crime,” “City on a Hill,” and the indie film “Bang Bang;” tells a hilarious story illustrating the ways he practices acting when not on a job; gets nostalgic describing the masterful mix tapes he used to make; plus much more! It all starts out with my recounting of a Corrigan-themed phone call I had with the legendary Amy Taubin minutes before the interview. Back To One is the in-depth, no-nonsense, actors-on-acting podcast from Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft.  Follow Back To One on Instagram

The last time Vicky Krieps (“Phantom Thread,” “Bergman Island”) was on this podcast (episode 174), we learned about how she approaches the work through a kind of “emptying out” of herself, and a “deconstruction” of everything in her obit, even her preconceptions regarding the role. This time she’s back to talk about her astounding work in Marie Kreutzer’s film “Corsage,” an imaginative re-telling (or perhaps a “correcting?”) of a year in the life of Empress Elisabeth of Austria. Krieps talks about treating the work as an invitation to play, how dealing with the coldness of the character had an effect on relationships outside of the frame, why she feels at ease when she’s lost in the reality of unknowing, and much more! (Spoiler Alert: Toward the end of the episode, the conversation turns to the end of the movie. And although nothing is specifically said about what exactly happens in the end, one can certainly make the case that it is a minor spoiler. All the more reason to see “Corsage” as soon as possible. It opens in select theaters on December 23rd.) Follow Back To One on Instagram Back To One is the in-depth, no-nonsense, actors-on-acting podcast from Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft. 

The first time Andrea Riseborough was on the podcast (episode 100), we got a chance to hear how this incredible actor approaches her craft. On this episode, we get to focus on her astounding work in the new movie “To Leslie.” She talks about the interesting ways shooting on film in the middle of the pandemic affected everything, why working on her character’s alcoholism would have been a disaster, finding a touchstone with director Michael Morris in Barbara Loden’s “Wanda,” taking the objective “to just exist” from Mike Leigh, seeing constrains as freedoms, the importance of keeping your integrity, and much more. “To Leslie” is streaming now.  Follow Back To One on Instagram Back To One is the in-depth, no-nonsense, actors-on-acting podcast from Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft. 

Marc Maron is a stand-up comedy veteran and the host of the popular “WTF” podcast. As a screen actor, he cut his teeth playing a version of himself in the series “Maron.” Lately the Netflix series “Glow” and Lynn Shelton’s “Sword of Trust” put more of his range on display. And now he delivers the epitome of “supporting” performance in the incredible new film “To Leslie,” opposite Andrea Riseborough. On this episode, he talks about his apprehension with accepting the role, his impatience with the process of acting in general, the importance of making himself emotionally available in his scenes, what it would take for him to feel like this crazy endeavor is “worth it,” and much more. Follow Back To One on Instagram Back To One is the in-depth, no-nonsense, actors-on-acting podcast from Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft. 

Ever since her incredible performance in “I’ve Heard The Mermaids Singing” 35 years ago, Sheila McCarthy has been one of Canada’s most hardworking and reliable actors in theater, television, and film on both sides of the border. In her latest project, she joins a “murderers’ row” lineup of actresses like Judith Ivey, Claire Foy, Jessie Buckley, Frances McDormand, and Rooney Mara in Sarah Polley’s powerful new film “Women Talking.” On this episode, she talks about how the production was both daunting and exhilarating, why it felt like the “acting olympics,” what having this “extraordinarily ordinary” powerhouse director at the helm brought out of her, plus wonderful stories about a debt owed to Liza Minnelli and a letter that changed Bruce Willis. Follow Back To One on Instagram Back To One is the in-depth, no-nonsense, actors-on-acting podcast from Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft. 

You may know Grace Van Patten from “Nine Perfect Strangers,” “Under The Silver Lake,” or “Tramps.” I first took note of her in "The Meyerowitz Stories,” where her youth belied a seemingly effortless command of her character among the likes of Adam Sandler, Ben Stiller, and Dustin Hoffman. In her latest, the hit Hulu series “Tell Me Lies,” she stars as Lucy Albright, and now she commands the screen with the same effortlessness, mixed with a complexity and nuance that is compelling viewers who are begging for a second season. On this episode, she breaks down one important scene from both “Meyerowitz" and “Lies," and we get an idea of her unique approach to the craft, which is fueled by sizing up the world surrounding her character, connecting with her partner in the scene, and staying in the moment. Plus she talks about how her 11 year old sister June inspires her inner actor, and much more! Follow Back To One on Instagram Back To One is the in-depth, no-nonsense, actors-on-acting podcast from Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft. No small talk, no celebrity stories, no inane banter—just the work.

Paul Walter Hauser is that rare character actor who has made a name for himself as a stellar talent in both comedy and drama equally. He established himself in films like “Blackkklansman” and “I, Tanya,” but playing Richard Jewell in Clint Eastwood’s film put him on the map. Now he’s wowing audiences and critics alike with his incredible performance as serial killer Larry Hall in the Apple+ limited series “Black Bird.” On this episode, he lifts the hood and lets us peek in on his acting process. He explains why his first step is all about self amusement, how mundane details help to bring him closer to the character he’s playing, why he believes you do not need to be a dark person to be an effective actor who takes on dark roles, plus much more.  Follow Back To One on Instagram Back To One is the in-depth, no-nonsense, actors-on-acting podcast from Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft. No small talk, no celebrity stories, no inane banter—just the work.

Renowned as “a one-woman global village,” Sarah Jones is a Tony Award-winning solo performer, writer, comedian and activist. Her directorial debut, “Sell/Buy/Date,” is a hybrid documentary/meta film which features Jones and four of her characters (all played by her) on a journey across the country to listen to real people telling personal stories about their experiences that land them on both sides of various aspects of the complex topic of sex work in America. On this episode, she talks about overcoming the many obstacles and controversies to bring this important film to life, how trusting in collaborators like cinematographer Joshua Weinstein meant so much to her as a first time director who is also in front of the camera in every scene, why she had to make telling the truth her north star, plus much more! “Sell/Buy/Date” is currently playing in New York City and will be streaming on-demand on November 8th. Back To One is the in-depth, no-nonsense, actors-on-acting podcast from Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft. No small talk, no celebrity stories, no inane banter—just the work. Follow Back To One on Instagram

On a special episode of Back To One, I’m sharing a segment from a recent episode of the popular screenwriting podcast Scriptnotes called “Writing As Acting.” In it, screenwriters John August and Craig Mazin “analyze what lessons writers can learn from acting techniques (such as staying present) and working with actors (like staying open).” When I first heard this segment, I desperately wanted to share it with Back To One listeners because I thought it was very enlightening, and maybe even healing, to hear creatives on the other side of the camera talk thoughtfully, and with sensitivity, about the process of the actor. Some of the points John and Craig make about the unique connection between actors and screenwriters inspire me to facilitate a larger conversation where actors can chime in about their experiences giving life to characters that screenwriters have been living with, in their own way, for years. Something to think about. But first, check out this segment from episode 568 of Scriptnotes, and, if you feel inclined, share your thoughts either on the Back To One podcast Instagram page, or email BackToOnePodcast at gmail dot com. And thanks to Scriptnotes for allowing us to share this conversation! Back To One is the in-depth, no-nonsense, actors-on-acting podcast from Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft. No small talk, no celebrity stories, no inane banter—just the work.  

Britt Rentschler is the star of “Pretty Problems,” a smart and hilarious new indie adult comedy which she also produced and helped write with screenwriter and co-star Michael Tennant. In this episode, she talks about their lengthy commitment to making the story work, building their characters with depth, and the risky but triumphant decision to cast their talented friends in supporting roles rather than famous actors who might have secured more money. She describes how her apprehension toward playing the lead role of Lindsay actually benefited her performance, the ways director Kestrin Pantera brought the best out of everyone, plus much more. “Pretty Problems” is in select theaters across the US, and on VOD. Follow Back To One on Instagram Back To One is the in-depth, no-nonsense, actors-on-acting podcast from Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft. No small talk, no celebrity stories, no inane banter—just the work.

Dolly de Leon is a Filipina veteran actor of film and TV who is now, due to her outstanding performance in “Triangle of Sadness,” being spoken about with words like “newcomer” and “breakthrough.” That might have something to do with the “I’m the captain now” nature of the role she plays in the Palme d’Or winning film. It’s like the character and the actor are both saying “I have arrived.” In this episode, she describes the dark place she was in right before auditioning for the part, how director Ruben Ostlund’s collaborative approach sparked her dynamic creativity, why watching the film with audiences cheering for her character feels like live theater, and much more. Follow Back To One on Instagram Back To One is the in-depth, no-nonsense, actors-on-acting podcast from Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft. No small talk, no celebrity stories, no inane banter—just the work.

If Isabelle Huppert is not your favorite actor, she’s the favorite actor of someone you know. Guaranteed. There’s something about her that is unlike any other actor that has ever been on film. But it’s really hard to talk about what that “something” is. In each performance, in every film she’s made, she has such a command of the character, the text, the frame, that we place her in equal authorship with the directors she’s worked with, who happen to be some of most interesting and important in the last half-century—Jean Luc-Godard, Michael Haneke, Claude Chabrol, Michael Cimino, Claire Denis, Joachim Trier, Mia Hansen-Løve, Hong Sang-soo, to name a few. She always found a way to play complex, multi-dimensional, often morally questionable characters, even in a time when the female variety were in short supply. In this woefully short episode, she talks about some of the important, yet somewhat mysterious, aspects of her approach to the craft—curiosity, collaborating with the director, the present moment, listening to the language of the camera, and much more.  A retrospective of 29 of Isabelle Huppert’s best films begins Friday October 7th at Film Forum in New York City.  Follow Back To One on Instagram Back To One is the in-depth, no-nonsense, actors-on-acting podcast from Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft. No small talk, no celebrity stories, no inane banter—just the work.

Xolo Maridueña has been playing Miguel Diaz on the hit series “Cobra Kai” for five seasons, starting when he was 16 years old. On this episode, he talks about how preparing for his dream role as “Blue Beetle” (the D.C. superhero movie coming out next year) sent him down a road that expanded his acting capabilities in new and exciting ways. Plus he talks about William Zabka’s positive influence on him, and the ways that played into how he took on his leadership duties when he got to be number one on the call sheet.  Follow Back To One on Instagram

Last year, Lashana Lynch made history as 007 in “No Time To Die,” this year she uses history to energize her powerful performance in “The Woman King.” In this episode, she talks about how filming that movie “barefoot, on that soil,” surrounded by a truly supportive sisterhood, was so significant to her performance. She explains why she doesn’t have (or even want) a go-to preparation process, what choosing the hard road of avoiding typecasting has done for her career, why she cherishes outstanding Assistant Directors, and much more. Plus she gives us a peek at her role as Miss Honey in “Matilda” by way of describing a tiny, but significant, gesture of her hands. Follow Back To One on Instagram

Australian actor Essie Davis is best known for “The Babadook,” “Game of Thrones,” and “Miss Fisher’s Murder Mysteries.” This year, she stunned me with two incredible performances in two powerful films. In “Nitram,” directed by her husband Justin Kurzel, she plays the important and heartbreaking supporting role of Helen, opposite Caleb Landry Jones. In “The Justice of Bunny King” she broke my heart again, this time playing the house-less titular character who is desperately trying to get her kids out of foster care. It was made pre-pandemic and had a staggered release last year overseas. Look for it in select US cities and on VOD in late September. On this episode, she gives us a glimpse of what’s at the core of her process. She talks about why it takes her an abnormally long time to read a script, the helpful ways Kurzel assists actors in prep, the change that occurred when she stopped “trying” and started “being,” plus much more. Follow Back To One on Instagram

Esteemed veteran actor John Christopher Jones returns to the podcast (his first time was episode 13) to talk about conquering the “real fear” he had of going back to work, in a guest starring role on the television series “New Amsterdam,” while dealing with the unpredictable and often debilitating effects of worsening Parkinson’s. Then he takes us on a brief tour of the various directors that worked well for him over the years, and others that, sometimes hilariously, fell a little short, like José Quintero and his maddening direction in the 1985 production of “The Iceman Cometh” with Jason Robards. He shares frustrating stories of being the understudy who’s thrown into Mike Nichols’ 1984 production of “Hurlyburly,” and having to survive the antics and proclivities of Ron Silver and others. He tells us about the least successful role he ever performed, the most successful, and how looking back on all of it makes him realize how lucky he is. Plus much more! Follow Back To One on Instagram

Austin Pendleton might be best known for “My Cousin Vinny,” or “What’s Up Doc?” but the 82 year old actor, director, playwright, and teacher is a one-man theater institution. It almost seems like there isn’t a great play that he hasn’t performed or directed, somewhere, in his 60+ years in the business, and he’s not slowing down in the slightest. In this epic, 90 minute episode, what Meryl Streep said of Pendleton will ring true—“there’s no line between the man and his work.” He talks about his latest performance, in the celebrated new Tracy Letts play “The Minutes,” then takes us back half-a-century to the the first production of “Fiddler On The Roof,” and tells a few incredible stories of working with the great Jerome Robbins. I ask him how teaching feeds his acting work. He shares some important lessons he’s learned from his teachers (like Uta Hagen, Bobby Lewis, and Elia Kazan), legendary actors (like Jo Van Fleet and Kim Stanley), and disasters (like when a horrifically bad review kept him away from substantial roles for 7 years). He leaves us with a vow he made in 1958, which he still lives by, that just might be the secret to his longevity in this emotional roller-coaster of a profession. Plus much more! Sit back and let this great sage of the stage take you on a journey through the life of an actor in a deep, enduring love affair with the work.  Follow Back To One on Instagram

Adrian Pasdar has experienced a lot in his nearly 40 years as a working actor and in this episode he generously shares the wisdom he’s gleaned. Some of the highlights in his credits include “Top Gun,” Near Dark,” “Carlito’s Way,” “Heroes,” “Agents of S.H.I.E.L.D,” and perhaps the most talked about single-season series of the 90s—“Profit.” Not to mention he’s the voice of Iron Man. He talks about how listening became his prime directive as an actor, his search for truth in performance (and the search for a better word than “truth”), “the method” as protective element, and why he believes “the tools we need as artists are right in front of us.” Plus he bestows upon us a few amazing stories featuring familiar names, such as getting bailed out of a Cannes jail by Woody Harrelson, getting forgiven by Frank Sinatra, taking Kathryn Bigelow to see the Russian masterpiece “Come And See,” eating TV dinners with Gregory Peck, and much more. Follow Back To One on Instagram

Dutch actor Katja Herbers plays forensic psychologist Kristen Bouchard on the hit series “Evil,” which just finished its third season at Paramount+. On this episode, she talks about how saying no to the audition actually secured her the role, and hitting it off with “the Kings” (show runners Robert and Michelle King) helped her feel ownership of it. We get into the beautiful weeds about the pitfalls of over-directing and how she often simply ignores direction or translates it into something she can use. She explains why laboring over an emotional through-line is unnecessary, how working with the girls that plays her kids fuels her work, why she was worried about getting fired from “Westworld,” and much more. Follow Back To One on Instagram

Zoey Deutch returns to the podcast (Ep. 11, Ep. 97) to talk about her latest role in Quinn Shephard’s dark social satire “Not Okay.” She plays Danni Sanders, a lonely, semi-clueless photo editor who suddenly gets the attention she craves after lying about almost dying in a terrorist attack. Deutch talks about how she approached the challenge of making Danni relatable, the frustrations of shooting in New York City, why she didn’t play it as a comedy, spirit animals, “using” the paparazzi, the amazing Mia Issac, what she learned from Mark Rylance on “The Outfit,” and much more! Watch "Not Okay" on Hulu. Follow Back To One on Instagram

Himesh Patel is nominated for an Emmy this year for his incredible performance as Jeevan in Patrick Somerville’s HBO Max mini-series “Station Eleven.” In this episode, he talks about how that role made him a better actor, which is saying a lot because he had already given us some phenomenal work in films like “Tenet,” “Don’t Look Up,” and his first feature film “Yesterday.” He talks about the attention and care given to him by the big-name directors of those films, and how that helped his work. I ask about his 10 years on the UK television institution “EastEnders,” and if that acting foundation keeps supporting him. He talks about the short film that changed his career, the role as a pigeon that changed his life, and much more!   Follow Back To One on Instagram

She’s only 21, but Australian actor Angourie Rice has earned respect in Hollywood for stacking up diverse roles in “The Nice Guys,” “The Beguiled,” “Jasper Jones,” “Mare of Easttown,” not to mention a few Spider-Man movies. Now she has her first starring role in “Honor Society” for Paramount+. She talks about how it helped her to be able to relate so much to her character in that film, and why talking directly to the camera was oddly easy. We chat about her podcast, The Community Library, which is a celebration of literature and storytelling of all kinds. This leads to a discussion of how actors view their place in a story. She talks about why her podcast has made her look more critically at the scripts she gets, how being a lover of words helps the work, and much more.  Follow Back To One on Instagram

Ethan Hawke returns to the podcast (first time was episode 41) to talk about “The Last Movie Stars,” his epic 6-part documentary that chronicles Paul Newman and Joanne Woodward’s iconic careers and decades-long partnership. Years ago, a friend of the couple interviewed Paul, Joanne, and many people close to them for a potential memoir, but Newman burned the tapes. Miraculously, the transcripts survive, so Hawke called on his acting friends to bring them to life. The result is both an intimate portrait of the lives and careers of this great duo and also a constant celebration of the endeavor of acting itself. Hawke talks about the apprehensions he had when Newman’s children approached him to do this series, and how they were assuaged. He lets us in on what led to the decision to go meta and include the “behind the scenes” zoom conversations, which, in my opinion, really makes the series special. He talks about discovering his own biases while editing and how that awareness enriched the cut, shares why he relates to one aspect of how Newman approached his own fame, and why it felt sometimes like working on this was going to break his brain. Plus much more! “The Last Movie Stars” is on HBO Max on July 21st. Follow Back To One on Instagram

Fresh out of Juilliard, Jeanne Tripplehorn’s first screen role was “Basic Instinct.” That started a 30+ year run of films like “The Firm,” “Waterworld,” “Sliding Doors,” and series such as “Criminal Minds,” “Big Love,” and her latest, “The Terminal List” for Amazon. In this episode, she talks about her love for extensive research, the most important tools for an actor—confidence, relaxation, and focus; how the happenings off-screen affect what’s on the screen; and why, at this point in her career, she just wants to play. Plus we get the scoop on her preternatural ability to sing classic rock songs in the voice of Julie Andrews. Follow Back To One on Instagram

Read just a sample of Juliette Binoche's credits—“Mauvais Sang,” “Three Colors: Blue,” “Damage,” “The English Patient,” “Chocolat,” “Certified Copy,” “Clouds of Sils Maria,” “Let The Sunshine In”—and one thing becomes clear: few actors have been as internationally respected for such a sustained period of time. In this episode, she speaks about the importance of acting from the body, and learning to use “sensation” as a starting point. She tells a story about feeling lost on the set of John Boorman’s "In My Country," and what set her free should be a lesson to all directors. She talks about how the difficult circumstances surrounding the production of her two newest films, “Both Sides of the Blade” and “Between Two Worlds,” actually served her process. Plus much more!  Follow Back To One on Instagram

I watched the movie “Cordelia” not knowing anything at all about it, and never having seen Irish actor Antonia Campbell-Hughes in anything before. The psychological thriller greatly impressed me in no small part due to the captivating performance of Campbell-Hughes, particularly the emotional depth that she invites the viewer to examine without words. In this episode, she talks about the layering work she did to build that character, the unorthodox way her process (or conscious lack of process) has developed over the years, and why it all started with what continues to be the main ingredient—truth. Her feature directorial debut “It Is In Us All” just won a jury award at SXSW. She talks about getting that film made, why visual storytelling is paramount to her, how she faces the challenges of acting and directing at the same time, plus much more. Follow Back To One on Instagram

Luke Bracey didn’t dream about being an actor when he was a kid, he didn’t study the craft, and on his first job, which came from his very first audition, he didn’t even really know when he should start saying the lines. But with roles in films like “Point Break,” “Hacksaw Ridge,” “Holidate” and the soon-to-be-released “One True Loves,” he has built a career with his instinct, experience, and innate talent. Now he plays Jerry Shilling in the Baz Luhrmann blockbuster “Elvis.” He talks about what stopped him from getting overwhelmed by that “old school” big movie production, the value of energy management, the “privilege of pressure,” getting the “kick in the butt” he needed at the right moment, and bringing it all back to “if you believe it, we’ll believe it.” Plus much more! Follow Back To One on Instagram

James Scully plays Charlie, love interest to Bowen Yang’s Howie, in the new film “Fire Island,” a touching, hilarious, and entirely Queer take on “Pride and Prejudice,” written by and co-starring Joel Kim Booster, and directed by Andrew Ahn. Scully talks about the imposter syndrome that infected the cast, how sometimes when material is so relatable it’s actually hard to gauge if you’re hitting it right, why having a Queer director actually improves the work, and how Ahn specifically led the way so thoughtfully and effectively. Plus much more!  Follow Back To One on Instagram

Among many appealing qualities as an actor, Rupert Friend certainly has “range.” His two most recent roles are James Whitehouse—elitist, upper-class British politician in David E. Kelley’s Netflix limited series “Anatomy Of A Scandal”; and The Grand Inquisitor—blowhard Star Wars bad guy in “Obi-Wan Kenobi.” He’s probably best known for playing Peter Quinn on a few seasons of “Homeland,” which got him an Emmy Nomination. On this episode, he talks about why his preparation process is more “uncovering” than “building,” how energy management has served him well, the gift of being allowed to “fail safely,” and the most important thing any actor can have in their arsenal—instinct. Plus much more! Follow Back To One on Instagram

David Morse is one of the most respected veteran actors working in the business. “St. Elsewhere,” “The Indian Runner,” “The Crossing Guard,” “Dancer In The Dark,” “House,” “Hack,” “The Green Mile,” to name just a few of his past credits, and now a Tony nomination for his incredibly powerful performance in “How I Learned To Drive,” which he has reprised with Mary-Louise Parker, 25 years after they first did it off-broadway. I talk to him about the differences in these two incarnations, particularly one important and significant moment he arrives at toward the end of the play. He explains how training with William Esper enriched his work, how working for Sean Penn invigorated it, and how the “all in it together” aspect of theater continues to feed him. Plus much more! Follow Back To One on Instagram

Mike Leigh is back in New York City for Film At Lincoln Center’s retrospective of his films, which starts Friday May 27th. He’s doing Q&A’s after three of his best—“Naked,” “Secrets and Lies,” and “Topsy-Turvy.” Since he was last on the show (Episode 54), a few of his most treasured actors have been on and discussed the joy of working with the legendary director. There have even been some guests who have talked about the pleasure of working with him just in an audition, even though they weren’t selected. I ask him to break down his audition process and he generously does so in great detail. We examine one particular moment from "Secrets and Lies" as a way to discuss the careful way he builds narratives with his collaborators. I ask which film of his someone who has never seen a Mike Leigh film should see first. He talks about Cassavetes, Netflix, procrastination, his oeuvre as a whole, and much more. Follow Back To One on Instagram

Few characters born in this current ‘Golden Age of Television’ rise to the legendary status of Gustavo Fring. Giancarlo Esposito brought the drug kingpin to life on “Breaking Bad” and now he’s finishing out (or filling in) his arc on the prequel “Better Call Saul.” On this episode, Esposito talks about the careful way he “whispers” a new character into existence, and why the identification and breaking down of his own resistances is so important. He tells the story of the eureka moment he had reading the words “hiding in plain sight” and how that opened up the character for him. He claims the real-life people he portrays (like Adam Clayton Powell Jr. in "Godfather of Harlem”) haunt him, shares why “making it personal” is such an essential step, and much more! Follow Back To One on Instagram

I was lucky to catch Alison Pill on Broadway, 16 years ago, in “The Lieutenant of Inishmore,” and then became enamored with her work in shows like “In Treatment,” “The Newsroom," “Devs,” and movies like “Scott Pilgrim vs. The World” and “Milk,” to name just a few. Nowadays she plays Dr. Agnes Jurati on the series “Picard,” and stars with Sarah Gadon in Michael McGowan’s new film “All My Puny Sorrows.” She shares what she believes to be the secret ingredient that made that film work, and talks about how adopting a physicality for a character is foundational to her now. She reveals some of the reasons why theater appeals to her so much, one of them being that it allows her to take on the role of editor of her performance. She professes her love for text, her love for rehearsal, her frustration with improv, and much more. Follow Back To One on Instagram

Anamaria Vartolomei is the French-Romanian star of Audrey Diwan’s film “Happening,” about a young college student in desperate need of an illegal abortion in 1960s France. The camera follows Vartolomei’s character so closely, both literally and figuratively, that you begin to feel like you are experiencing the movie from inside her. On this episode, Vartolomei talks about why the closeness of the camera actually made her feel protected; how curiosity rather than competition helped her in the audition; how feeling safe leads to fearlessness in action; and the importance of breathing, surprises, and, most importantly, anger. Follow Back To One on Instagram

The legendary theater director, actor, shaman André Gregory has been producing ground-breaking work for over half a century. He’s perhaps best known for the projects he did with Wallace Shawn—“My Dinner With André” (which is celebrating its 40th anniversary), “Vanya on 42nd Street” and “A Master Builder.” His recent book “This Is Not My Memoir" details, with refreshing honesty, his extraordinary life through incredible stories about, for instance, learning from the great Jerzy Grotowski, getting punched by Gregory Peck, buried alive in Richard Avedon’s backyard, to name just a few. On this episode, Gregory answers some questions about his unique rehearsal process, talks about why it doesn’t matter if the stories he tells about his life are rooted in fact, offers up a one word answer to what his hope is for the future of performance, and much more.  Follow Back To One on Instagram

Wunmi Mosaku won a BAFTA award for “Damilola, Our Loved Boy.” She was only the 2nd black actress to win one in 62 years. You might know her from her incredible work as Ruby in “Lovecraft Country,” Rial in “His House,” or B-15 in the Marvel series “Loki.” Her latest is “We Own This City,” from the makers of “The Wire,” which premiered Monday on HBO Max. On this episode, she talks about her early days of learning the ropes of screen acting, how rehearsal makes a big difference in her process, why connecting to people is so important to her job, how one prompt led to the most exciting artistic night in her career, and much more. Follow Back To One on Instagram

In the new HBO Max series “Julia,” talented Irish actor Fiona Glascott plays Judith Jones, the real life editor who pulled Julia Child’s book “Mastering the Art of French Cooking” from the reject pile and turned it into a bestseller. In this episode, Glascott talks about the joy of inhabiting that trailblazer and playing opposite the great Judith Light in a pivotal scene. She also details the unique preparation process she employs when she takes on the young Professor McGonagall in the “Fantastic Beasts” films, shares an inspiring reason why she doesn’t obsess over landing some ideal role, and much more. Follow Back To One on Instagram

Eddie Marsan first came to my attention with his now legendary performance in Mike Leigh’s “Happy-Go-Lucky.” He has so many layers at play under Scott’s anger, gives so much depth to that character. It is a wonder to behold. He kept doing it in films like “Tyrannosaur,” “Still Life,” “Sherlock Holmes,” as Terry in the Showtime series “Ray Donovan,” and now in his newest film, “The Contractor,” opposite Chris Pine. In this half hour, Marsan talks about the formative influence of Leigh on his work and the meaning of the command “dig a hole and sit in it.” He shares some things he picked up from never leaving Jim Broadbent’s side on the “Gangs of New York” set, the technique of “listening with prejudice,” the importance of living a life in such a way that the job of acting doesn’t fulfill your egotistic needs, plus much more. Follow Back To One on Instagram

Dominique Fishback talks about the characters she plays as if they inhabit her rather than the other way around. This begins to explain the immense, yet subtle, and always authentic power on display in performances such as Darlene in “The Deuce,” Kenya in “The Hate You Give,” and Deborah Johnson in “Judas and the Black Messiah.” Now she stars with Samuel L. Jackson in the Apple+ series “The Last Days of Ptolemy Grey.” She talks about the interesting way her character, Robyn, disrupted her usual psychological preparation process; where she gets the courage to fiercely advocate for her characters; repairing her relationship with her inner child; the “art of being a movie star;” and much more.  Follow Back To One on Instagram

You know him as Pastor Tim on “The Americans,” or “Dollar” Bill Stearn on “Billions,” or maybe Kelly AuCoin has wowed you as a regular on the New York stage for many years. In this episode he lifts the hood and lets us peek in on what keeps his acting engine running, or (because he prefers sports metaphors) what keeps him in the game. He talks about how his wife made him realize he actually does have a preparation process, the differences between his hours leading up to “action” as apposed to “curtain up,” the importance of the often overlooked tool of a good night’s rest, what he relished on the set of his latest role in “The Girl From Plainville,” and much more. Follow Back To One on Instagram

Alessandra Mesa and Ani Mesa are the stars of Erin Vassilopoulos’ debut feature "Superior," a fascinating, fun, and suspenseful genre-blending exploration of identity. The three collaborated on a short of the same name six years earlier, and the feature functions almost like a sequel. In this episode they talk about the benefits of having the “real memories” of the short as a kind of backstory to use in the feature, how they made the anxiety of shooting on film work to their advantage, the interesting way Ani helped Alessandra (who co-wrote the script) take off the writer’s hat and put on the actor’s hat during production, how “world building” tangibly helps the acting process, why the mysterious elements shared by any two actors in a scene have even more useful potential when those two people are identical twins, plus much more. Follow Back To One on Instagram

He played Captain Pike on "Arrow," Basqat on "Smallville," and Nick Barron on the acclaimed Canadian drama "19-2," and now Adrian Holmes has stepped into the biggest role of his career—Uncle Phil on "Bel-Air," Peacock’s dramatic reboot of "The Fresh Prince of Bel-Air." In this half hour, Holmes talks about the process of finding his own version of that iconic character, the theatrical trick he plays on himself in auditions that keeps him "dropped in," why telling positive black stories is so important, and much more.  Follow Back To One on Instagram

In films such as “Transit,” “In The Aisles,” and “Undine,” German actor Franz Rogowski has quickly established himself as one of the most respected and sought after actors in international cinema. But now, with his transformative and revelatory performance in “Great Freedom,” it is hard to even find words to properly describe his astounding work, except maybe outer-worldly. On this episode we get a detailed glimpse into his unique preparation process, which involves using drawings and word graphics to move motivations and dialogue onto another plane of accessibility. He talks about “the exchange” that needs to take place for a performance to take hold, why his hearing loss actually makes him a better listener, how lockdown’s interruption of production actually benefited the work, and much more. Follow Back To One on Instagram

Emory Cohen’s past credits include “Brooklyn,” “The Place Beyond The Pines,” “Lords of Chaos,” and the short-lived but much-loved series “The OA.” Now he stars as Samuel in Brian Petsos’ wildly unique comedy “Big Gold Brick,” and delivers a performance so full of mania, big humor and bold choices, it will have you continuously rapt. On this episode, he talks about the aspects of his process that he relies on with every role, the walk down “the gallery” of past great performances, sometimes “silly” animal work, focused rehearsal with a coach, and he explains why he actually enjoys the restrictions and frustrating precisions of the film set, plus much more.  Follow Back To One on Instagram

Chukwudi Iwuji has been celebrated for his stage work (particularly Shakespeare) on both sides of the pond. He got raves for his Henvy VI at RSC, and his Othello and Hamlet at The Public, to names just a few. The raves continued for his performances in “The Low Road” (Obie win) and Ivo van Hove’s “Hedda Gabler.” He has only recently been transitioning, in a concerted way, to film work. James Gunn rewrote Clemson Murn in “Peacemaker” after seeing Iwuji’s audition, then put him in “Guardians of the Galaxy 3,” and called him one of the greatest actors who has graced his camera. In this episode, Iwuji talks about what Gunn and Hove have given him, what he needs from a director in general, his realization of the essence of the difference between film and stage performance, why he gets off book immediately, the importance of feeding your work with substance other than work, and much more. Follow Back To One on Instagram Subscribe to Jenna Dolittle's Actors Rise newsletter Follow Actors Rise on Instagram

She has been acting professionally for the better part of two decades, so Joey King has a bit more experience than the average 22 year old Hollywood actor. And after the gigantic surprise success of “The Kissing Booth,” and its subsequent sequels, she knows what it’s like to have a global hit on her hands. Add an Emmy nomination for her phenomenal work in “The Act” to her resume, and you have a well-respected actor/producer with a constant pile of scripts on her desk and first look deals at Hulu and Netflix. In this episode, she explains how it only seems like it’s easy for her to get emotional on camera, why learning everyone’s name on the set actually helps her work, the importance of letting the best idea win especially if it isn’t yours, why she encourages healthy debate with her team, her mystical connection to her new film “The In Between,” and much more. Follow Back To One on Instagram

He was Aquaman on “Smallville” and Hawk on “Titans,” and now Alan Ritchson is taking on the role of “Reacher” in the new Amazon series based on the Lee Child books. Child highlighted the “blend of menace and goodwill” that Ritchson brings to the role as something that attracted him to the actor. Ritchson talks about how the super long audition process functioned almost like a workshop for him to experiment with different approaches to the character, which paid off when he landed the part and finally got in front of the camera. He tells another story of a very different audition that wasn’t as successful but that changed his life for the better, and shares a valuable lesson he learned about letting go and picking your battles as an actor, plus much more. Follow Back To One on Instagram

Norwegian actor Renate Reinsve’s performance in her first leading role, in Joachim Trier’s “The Worst Person In The World,” earned her the best actress award at Cannes and is slowly taking the world by storm. She embodies Julie with a levity and depth that is both grounded in a relatable reality and poetically expresses the beauty and heartbreak of life at the same time. To say it’s the kind of work that changes people’s lives is not an exaggeration. In this half hour, we take the microscope to her performance and lay out the factors at play in its creation. Reinsve talks about her obsession with character motivation that she developed at an early age, almost as a form of self therapy. She explains the importance of leaving the ego out and serving the piece as a whole, Trier’s balance of control and freedom that made all the difference, Timothée Chalamet as spirit animal, plus much more. "The Worst Person In The World" opens in LA and NY on February 4th. Follow Back To One on Instagram

Barring any unforeseen circumstances, Eric Roberts will soon have more credits as an actor than anyone else who has ever lived anywhere in the world. An intensity matched only by raw talent on display in films like “Star 80,” “The Pope of Greenwich Village,” and “Runaway Train” established him as a respectable actor’s actor in Hollywood. And, as he talks about in this episode, once video replaced film, and more people began shooting, they wanted Eric Roberts in their movies. And once he became privy to how many offers were coming in, he started saying yes. Work begot work fairly quickly, and he never stopped. I ask him how he handles non-professional crews and actors on these ultra low budget sets, and if the drain on his energy is worth it. He compares acting to exercise, sex, and kissing, talks about the art of using cue cards, tells insightful stories about Mickey Rourke and Bob Fosse, explains why “The Righteous Gemstones” is his favorite working experience ever, plus much more.  Follow "Back To One" on Instagram

This is Kevin Corrigan’s fourth time on the podcast (his previous episodes are #1, #67, #133). It’s a yearly tradition to visit with the wise sage of indie film acting. We’re catching him right after returning from his latest job in Vancouver. He highlights a few moments from that shoot that stand out for him, shares what’s behind his incredible drawings of moments he loves from various performances, fails at “Kevin Corrigan Trivia” (which leads to some memories of “Walking And Talking”), talks about what makes it all “worth it,” and much more. Plus we chat way too much about “The Beatles: Get Back.” Follow Back To One on Instagram Check out Kevin's amazing drawings on his Instagram

Chris Diamantopoulos was always an actor. Never held another job. He was working on the stage at an early age—touring companies, Broadway—then transitioned to television, film, and eventually voice overs. Never stopped. Some highlights: Russ Hanneman on “Silicon Valley,” Reinhold on “Community,” Moe in “The Three Stooges,” the official voice of Mickey Mouse, and right now you can see him playing bad guys in Netflix’s “Red Notice” and “True Story.” We recorded this interview hours before he started a new job and he takes us through what’s on his mind on the night before day one. He talks about how the voice is always the aspect he starts with when building a character, why going back to Broadway in a musical after many years was so challenging, the importance of keeping himself at a place of healthy neutrality, plus lessons learned from Brian Cranston, Kirk Russell, David Fincher, and much more!  Follow Back To One on Instagram

“The Girlfriend Experience” put Riley Keough on the radar, and she’s been giving us multi-layered, deeply-rooted, captivating performances ever since, mostly in indie films like “American Honey,” “Under The Silver Lake,” “The House That Jack Built,” and now this year’s “Zola,” where she brilliantly walks the line of authentic nuance and absurdity in the role of Stefani. In this episode, she talks about the touchy endeavor of building the right approach for that character with director Janicza Bravo, the importance of knowing when to tighten up on prep or leave it loose, why she hates auditioning, how her spirituality enriches the work, why she’s not willing to risk her mental health for the job, and much more!  Follow Back To One on Instagram

Léa Seydoux was a talented young French actor when she reached planet-wide stardom with her incredible performance in “Blue Is The Warmest Color” (she even shared the Palm d’Or at Cannes, which had never been awarded to actors before). Since then she has invaded Hollywood, starring in James Bond movies and Wes Anderson films, but also continuing to turn in exceptional performances for international directors like Yorgos Lanthimos, Arnaud Desplechin, Ildikó Enyedi, and, for her latest film “France,” Bruno Dumont. In this episode, she talks about the “sweet craziness” of working with Dumont, the importance of learning the “language” of the director, why their differences of approach are actual what appeals to her, how cinema saved her life, and much more. Follow Back To One on Instagram

Looking back at Scott Speedman’s work in the early days of “Felicity” is a bit surprising. His acting had a wonderfully nuanced authenticity even then. Two decades later, that natural artistry has grown into a charismatic intensity and assuredness. It’s on display this year in the third season of “You,” the eighteenth season of “Grey’s Anatomy,” and the charming indie film “Best Sellers.” When we spoke he had just wrapped films with David Cronenberg and Lena Dunham. He talks about working with those two very different directors, the secret to good onscreen chemistry, how fatherhood might deepen his work, and much more.  Follow Back To One on Instagram (photo by Ben Duggan)

Rebecca Wisocky plays Hetty Woodstone, the deceased Lady of the Manner, on the new CBS series “Ghosts,” where she’s a stand-out among stand-outs in its impressive comedy ensemble. In this episode, she talks about the absolute pleasure of working on that set and the interesting ways in which the large cast, who more often than not act together in the same shot, find the “music of the scene” together. She has pretty much mastered the art of the guest star role, and has played more than her share of villains. I get her to breakdown her latest in a recent episode of “Dopesick.” She talks about walking the line of behavioral specificity and story function. Plus we chat a bit about actor’s safety post-“Rust.” And much more!  Follow Back To One on Instagram

Shakespeare on the stage is his first love, but Alex Hassell loves the camera and it loves him back. Currently he plays Vicious in “Cowboy Bebop,” the live-action remake of the popular Japanese anime series. On this episode, he talks about being attracted to roles that are difficult, how years of stripped-down live theater work at The Factory formed him as an actor, why he’s more at ease when he doesn’t know what’s going to happen next, his valuable contribution to Joel Coen’s “The Tragedy of Macbeth,” and how the particular challenges of acting on film excite him. Plus much more! “Cowboy Bebop” is available now to watch on Netflix and “The Tragedy of Macbeth” will premiere in select theaters on Christmas Day and globally on Apple TV+ on January 14th. Follow Back To One on Instagram (photo by DWGH Photography)

From “The Walking Dead” and “Punisher” to “The Wolf of Wall Street,” “Small Engine Repair,” “The Many Saints of Newark,” and this month’s “King Richard,” Jon Bernthal has established himself as the hard-working, all-in, go-to, actor’s-actor of the moment. In this episode, he talks about some of the elements he uses—generosity, energy management, isolation, fear-as-fuel, group strength—to do his work, the one thing all great directors have in common, why he’d be just as grateful doing regional theater, plus much more! Follow Back To One on Instagram

Ruth Negga loves words. And even someone who doesn’t particularly love words falls in love with the ones spoken by Ruth Negga. It’s not just her Irish accent. She uses words like a master craftsman uses tools. A profound humbleness. No pretension. Just the right tool, used at the right time, to make you understand, to make you believe. Obviously this goes for her acting work too. But, in true master-craftsman-style, there’s no sign of craft. You just believe. “Loving” got her an Academy Award nomination, her “Hamlet” got raves on both sides of the pond, and now “Passing,” Rebecca Hall’s stunning debut as a director, has them talking about Negga’s work again, this time opposite the wonderful Tessa Thompson. In this episode, she talks about the importance of gauging the atmosphere of the project, following instinct when it comes to trusting a director, the secret of playing an intoxicating character, and much much more. Follow Back To One on Instagram

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

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

We’re catching the super talented Susan Kelechi Watson at an interesting moment. She plays Beth Pearson on the network television phenomenon “This Is Us,” which just finished its fifth season and announced that the sixth will be its last. On this episode, she talks about what makes a performance “leave the screen,” learning the power of minimalism from watching Sade, how sometimes being a little lost “in the wilderness” is an important part of her process, why she started building her post-“This Is Us” career many seasons ago, and much much more!

Jean Smart is the very definition of versatile. The three-time Emmy winner’s first act highlights include “Designing Women," “Frasier,” “24,” and now a new act in her career, filled with even juicier roles, starting with “Fargo,” “Legion,” and “Watchmen,” has led to current HBO favorites “Mare of Easttown,” with Kate Winslet, and a staring role in “Hacks.” In this half-hour she talks about the importance of hearing the character’s voice, why not being an ingenue may have helped her career, frustrating ways the industry has changed for actors, her love for her current co-stars, why studio audiences throw her off her game, and much more!  Follow Back To One on Instagram

On a very special DOUBLE EPISODE, Laura Donnelly and Ann Skelly sit down for in-depth conversations on their craft and the magic they make together on the new HBO series “The Nevers.” Donnelly talks about an artistic breakthrough that happened in rehearsal for a play that changed her perception of herself as an artist. Skelly talks about coming to the realization, early on, that she was getting “too technical” and what she did to bring back her “sense of discomfort again.” And they both talk about the fascinating ways their approach to the work complement each other, and how their mutual fondness fuels the energy they use to create. Plus MUCH more! "The Nevers” is streaming on HBO Max.  Follow Back To One on Instagram

Fifteen-time arm wrestling champion and three-time Emmy nominee Dot-Marie Jones inspired viewers with her moving portrayal of Coach Beiste on “Glee,” which was her third time in a Ryan Murphy universe, after “Nip/Tuck” and “Pretty/Handsome.” Last year she played “Little Helen” in “Greener Grass,” and now she’s “Big Sexy” in the hilarious and charming arm wresting comedy “Golden Arm.” On this episode she tells the story of how, as an athlete who knew nothing about acting, an opportunity propelled her into the business after hearing the words “cold read” and imagining some kind of weather endurance test. She talks about how having a very specific type has benefited her, and nearly dying last year has mostly angered her, and why she dreams of getting back on the stage in “Rock Of Ages.” Plus much more! Follow Back To One on Instagram

With remarkable performances in films like “Hacksaw Ridge,” “The Social Network,” “Under The Silver Lake,” and “Silence,” Andrew Garfield has established himself as one of the great actors of his generation. And now a virtuoso performance in Gia Coppola’s new film “Mainstream” solidifies that. On this episode, he talks about two transformative experiences in the theater (“Death of A Salesman” and “Angels In America”) that changed him in deep ways, and what he did on the nights when he felt so emotionally drained that he literally couldn’t go on the stage. He talks about why he needs to feel “called” to a role, why he sometimes wonders what the moon is thinking when it looks at the earth, and how the fear and self-loathing he feels at the start of every production became an integral part of his preparation process. Plus much much more!  Follow Back To One on Instagram

I first came in contact with the juggernaut that is Shannon DeVido in her hilarious portrayal of Andrea Mumford on “Difficult People.” Another recurring role on the Netflix series “Insatiable” followed, and now the actor/singer/comedian gets to combine it all in the smile-inducing new movie musical “Best Summer Ever.” On this episode, she talks about the passionate, super-positive, love-filled environment that fueled that ambitious production, and the ways she adjusted to a starring role after years of guest spots. She gives us a peek at what it’s like to navigate the acting world as a disabled person, and why the biggest limitations she faces are not due to her wheelchair, but those in the minds of decision-makers. Follow Back To One on Instagram

Julian Kostov is a multilingual Bulgarian actor, producer, and advocate for slavic representation. He plays Fedyor on the new hit Netflix fantasy series “Shadow and Bone.” On this episode, he takes us from his depressed student years, when it was folly to even dream of working as an actor, through the difficult period of the growth of his craft, recovering from big auditions, strengthened by personal breakthroughs that fuel the work, all the way through the harnessing of his ability to bring his unique spin to wonderful roles and help others with the founding of his company JupiterLights Media, which bridges Bulgarian and other Eastern-European talent to the international entertainment industry. His success is not just built on hard work, but love, generosity, and a belief in the connection that binds us all. You’re going to love this actor.  Follow Back To One on Instagram

Clancy Brown is a living legend of actor’s actors. With nearly 300 credits, from “Highlander" and “The Shawshank Redemption” to “SpongeBob SquarePants” and “Promising Young Woman,” he’s morphed and adapted in this business and made it work for him. On this episode, I ask him how his approach to preparation has changed over the years. He talks about the importance of knowing the narrative purpose of your character, why “faster, funnier, louder” are directorial notes that work for him, and how he looked at auditioning as exercising his Spencer-Tracy-don’t-bump-into-the-furniture muscles. You can tell he had fun playing Montgomery Dark, a creepy Crypt-Keeper-esque storyteller, in his latest, the new anthology horror film “The Mortuary Collection,” but, as you’ll hear, playing King Lear would really get him excited.   Follow Back To One on Instagram

In this epic episode, we really get to know the talented actor Danny Deferrari, who plays Max in Emma Seligman’s brilliant and hilarious new film "Shiva Baby," and I’m eternally grateful for it. He talks about appreciating the “emotional language” that Seligman speaks and the heavy life situation that was weighing on him during that movie. He takes us through his early training as an actor, his formative and important seasons at the Williamstown Theater Festival, and the trials and tribulations that brought him to his “Holy Trinity of Artistic Safety.” I break down how a small performance of his was successful because I didn’t even know he performed it, and much much more!  Follow Back To One on Instagram

Billy Magnussen is a Tony nominated actor who you know from “Game Night,” “Into The Woods,” “Ingrid Goes West,” and “Maniac.” On this episode, he talks about the foundational benefits of his early stint on a soap opera, the importance of showing up for your career, his fondness for Cristin Milioti, his co-star on the wonderful new HBO Max series “Made for Love” (with stories of pestering her mercilessly when they both performed on Broadway in theaters next door to each other), and he makes an impassioned plea for the celebration of NEW works in the theater.  Plus much more! Follow Back To One on Instagram

Lily Rabe is probably best know for inhabiting a half-dozen characters over many seasons on Ryan Murphy’s hugely popular “American Horror Story” series, and recently her supporting performance in “The Undoing” had a lot of people talking, but in New York City, she’s theater royalty. I pinpoint my first encounter with her greatness. It was as Portia in “The Merchant of Venice” for Shakespeare in the Park. The court scene. She details the lengths director Daniel Sullivan went to avoid rehearsing that scene, and the miraculous occurrence when they finally did. She talks about being an “over-packer” when it comes to preparation. I ask if there’s a healthy way to go to dark places and still be affective, and about working with amazing young actors on her addictive new thriller series “Tell Me Your Secrets” (now on Amazon Prime), plus much more! Follow Back To One on Instagram

“Westworld” star Leonardo Nam didn’t know that I saw him perform a scene in an acting class in New York City way back when. An inventiveness and creativity were on display there that I still see in his work. In this hour, he tells an amazing story of literally coming to a crossroad in his young life, and how he boldly chose what felt right, and turned toward the pursuit of acting. He talks about the importance of finding the “play” in every role, why the costuming days are his favorite in pre-production, and how meditation helps get him “back to one.” Plus much more!

You’re about to hear the name Julia Sarah Stone quite a bit. The young Canadian acting phenom is turning Hollywood heads with a focused talent and poise well beyond her years. Her latest movie, the unique sci-fi thriller “Come True,” which has been wowing audiences at festivals, is opening Friday March 12th from IFC Midnight. In this episode, she talks about the “playable” characteristic that helped her performance in that film, the traps actors easily fall into when they lay in the emotion while losing sight of basic aspects such as motivation, and why she always wants to be a student of the craft, no matter where her career takes her. Plus much more! She’s the kind of actor that will make you want to open Final Draft and finally start writing that script. Follow Back To One on Instagram

Since playing Lau in “The Dark Knight,” Chin Han has been on a Hollywood run, acting in blockbuster action movies like “Ghost in a Shell,” “Skyscraper,” and “Captain American: Winter Soldier,” as well as work on a less grand scale for Steven Soderbergh, Gus Van Sant, and the celebrated Netflix series “Marco Polo.” Now he stars in the eagerly anticipated new “Mortal Kombat” movie as the shape-shifting villain Shang Tsung. I asked him how he dealt with the history, fan passion and anticipation for the character in his preparation and how it affected him during production. He talks about his interesting process of de-linking the text and deconstructing himself as a way of building the performance. And we discuss iconic lines and how to approach their delivery, plus much more! Follow Back To One on Instagram 

She’s probably best known for her Emmy-Nominated performance as FBI secretary Martha Hanson on FX’s critically acclaimed series “The Americans,” and now Alison Wright has breathed life into another complex character in yet another hit series—Ruth Wardle on TNT’s “Snowpiercer.” In this hour, she gives us a peek under the hood of her craft and we get closer to understanding how she’s able to bring such naturalism and depth to all her performances. She talks about her early fascination with “The Method” that led her to the Lee Strasberg Institute, her “thought-linked” approach to the text which she developed over the years (that just might be a big part of the secret to her greatness), and I ask her about taking the challenge of playing Emilia in “Othello” for the Public Theater’s legendary Shakespeare in the Park, having never touched the Bard before, and possibly redefining and revolutionizing the role forever. Plus LOTS more! Follow Back To One on Instagram

Olivia Cooke had no formal training and claims to have no real process. Is she just a natural? A freak of nature? How else to explain the incredible range and astounding talent of this rising star? I first took note of her work in the black comedy “Thoroughbreds,” and then Steven Spielberg’s “Ready Player One” and the British mini-series “Vanity Fair.” She is on fire now with three new films, “Little Fish,” “Pixie,” and last year’s “Sound of Metal.” I ask her to break down one amazing scene in the latter, and she talks about the advantages of its immersive filming process. She explains the importance of not taking herself or the job too seriously, and why she once needed to punch a wall to make herself cry. Follow Back To One on Instagram

There are several moments in Delroy Lindo’s performance as Paul in “Da 5 Bloods” where I believe the voiceless (Black solders who never came back from Vietnam?) speak through him. Sure that might be hooey, but the very idea that I believe it says something about his incredible work in Spike Lee’s celebrated Netflix film. On this episode, I ask Lindo to break down the filming of the gripping monologue that is the centerpiece of that performance, and about his initial apprehension and ultimate acceptance of the MAGA aspect of Paul’s character. He takes us back to his first formative experience on the stage, as Herald Loomis in “Joe Turner’s Come and Gone,” and tells a vexing story of the first time the word “Oscar” was being tossed around him. Plus lots more!  Follow Back To One on Instagram 

Christina Anthony plays Denise on the ABC series “Mixed-ish.” She generously gives us a fascinating inside look at working on a sit-com from the point of view of an actor who is totally new to the process. She tells the story of sitting at a table read 90 minutes after being cast on the show following years of struggling through 100+ fruitless pilot auditions, talks about how her Chicago theater roots still pay dividends in her work, getting used to the idea of rotating directors, knowing when to speak up about issues with the script, and how she’s ready to be your next action hero. Plus much more! Follow Back To One on Instagram

As the annual Sundance Film Festival begins again this week, legendary actor/director Tom Noonan takes us back 27 years to a very different Sundance, where his film “What Happened Was…” won the Grand Jury Prize. It’s the ultimate “actor’s film,” just two people, Noonan and the incredible Karen Sillas, in one room, real time, on a first date like no other. He talks about the circumstances that led him to Sillas, the extensive rehearsal process they had, the production, and the ups and downs of its ultimately triumphant reception. Plus Noonan tells the story of the first big lesson that formed his craft, why he’s not (at the moment) pursing acting, and lots more. A gorgeous restoration of “What Happened Was…” is being released on Friday January 29th by Oscilloscope in select virtual theaters. 

Some actors go through a transformation to the point where the word “performance” feels inadequate. “Embodiment” is more apt. Nicole Beharie transforms into Turquoise Jones in Channing Godfrey People’s film “Miss Juneteenth.” It’s a wonder to behold. On this episode, she talks about the immersive preparation work that went into her Gotham Award-winning performance, how the opportunity to take her time and “own the space” affected her work in a deep way, and the substitutions necessary to create the motherly bond so central to the film. Plus we discuss the benefits and drawbacks of unanswered questions in a performance, and how simply loving people and life actually helps the work.  Follow Back To One on Instagram

The only thing that makes this a “Special Holiday Episode” of Back To One is a brief mention of Hanukkah, but the talented Nat Wolff brings plenty of joy to make up for it. He talks about playing Lloyd Henreid in the new version of "The Stand" on CBS All Access, and one scene in particular that worried him until an 11th hour “cloak of inspiration” fell upon him in the form of a song. I ask about his directorial debut, a short called "Youngest" that just might be the film that has affected me the most of all the films I’ve viewed during the pandemic. He shares why auditioning isn’t getting easier, his journey from insecure cockiness to actual confidence, how he keeps his head in this maddening business, plus much more!   Follow Back To One on Instagram

Willa on “Succession,” Astrid on “The Marvelous Mrs. Maisel,” Jade on “Younger,” Holly on “Mr. Mercedes,” all characters brought to life by the great actor Justine Lupe, with all their quirks and nuances rooted in a reality that makes them seem to go on living outside the frame. On this episode, she takes us back to her time at Juilliard where she enjoyed the bootcamp-like training that suited her all-in approach to the work. She talks about growing to appreciate all kinds of directors, the importance of bonding with the camera operator, and shares her incomprehensible, hieroglyphic-like script marking technique that just might be the secret to her awesomeness. Plus much more!

English actor Tuppence Middleton is on a steady, slow rise and that seems to suit her just fine. On this side of the pond she’s perhaps best known for playing Riley Blue on the Netflix Sci-fi series “Sense8” and Lucy Smith in the “Downton Abbey” movie, but you’d be foolish not to seek out her work in “Trap For Cinderella” and "War and Peace.” Now she’s part of the impressive ensemble in David Fincher’s latest film “Mank.” She plays “Poor Sara” Mankiewicz, wife of the alcoholic co-writer of Citizen Kane, played by Gary Oldman. I ask her about working with Fincher, whom actors (many of whom have been on this show) seem to adore, despite not necessarily having the traditional “actor’s director” traits. We also talk about an under-appreciated film she starred in last year called “Disappearance at Clifton Hill,” and what to say (or not to say) to an actor when they access their pain for the betterment for the film. Plus much more! Follow Back To One on Instagram

From “Parks And Recreation” to “Legion,” from indie film queen to “Happiest Season,” Aubrey Plaza is not done surprising us. Everybody’s favorite late night talk show guest and hilarious awards show host rarely gets to show off the serious roots of her acting chops. Enter “Black Bear.” The Sundance hit from Lawrence Michael Levine stars Plaza as a former actress on a writing retreat opposite Christopher Abbott and Sarah Gadon. Further description is not only pointless, it can be detrimental to your enjoyment of the film. Let’s just say it’s worth your time, in large part because of the emotional territory Aubrey Plaza gets to dive into. In this half hour, she talks about how the difficult circumstances of that shoot actually helped her process, she takes us back to her formative years with one teacher in particular that spoke her language, and she talks about how auditioning still sucks, why she never wants to shoot a movie with an iPhone, and much much more.  Follow Back To One on Instagram

It’s become a tradition to have actor’s actor Kevin Corrigan on the show every year. This is his third visit (his first two episodes are #1 an #67). Sitting down with the wise sage of indie film always ends up being both a reset and recharge. He has a way of speaking about this art that helps bring us back to the root of what it’s all about: connection, empathy, being alive. In this hour, he tells us about a life-changing event that happened right after wrapping work on the Showtime series “Ray Donovan,” and how the effects reverberate throughout his dealing with the pandemic. We talk about a scene in “The Godfather Part II,” and try to wrap our arms around the brilliant work of the young actor Jack Dylan Grazer, star of “We Are Who We Are.” I ask him about working on “The Exorcist III” thirty years ago, and Onur Tukel’s latest film this past Summer. As always, there are Brando quotes, plus much, MUCH more.

With mesmerizing performances in such series as “Luther,” “Mrs. Wilson,” and “The Affair,” Ruth Wilson has established herself as one of our great actors. Her latest is the deliciously sinister Marisa Coulter on the hit fantasy series “His Dark Materials.” In this episode she explains the fascinating way she’s been able to build the multi-dimensional aspects of that character, and the challenge of hitting the proper balance when playing such a larger than life villain. She talks about the meditative aspect to her process, the invigorating power she gets from the theater, and how the energy of the audience affects her performance on the stage. Plus lots more! Follow Back To One on Instagram

English actor Ṣọpẹ Dìrísù has two major releases happening in the States this month, the intense and compelling “Gangs of London” on AMC+, and the profound and unsettling horror film “His House” on Netflix. Taken together, they offer an apt representation of the impressive range of this great actor. We talk about his approach to the physicality required for the instantly famous epic fight scenes in “Gangs of London,” and what on-set elements helped his process. He takes us back to his time at the Royal Shakespeare Company and how being seeped in that material affects his approach to other work. Plus he details two big auditions in his past, one filled with self-inflicted disappointment, the other—revelation. Follow Back To One on Instagram

You know Matthew Del Negro from “Scandal,” “Goliath,” “The West Wing,” or as Cousin Brian on season four of “The Sopranos,” or maybe, like me, you were wowed by his comedic tour de force as Jason Allen Ross in Netflix’s “Huge In France.” He’s currently filming his second season as Detective Chris Caysen on Showtime’s “City on a Hill.” He also hosts a great podcast called “10,000 NOs” where he has deep conversations with people who’ve overcome rejection on the way to success in their field. He’s just written a book of the same name which draws on his own story of survival as an actor, and it’s a gold-filled “must read.” In this hour he talks about his journey as a working actor, the benefit and drawback of having an athlete’s mindset when approaching the work, how a low point in his recent past led directly to an enrichment of his performance, the importance of connecting the role to your own story, and lots more! Find more info about "10,000 NOs: How to Overcome Rejection On The Way To Your Yes" here Follow Back To One on Instagram

Dylan Gelula brings a captivating authenticity to her characters that makes them seem like they go on living outside the frame. Look at her work in “Flower," “Support The Girls,” and “First Girl I Loved,” to name a few. Her latest performance as Maggie in the SXSW winner “Shithouse" is a revelation. It snuck up on me and left me moved and in awe. On this episode she talks about her instinctual, untrained approach to this craft that she claims she hasn’t fully wrapped her arms around yet. I ask her about some specific moments from “Shithouse,” and about working with first time director and co-star Cooper Raiff. She professes her love of Mike Leigh, and tells us something good that’s come from quarantine time. Plus lots more! Follow Back To One on Instagram

Cooper Raiff is the writer, director, producer, editor and star of one of my favorite films of the year, “Shithouse,” which won the Grand Jury Prize at the SXSW Film Festival this year. The 23 year old has filmmaking instincts and a sophisticated perception of people, and himself, that belies his years. In this episode, he tells a miraculous story of getting Jay Duplass to watch his short film, and how he became instrumental in getting "Shithouse" made. He talks extensively about his time at the Dallas Young Actors Studio and how that foundational work instilled him with the tools he needs to tell his story on both sides of the camera. Plus why it was important for him to inject a specific kind of love, comfort, and caring into the film, the brilliance of his co-star Dylan Gelula, why he’s not afraid of losing his voice in the film business, and lots more. ("Shithouse" opens Friday October 16th) Follow Back To One on Instagram

Some actors steal scenes, Harry Melling’s scenes steal movies. The limb-less thespian in “The Ballad of Buster Scruggs,” the sinister Zuckerberg-like villain in “The Old Guard,” and now the “spider preacher” Roy Laferty in “The Devil All The Time,” are just some of the characters he’s brought to life, who all feel like they continue to exist beyond their short time on screen. In this episode he talks about his early acting education performing in the Harry Potter films, the importance of “forgetting it all” in order to be in the moment, getting the “invitation” to “play,” and not getting down in Covid time, plus much more!

Carrie Coon has quietly built a reputation as an acting powerhouse though a collection of phenomenal performances in television shows like “The Leftovers,” “Fargo,” and “The Sinner,” and movies such as “Gone Girl,” “The Post,” and her latest, “The Nest.” In this episode, she talks about the paramount importance of breath work, using “touchstones” for emotional connection, her first experience on the New York stage in “Who’s Afraid of Virginia Woolf,” the quarantine film education she’s getting with her husband, Tracy Letts, and much more!

Katherine Waterston is one of our most brilliant and committed actors. She brings superstar power to indies like “Queen of Earth” and “State Like Sleep,” and a captivating authenticity to franchises like “Fantastic Beasts” and “Alien.” It was “Inherent Vice” that first brought her to my attention. In this episode, she talks about why she was “a pig in shit” making that film, why having lots and lots of time to live with a script is ideal for her, becoming "comfortable being uncomfortable," the “best feeling I can experience without breaking the law,” and her exciting new multi-part project “The Third Day,” starting September 14th on HBO. Plus much more! Follow Back To One on Instagram (Photo by Tung Walsh)

When one has the opportunity to listen to an actor with the amount of experience as Rosalind Chao has, one must seize it. From the legendary final episode of “M.A.S.H” to “Black-ish,” from "The Joy Luck Club” to Disney’s eagerly anticipated live action “Mulan,” Chao has seen it all! On this episode, the once “professional guest star” opens up about how she’s happier when working and happiest on a happy set. She talks about why it’s important to get to the fitting early in her process, adding years to her age to get her first job, learning from Peggy Feury, appreciating Robin Williams, gaining something from every character, and much more!

Ramy Youssef won the Golden Globe for lead actor in a comedy series for his work in "Ramy," the Hulu series he co-created. The second season came out in May, and the struggles of being a devout young Muslim man in America that fueled the first season, deepen, grow and expand out to peripheral characters in the second, highlighted by the addition of Mahershala Ali as Ramy’s wise and loving sheikh. Youssef directed more episodes this season (he’s nominated for an Emmy for directing as well as acting). We talk about that and the overall collaborative effort at work behind the scenes, the origins of the Ramy character, and about how the fear connected to what’s being depicted helps him play that stripped-down version of himself. Plus he shares some surprising reactions to the show from Egyptian Muslims to American Christians, and much more! Follow Back To One on Instagram

Irish actor Niamh Algar has been making her mark in the UK of late portraying women dealing with their intense pasts, like Dinah in Shane Meadows’ “The Virtues” and Ursula in “Calm With Horses” (which just opened in the states as “The Shadow of Violence”). The intensity continues with her latest project, “Raised By Wolves," Ridley Scott’s sci-fi series for HBO MAX (which drops on September 3th). In this episode, she talks about following her gut, why she asks questions early, adapting to the director, the importance of not taking yourself too seriously, and much more! Follow Back To One on Instagram

Kevin Alejandro is finishing his fifth season playing Detective Dan Espinoza on Netflix’s “Lucifer.” He’s also graced your small screen in such series as “The Returned,” “Southland,” and “True Blood.” In 2017 he graduated from the Warner Brothers television director’s workshop and directed an episode of "Lucifer.” Since then he started his own production company and has turned into a multi-hyphenate, churning out award winning shorts, including the absolutely hilarious “Adult Night.” He’s back in the director’s chair on “Lucifer’s” fifth season (part 1), which drops August 21st on Netflix. On this episode, he talks about how the need to create between jobs perpetuated that desire to direct, how learning how your body works opens up avenues in your mind, and he tells a great story about selling all his possessions as a young man to put on a production of “True West” to fundraise his transition to Los Angeles to begin his career, plus much more! Follow Back To One on Instagram

The brilliant young British actor Paapa Essiedu speaks about the work with wisdom that belies his years. He plays Kwame on Michaela Coel’s groundbreaking new HBO series “I May Destroy You.” In 2016, his “Hamlet” at the Royal Shakespeare Company received great acclaim. In this episode he compares those two characters, who are each facing defining moments in their lives, and talks about the “conscious unconsciousness” necessary to embody them. He discusses the various ways curiosity is useful, and why it’s so important to immerse yourself in the world of the story.  Plus lots more!  Follow Back To One on Instagram

Part of Stacy Martin’s performance, in her wonderful new film “Archive,” involves essentially playing robots at various stages of development. She talks about the challenge that posed for her as an actor, and how director Gavin Rothery’s complete command of his vision helped her process. She takes me back to her days at the Actors’ Temple in London, and how an intensive workshop there changed her life and prepared her for the remarkable experience of her first film, Lars von Trier’s “Nymphomaniac.” She shares an important bit of direction that Lars gave her that blows my mind. We swap stories about Anne Wiazemsky and Anna Karina, and an appreciation for Carroll Baker, plus (*warning*) we spoil the hell out of “Archive,” so please check it out on VOD.

Mireille Enos made a splash on Broadway in “Who’s Afraid of Virginia Woolf,” then her big break in television came with “The Killing,” where she played Sarah Linden to much acclaim for four seasons. “World War Z” opposite Brad Pitt followed, and now the second season of the action-drama hit series “Hanna” premiered on Amazon this month. Enos talks about how exceptional writing helps multi-season work, learning about story-craft from Tom Stoppard, the importance of being open to intuition, and how empathy helps you build yourself as an actor. Plus much more!

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.

Acting wunderkind Zoey Deutch returns to the podcast on the occasion of the release of “Buffaloed,” the raucous indie she stars in (and produced) where she gets to flex her high octane comedy chops. We get into the weeds discussing comedy performance, she talks about striving to make her characters relatable, and about her love for auditioning (despite the hiccups). I delicately ask her what makes up the bulk of her now legendary script binder and she graciously explains. Plus much much more! Follow Back To One on Instagram

Scottish actor Richard Rankin plays Roger Mackenzie Wakefield on the Starz hit series “Outlander” (Season 5 premieres on Sunday, February 16th). On this episode, he talks about the process of stepping back into playing Roger after being on hiatus. We have a very clinical discussion about sex scenes, chemistry, and the importance of genuine depth in on-screen romance. I ask if he’s looking for roles where he can use his American accent. A listener question leads to a discussion about the effects of time travel. Plus he (very objectively) talks about why he's the reason season 5 of “Outlander” is the best yet.

On a very special episode, the stars of "Portrait Of A Lady On Fire," Noémie Merlant and Adèle Haenel, and their director, Céline Sciamma, sit down with Peter Rinaldi to discuss gazes, play, Noh, breathing, joy, and the collaboration process at the heart of the French cinematic masterwork. 

Deirdre O’Connell is a legend of the New York stage and brings true depth and authenticity to every moment she has in front of the camera, but make no mistake, she doesn’t have this “down” yet. In this hour, she talks about why she likes to travel to the place her character resides and why it’s important that she believes her character is smarter than her. I ask about her incredible performance in “Diane,” one scene in particular, and how on earth she's able to lip sync every single line in the brand new production "Dana H" at the Vineyard theater in New York City. Plus she muses on the “real” reason why she pursued this whole acting endeavor in the first place, what happened when that reason went away, and what, if anything, replaces it. (Photo by Maria Baranova) Back To One on Instagram  

Marsha Stephanie Blake destroyed me. Not just once, a few times. Her devastating portrayal of Linda McCray in “When They See Us” was justifiably recognized with an Emmy nomination last year. She talks extensively about one line in particular that really got to me in that incredible limited series. She also “kills” with comedy too. Like in “The Merchant Of Venice” on Broadway. She talks about obsessively studying Al Pacino during that run, and relishing her time with Viola Davis in this season of "How To Get Away With Murder.” She was on her way toward a career in medicine when she got into acting, but she doesn’t remember getting bitten by any bug. The world lost a doctor but we gained something more precious—a great actor.

He's been called the "sidekick to the stars," but a more apt, yet slightly less elegant description of Adrian Martinez is "scene-stealer from the stars." Some recent thefts occur in "The Secret Life of Walter Mitty," "Focus," and "Casa De Mi Padre." You can also see him in the hit ABC show “Stumptown.” Now he wrote, produced, directed and stars in the brilliant, timely, and deeply impacting new film “iGilbert.”  On this episode, he talks about going “all in” to make that labor of love, how the psychological gesture plays a big part in his craft, the work ethic Philip Seymore Hoffman instilled in him that he still thinks about when the curtain goes up, and he gives us a Sesame Street-like lesson in the importance of the letter ‘R’ in acting: Reveal, Relax, Remember, Rip, and Risk. Plus much more!

On this special episode, I spend a few days with the cast of “A City Of Refuge” as they rehearse this powerful new play by Evan Cuyler-Louison for Primitive Grace Theater Ensemble in New York City. Having had no experience with theatrical rehearsal, I pose lots of questions to Louison (who also directed the production) and his incredible actors, Ylfa Edelstein, Wilton Guzman, Miah Kane, Hailey Marmolejo, Gregg Prosser, and Luke Edward Smith. If, like me, your experience is limited to film production or you just have gaps in your knowledge regarding rehearsal in general, or you're just curious about specific approaches, I think you’ll get a lot out of this fly-on-the-wall-style episode. New York theater legends Paul Calderon and David Zayas are the co-artistic directors of Primitive Grace. Check out their episodes of Back To One from last year, and go to primitivegrace.org for more info.

The incomparable Chris Eigeman is probably best known for the three films he made with Whit Stillman—“Metropolitan” (which was his very first film), “Barcelona,” and “The Last Days of Disco.” The singular style of performance he delivered in those films led to great work with filmmakers and showrunners such as Noah Baumbach, Amy Sherman-Palladino, and John Frankenheimer. Lately he’s been writing and directing his own films. In this episode he talks about the importance of knowing your role in the story, the harmful effects of the disappearing table read, loving those monologues, the freedom of it NOT being game day, and much more. Recently he’s put acting on the back burner to  raise a family, but he talks about getting back in front of the camera soon. Oh and, no, he still won’t play Robert Chambers.

Mary Kay Place’s long career is filled with memorable supporting parts in films like “The Big Chill,” “The Rainmaker,” “Being John Malkovich,” and television shows such as "Mary Hartman, Mary Hartman," for which she won an Emmy. “Diane” is her first starring role. Kent Jones wrote it with her in mind. In this episode, Place unpacks and let's us examine the DNA of that vulnerable and subtly devastating performance. She talks about the importance of “building a bridge to the unconscious” (and other Jungian approaches) in her work, finding the rhythm in a scene, not being afraid to be “bad,” and much much more.

When I first took notice of Miles Robbins he was a stand-out among stand-outs in the surprisingly satisfying teen comedy “Blockers.” Now he presents another level of his talent in the very thoughtful psychological horror film “Daniel Isn't Real.” In this episode he talks about the intense, emotionally taxing experience he had creating that performance, how not being scared is a key ingredient in his work, and the importance of connecting with the duality within himself and the universe. Plus he generously shares his feelings and frustrations with this "weird" endeavor called acting and all the hoopla that surrounds it.

To say Aaron Taylor-Johnson puts 100% into every role is actually a bit of an understatement. He starts to live as the character months before filming begins. Then, when it's over, it takes him months to "shed the layers" of the character before returning to himself. This might sound like a bunch of hooey, until you actually see the brilliance of the work and the fullness of transformation. He got his big break with “Kick-Ass,”  spent some time in the Marvel universe, played John Lennon in “Nowhere Boy,” then won a Golden Globe for playing a psychopath in “Nocturnal Animals.” Now he stars in “A Million Little Pieces,” a film he and his wife, director Sam Taylor-Johnson, co-wrote together based on the James Frey book. In this episode he talks about his intense inhabiting process, its benefits and some of its ramifications on other aspects of his life, plus much more!

Emily Beecham won the best actress award at this year's Cannes Film Festival for her brilliantly nuanced and tightly focused performance in Jessica Hausner's art house science fiction film “Little Joe.” Recently she played The Widow in the AMC series “Into The Badlands,” starred in “Daphne,” and had a memorable supporting role in “Hail Caesar.” In this episode she talks about the importance of connection, avoiding “attractive acting,” Mike Leigh, the strenuousness of intense physical performance, her “Little Joe” hair, and much more!

Stephanie Kurtzuba plays Irene, wife of Frank Sheeran (Robert De Niro), in “The Irishman.” It's her second film with Martin Scorsese. She played stockbroker Kimmie Belzer in “The Wolf of Wall Street.” She talks about working with the legendary filmmaker and what sets him apart as an actor's director. She also explains her process of extracting preconceptions made in the audition, and she gushes about her first love--the rehearsal room, but tells us why, despite her heart being on the stage, she wouldn't give up working for the camera if she could. Plus much more!

Tracy Letts has parallel successful careers as an actor and a playwright. He won a Tony Award for his performance in the Steppenwolf revival of “Who's Afraid of Virginia Wolf” and a Pulitzer Prize for his play “August: Osage County.” His screen credits include “Lady Bird,” “The Lovers,” and the new movie :”Ford v Ferrari,” in which he plays Henry Ford II. In this episode, he talks about "pretending with authority," making friends with the camera, the "responsibility" of the leading role, and how he's preparing to do something he's never done--act in a play he wrote (The Minutes) on Broadway. Plus he takes us back to a leaner time, and talks about why he stopped chasing empty acting jobs in LA and took "a vow of poverty" to return to Chicago for more satisfying work at Steppenwolf. It paid off. 

“The Warrior Queen of Jhansi” is the first Hollywood action film to have a female Indian lead. Devika Bhise not only stars in the film (opening Friday November 15th), she co-wrote it with her mother, Swati Bhise, who also directed it. In this episode, she talks about performing under stressful time restraints, how not having “the leisure to lose it" actually helped her play such a powerful leader, and the physical work required (including some “illegal" horseplay!), plus how her intense training in classical Indian dance helps her prepare for every role, and much more! 

I’ve wanted to sit down with Dorian Missick for some time. The seasoned actor has six dozen credits in television shows like “Southland,” “Luke Cage,” “Tell Me A Story,” and movies spanning from “Two Weeks Notice” to this year's “Brian Banks.” In this hour, he passes on pearls of wisdom acquired from his many years in the business, like his new radical approach to auditions, why he aims for 100 reads of a script before first day of production, how he and his actor wife Simone Missick support each other’s journeys, and the importance of a "team sport" mentality, plus much more!

He's only 21, but going by the depth of his work and the eloquent way he talks about it, Alex Wolff feels like a seasoned veteran. "I’ve basically been on camera since the sonogram," he says, joking about his childhood in "The Naked Brothers Band” with his brother, Nat, on Nickelodeon. Since then he's knocked out a handful of impressive performances in films like "Patriots Day," "My Friend Dahmer," and "Hereditary." Now he's written, directed and stars in a labor of love called "The Cat and The Moon." He talks about treating his actors like kings and queens on that film, stealing from the greats, letting prep work flow through the bloodstream, and much more.

Australian actor Jason Clarke is a rare breed—the character actor leading man. He gives a virtuoso performance as Grigory Potemkin, opposite Helen Mirren, in the new HBO mini-series “Catherine The Great.” He also stars in “Pet Cemetery,” “Dawn of the Planet of The Apes,” “Terminator Genysis,” “Zero Dark Thirty,” and won accolades for his portrayal of Ted Kennedy in “Chappaquiddick.” In this half hour he talks about his love of research, his dedication to the text, being there for the other actor, and the uselessness of fame. Plus much more!

I didn’t know if Tim Heidecker was going to show up for this interview, or if I was going to get his boorish, abusive, dim alter ego, Tim Heidecker. Luckily Tim Heidecker leaves Tim Heidecker in the “On Cinema” universe. That project he started with Gregg Turkington is comprised of an ongoing series called “On Cinema at the Cinema,” various spin-off series including “The Trial of Tim Heidecker,” special episodes, segments, tweets, songs, and now the feature film “Mister America.” In this half hour I ask Heidecker to lift the hood on his performance style and the evolution of his comedy from the brilliantly absurd “Awesome Show” with Eric Wareheim, to the super subtle realism of “Mister America.”    

The wise and talented Cassidy Freeman plays Amber, wife of Danny McBride's character Jesse, on the hilarious new HBO comedy series “The Righteous Gemstones.” She talks about the wonderful troupe mentality on that show, what acting in 60+ episodes of “Smallville” did to build her craft early in her career, the importance of creativity for the actor, plus much more!

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 esteemed author and historian Foster Hirsch for his invaluable assistance in bringing us together.

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)

Paul Calderon is New York acting royalty. A list of his collaborators and co-stars, in numerous plays, films and television, reads like a who's who of legends: Pacino, De Niro, Scorsese, Lumet, Burstyn, Tarantino, to name a few. Not to mention Abel Ferrara, whose many films he’s graced (he also co-wrote Bad Lieutenant). He was made a member of the Actors Studio in 1984, and eight years later was one of the founding members of LAByrinth Theater Co., where as writer/director he helped mentor such talent as Philip Seymour Hoffman, David Zayas, and Sam Rockwell. For many years he's been on the faculty of NYU, The Lee Strasberg Institute, and SVA. He’s now the co-artistic director of the Primitive Grace theater ensemble, and can currently be seen in the Amazon series “Bosch.” He sat with me in the mezzanine overlooking the noisy (sorry!) lobby of the Public Theater in New York, a place that has benefited from his talents, to talk about what he’s gathered from 40+ years in the craft.

Dominic West is best known for playing Jimmy McNulty on “The Wire,” Noah Solloway on “The Affair,” and gay activist Jonathan Blake in the film “Pride.” Now he’s taken on the classic role of Jean Valjean in the new 6-episode BBC version of “Les Misèrables,” currently on PBS. He also happens to be British, which seems to continually surprise people, probably because he’s mastered his American accents. He talks about that and many other nuts and bolts in his inspiring approach to the craft.

She’s wonderful in comedies like “Man Up” and dramas like "No Escape,” but Lake Bell shines brightest in material she writes and directs herself, like her indie hit "In A World." Now the mega-talented multi-hyphenate has joined forces with Liz Meriwether (“New Girl”) on the ABC sit-com “Bless This Mess.” We talk about the benefits and challenges of writing, directing and starring in a network show; knowing when to land the joke slightly off the landing pad; and doing it all as a mom.

For one year now on this podcast, I have talked to dozens and dozens of actors about their approach to the craft of acting. There are few living non-actor directors whose thoughts on this subject I feel would be worthy for this archive. Mike Leigh is on the top of that list. Listening to actors talk about their working experiences has made me think of an analogy. They are like fish people, showing up on a set expecting some water to work in but mostly finding dry land everywhere, and, for the most part, having to supply the water themselves. Taking this perhaps odd analogy a little further— when these fish people act for Mike Leigh, it is like working completely submerged in a safe, life-size aquarium with constant fresh water pumping in. He starts without a script. The actors build their characters from scratch in collaboration with Leigh, using someone (or a composite of many people) in the actor’s life as a foundation. They then move and “be” that character privately in the presence of Leigh alone before getting together with the other cast members for long improvisations, durning which Leigh “distills” the story into what he wants to shoot. This goes on for many weeks before shooting begins. When it does, the actors have already not only built an entire backstory for their characters and lived as them, but they’ve also worked out creatively and practically everything they’ll be shooting. It is the most organic and actor-centric process in the history of filmmaking. There are many reasons why movies are mostly not made like this. Firstly, the amount of money spent on non-shooting days makes no sense to producers and money people. Therefore it’s hard to put this kind of thing into a budget. But also, many actors who are not familiar with this approach have misconceptions about the process and are resistant to the idea of not having a script, which they take as lack of control. But I believe examining Mike Leigh’s process will shed light on what works best even for actors working on “normal” film projects. Then, at least some of these aspects, even truncated versions, can be applied to any director’s process to yield better results and happier actors. Even actors working without aid from a director can manifest the phantom guidance of Mike Leigh and benefit greatly in any project. In this woefully brief half hour, Leigh talks about a few aspects of his work that should act as a starting point in understanding his unique process, and also points out certain procedures  in the mainstream of the craft that might ring as counterproductive when seen through Leigh’s lens. The proof is in the pudding as they say. When films like “Naked,” “Life is Sweet,” “Vera Drake,” “Meantime,” “Another Year,” “Secrets and Lies,” “Happy-Go-Lucky” (to names just a few) contain, consistently, the great performances of our time, it leads one to believe that maybe this guy might be onto something.

He brought to life one of the most iconic TV characters this century, Omar little on the acclaimed series “The Wire.” Then Michael K Williams went on to work with some of the great directors of our day (Steve McQueen, Paul Thomas Anderson, Ava DuVernay, Todd Solondz) and turned in powerful work in series like “Boardwalk Empire” (where he played Chalky White) and “The Night of,” to name a few. He's earning rave reviews for his latest performance in Emilio Estevez's “The Public.” In this episode, he talks about one particular "all-in" moment during the filming of that movie, also the role music plays in his preparation, and the place he was at in his life when he landed the Omar audition and the mindset he had upon entering that room.

I first took note of Caitlin FitzGerald in one of the great showcases of incredible acting in recent indie film—Sophia Takal's “Always Shine.” You might know her from “Masters of Sex” where she played Libby Masters, or the third season of the cult hit series “Unreal.” Her latest film, just released on DVD and Blu Ray, is “The Man Who Killed Hitler and then The Bigfoot.” In this half hour she generously opens up about the epiphanies and frustrations she's experienced as a working actor in this business, how good directors help her process, and how she deals with nose-pickers in her eye-line. It's in-depth craft-talk from a serious actor, but one who also makes clear, “I dress up and make believe for a living, so I just like to keep everything in perspective.”

She's perhaps best known for playing one of modern television's baddest villains, "Vee" on “Orange Is The New Black.” Now with NBC's “The Village” premiering last week, and both “Fast Color” and the new season of “Into The Badlands” premiering this week, plus Julie Taymor's “The Glorias” wrapping this month, all featuring the incredible Lorraine Toussaint, we might as well call this period "The Lorrainaissance." In this half hour she takes a break from the hubbub and takes us deep into her process, her "almost schizo" embodiment of characters, what she needs on set, and what it means to LIVE the art. A truly inspirational listen awaits. 

Michael Mando is best known for his captivating portrayal of Nacho Varga on the hit AMC series “Better Call Saul.” You might also know him from “Orphan Black,” “Spider-man: Homecoming,” or “Far Cry 3.” In his latest film, “The Hummingbird Project,” he plays the chief engineer of a massive high frequency trading operation opposite Jesse Eisenberg and Alexander Skarsgård. In this half hour he talks about his interest in the metaphysical aspects of the craft, his beginnings as a hungry but happy acting student, and how he doesn't let fame get to his head but he’s open to the changes it brings.

I've wanted to sit down with Thomas Sadoski since the inception of Back To One. I had a "who is that guy?" experience while seeing him in Neil Labute's play "Reasons to Be Pretty" and was positively delighted by his portrayal of the quick-witted Don Keefer in "The Newsroom." He's now part of an incredible ensemble of actors in "Life In Pieces," one of the few network comedies worthy of your time. He talks about where he's at one day before the first official performance of Suzan-Lori Park's new play "White Noise," which he stars in at the Public Theater in New York. And he has a few things to say about the intersection of art and activism. Plus -- SORKIN!

His portrayal of Lola, the drag queen in “Kinky Boots,” put Chiwetel Ejiofor on the map, then his astonishing performance in “12 Years A Slave" made him a household name. Roles in “The Martian,” “Doctor Strange,” and the under-appreciated “Z for Zachariah” followed. Now he has written, directed and stars in “The Boy Who Harnessed The Wind,” which is in select theaters and on Netflix. He talks about the art of wearing many hats, directing the extremely gifted young Maxwell Simba in his first film role, and the effort he took to not shortchange his own character.

Shea Whigham could easily be in the running for the hardest working actor in show business. In just this past year, he was in “First Man,” “Beirut,” “Vice,” and brilliantly played Thomas Carrasco, the Department of Defense bureaucrat tasked to investigate Julia Roberts’ character, in the series “Homecoming.” He’s worked with Martin Scorsese, Werner Herzog, David O. Russell, Terrence Malick, and is probably best known for playing corrupt mob brother Eli Thompson in “Boardwalk Empire.” In this half hour he talks extensively about his preparation process, what he’s learned from the greats, and much more. The constant room noise you hear in the background is the roaring fire we were sitting beside in two comfy armchairs in Lafayette House in New York's East Village.

I first took note of Ariel Kavoussi’s singular comedic talent in Onur Tukel’s “Applesauce” and then “Catfight,” where she hilariously played Ann Heche’s assistant and stole every scene she was in. She performed a similar theft this past year on the Netflix series “Maniac,” opposite Emma Stone. She also writes and directs her own work. Her new short film “The Poet and The Professor” was called a "truly absurdist, provocative, and contemporary feminist film” by Indiewire. We talk about the origins of her approach to comedy, how she works the audition rooms she suddenly finds herself in, and her relationship to her own unique speaking voice. Plus much more!

If I ever need to cry on cue, I can just picture the expression on Josh Hamilton's face, in “Eighth Grade,” when Elsie Fisher hugs him. It's a beautiful, wordless culmination of his incredible performance, which landed him a Spirit Award nomination this year. We discuss that scene, and he shares some of what he’s learned from jumping from the New York stage to the big & small screens and back again over the past 25 years. He talks about the importance of syncing with the director’s vision, being off-book before rehearsals, and why he’s a self described “take whore.”

Mads Mikkelsen is perhaps best known for playing villains in "Casino Royale," "Doctor Strange," and the television series "Hannibal," but he’s also been called the "face of the resurgent Danish cinema,” culminating with his Best Actor win at Cannes for his work in Thomas Vinterberg's "The Hunt." In this half hour, he talks about performing some physically and emotionally wrenching scenes in two new movies he currently stars in, the pure survival film "Arctic," and the live action adaptation of the popular graphic novel "Polar." Warning: Spoilers abound. "Arctic" is in select theaters now. "Polar" is on Netflix.

Noomi Rapace became an international sensation playing Lisbeth Salander in the original, Swedish version of “The Girl With The Dragon Tattoo” and its sequels. Hollywood beckoned and leading roles in such films as Ridley Scott’s “Prometheus” and Brian DePalma’s “Passion” followed. Now she stars in Vicky Jewson’s Netflix nail-biter “Close,” in a role based on real-life female bodyguard Jacquie Davis. In this half hour, Rapace talks about the intense training she went through to prepare for the part, and how that awareness expands to all aspects of her life. Plus she explains how “kicking ass” is more a mental exercise than a physical one.

If you didn't know Imogen Poots was British, it is understandable. Few young actors transform so chameleon-like, role-to-role, applying accents so skillfully. I was first wowed by her in Peter Bogdanovich's "She's Funny That Way" and then I actually didn't even know it was her in "Green Room" until I saw the credits. She floored me again in "Frank and Lola" opposite Michael Shannon, in an entirely different kind of role. Now she plays a drifter with questionable parenting skills, who steers into escalating trouble in “Mobile Homes,” and by the end of the movie her performance wrecked me. In this half hour she lifts the hood on her craft and we get to peek in. (“Mobile Homes” is out now on VOD and digital)

Ethan Hawke's "staying power" is grounded in hard work. He survived being the poster child of Generation X ("Reality Bites"), and thrived as Richard Linklater's go-to actor ("The Before Trilogy," "Boyhood") and always returns to the true home of the actor--the theater (he's currently starring in "True West" on Broadway). Now he has delivered one of the most critically acclaimed performances of the year in Paul Schrader's "First Reformed." He generously shares the wisdom and knowledge he's acquired over the years as an actor, and is extremely eloquent when doing so. In this episode, he talks about the importance of off-camera acting, magic vs. rehearsal, not being seduced by laughter, and lots more. 

He’s perhaps best known for his portrayal of Petyr "Littlefinger" Baelish on “Game of Thrones” but I first took note of the uniquely talented Aidan Gillen as Mayor Carcetti on “The Wire.” The Dublin native’s most recent role was the manager of Queen in “Bohemian Rhapsody.” Now he stars in the period UFO drama “Project Blue Book,” which premieres January 8th on History. In this half hour he talks about his intuition-based approach to preparation, how Jez Butterworth introduced him to the work of John Cassavetes, and I toss a name at him to spark some memories from “The Wire.”

Joanna Kulig’s performance in “Cold War” is so astonishingly captivating and commanding and downright brilliant, that it feels like a classic performance delivered by an immortal screen goddess from the golden age of film. Pawel Pawlikowski’s penetrating black and white and impeccable direction helps, but this Polish masterpiece, short-listed for the Best Foreign Language Film Oscar, is impossible to imagine without Kulig. In this half hour she talks about how her music training came in handy while shooting the intricate moving camera shots in the film, and she ponders what it means when someone says she’s “so natural.”  Plus she reveals how Pawlikowski helped her often simply by saying the words “Lauren Bacall.”

Starting with her big break on “Dr. Who,” and continuing with the “Guardians of the Galaxy” and “Avengers” films, Karen Gillan has grown accustomed to fervent fandom surrounding her acting work. With "The Party's Just Beginning,” (which she wrote, directed, and stars in) she stepped away from that hubbub to make a small, dark, intricately structured film in her hometown in Scotland. The movie folds out from her character through hallucinations, flashbacks and alcoholic hazes to tell the tale of her grief over her best friend’s suicide. I ask her what it was like directing a feature for the first time while taking on such an emotionally fraught role. And she tells the story of a revelation she had about her acting, early in her career, that changed everything. Plus she talks about how she turns that focused fan frenzy into fuel that energizes her work.

We're catching Alessandro Nivola at a very interesting moment in his career. A day before our talk, he was awarded Best Supporting Actor at the British Independent Film Awards for his incredible performance in “Disobedience,” and a few days before that it was announced that he will star in David Chase's “Sopranos” prequel “The Many Saints of Newark.” He talks about the benefits of having time to prepare for the role of Rabbi Dovid Kuperman and facing the challenge of delivering that important climatic speech. And how, for him, inhabiting a character often starts with the voice. Plus he confesses he stopped auditioning because he was “too scared,” and self-tape changed his career. 

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. 

The “stay positive and keep it simple” approach Ann Dowd has toward her work is truly inspiring. A go-to character-actor-extraordinaire for 30 years, she has now received wide acclaim (and an Emmy) for her portrayal of the terrifyingly devout Aunt Lydia in “The Handmaid’s Tale.” And her pitch perfect performance in Craig Zobel’s “Compliance” is, in my opinion, a tour de force for the ages. In this half hour, she talks about the nuts and bolts of playing these roles and generously lets us peek “under the hood” at the inner workings of her craft. Inspiration is guaranteed.

Grace Rex has been a series regular on the British sitcom “High and Dry,” a recurring guest star on “The Good Wife,” and had roles in “Master of None”, “Mindhunter" and “Boardwalk Empire,” among many other TV shows and films.  For me, her finespun and hilarious work in Ingrid Jungermann’s “Women Who Kill” solidified her place among the uniquely talented comedic actors to watch. We talk about one special moment in that film, the “bizarre” endeavor of auditioning, and NOT getting into a co-dependent relationship with acting.

We really get to know the brilliant actor Theodore Bouloukos in this hour. He lets us peek in on him as a child fascinated, perhaps to a peculiar degree, with design, typography, and channel logos. And then what led him to performance art with Brock Enright and others, and  the "self training" of student film parts that led to feature roles and works exhibited and staged the world over. We learn the components that now make him a unique talent in the New York film world. I am thrilled and privileged that we get to take a journey inside the gifted mind of this one-of-a-kind performer, and I think you will be as well. 

John Christopher Jones is a veteran “actor’s actor” with many Broadway shows including Simon Gray's “Otherwise Engaged” (directed by Harold Pinter), “Hurlyburly” (directed by Mike Nichols), “The Iceman Cometh” (with Jason Robards), and Shaw’s “Heartbreak House.” He is the subject of a documentary film, “The Endgame Project,” which follows him in his tenth year with Parkinson's as he rehearses and performs Beckett's masterpiece. A “text-lover” through and through, he continues to translate the major plays of Chekov (he received a Lortel Award for his version of “The Cherry Orchard”) and work on his memoir. I’ve often heard the word “craftsman” used in relation to an actor, but not until talking to Mr. Jones did its full meaning sink in. 

There is, perhaps, no actor at the moment more synonymous with New York indie filmmaking than Keith Poulson. His uncanny comedic sensibilities first caught my attention in Bob Byington’s “Somebody Up There Likes Me.” He’s since honed his mastery of the low key “throw away” in dozens of low budget gems and appeared in nearly everything made recently by the prolific Brooklyn filmmakers Alex Ross Perry and Nathan Silver. He got to stretch his wings a bit in Zach Clark’s “Little Sister,” where he played a severely disfigured Iraq War veteran. We talk about the incestuous world of independent film acting in New York City, why he can’t do sit-coms, and the beauty of Ctrl-F. 

Not every ingénue is deserving of the attention Zoey Deutch is about to get. But this 23 year old already has the miraculous and mysterious skill of a veteran actor. Since her brilliantly nuanced performance in “Flower,” I have wanted to find out the secret to her magic. Her natural talent shines equally bright in heart-wrenching dramas such as “Before I Fall” and wild comedies like “The Year of Spectacular Men.” And now she has delivered a rom-com-pantheon-worthy performance opposite Glen Powell in the Netflix film “Set It Up.” We talk about “process and not outcome," being “right for a part and not just liking it,” and the “miracle” (my word) of The Pizza Scene. To say Zoey Deutch is about to be a giant star somehow belittles the power and artistry I believe she possesses. Instead, allow me to introduce her with one word I use sparingly: Maestro.

Glen Powell gives me hope for the future of the movie industry. He crushed the role of legendary astronaut John Glenn in “Hidden Figures,” and donned some 80s duds in Richard Linklater’s “Everybody Wants Some,” but he really grabbed my attention in the brand new Netflix rom-com “Set It Up,” where, in my humble opinion, he has crafted a classic, for-all-time, romantic lead performance opposite the incomparable Zoey Deutch. We talk about his process in general and do a deep dive into his work in “Set It Up” in particular. And by the end, I come closer to understanding why this movie works so well. Hint number one: Glen Powell.

Lea Thompson has a lot of wisdom to share. Her work as an actor spans three decades with hit films like the “Back To The Future”  trilogy and “Some Kind of Wonderful” to successful television shows like “Caroline in the City” and “Switched at Birth.” She recently started a second chapter as a director. Her first feature film “The Year of Spectacular Men” (opening Friday June 15th) stars her daughters Madelyn and Zoey Deutch and was written by Madelyn. We talk about how this true family affair was stitched together with nothing but love, and how actors need to be “director-proof” & “writer-proof,” and why, only now, she finally considers herself deserving of a place at the table as an artist.

The brilliant J. Smith-Cameron blew us away in “Margaret” (written and directed by her husband, Kenneth Lonergan) and in the acclaimed series “Rectify.” Currently she’s starring in the new play “Peace For Mary Frances” (with Lois Smith), and the praiseworthy film “Nancy” (written and directed by Christina Choe and co-staring Andrea Riseborough and Steve Buscemi), which opens Friday June 8th. We talk extensively about her work in the latest two pieces and how her desire for rehearsal is sometimes satisfied in a roundabout way on a TV shoot. She also shares what she does right before she steps on the stage and how she feeds her “inner actor” when she’s not working.

Sami Gayle has played Nicky Reagan on the hit CBS drama “Blue Bloods” for eight seasons, performed on Broadway a few times, acted opposite Adrien Brody in her first film, and she’s only 22. She now stars in “Candy Jar,” a fun and smart new Netflix film set in the world of high school debate, which was written by her brother Chad. We talk about the unique way the work deepens when you have played a character over a period of time, and why “quality over quantity” is the approach she’s taking with her career.

I finished Lee Grant's incredible autobiography "I Said Yes To Everything" right before sitting down with her and that was a huge mistake, only because it was frustrating to have such a limited time with the legendary actress after reading her extraordinary story. Consider this episode a tiny drop in the ocean of this astounding life. She was nominated for an Oscar for her first screen role in William Wyler's "Detective Story" and then was blacklisted by HUAC for 12 long, painful years. She rebuilt her career with roles in "Peyton Place," "In The Heat Of The Night," and "Shampoo" (which earned her an Academy Award), then had a second career as a successful director (she was the first woman to win a DGA award). She talks about Lee Strasberg vs. Sanford Meisner, mentions an amazing bit of direction from Mike Nichols, and paints a vivid picture of the incident that ended her stage career. If this episode sends you running out to buy her book, I would be very happy. 

At the moment, Harry Lennix is perhaps best known for his portrayal of FBI agent Harold Cooper on NBC’s “The Blacklist.” The breadth and depth of his work on the stage and screen go well beyond that hit show, however, with film roles spanning from Robert Townsend’s “The Five Heartbeats” and Julie Taymor’s “Titus,” to General Swanwick in both “Man of Steel” and “Batman vs. Superman,” and on Broadway in August Wilson’s final play “Radio Golf," and “Cymbeline” at The Royal Shakespeare Company. In 2014 Lennix created Exponent Media Group and began producing his own content such as “H4,” a fresh interpretation of Shakespeare’s “Henry IV” featuring an all black cast filmed onstage and in the streets of South Central LA, and the ambitious “Revival!,” an epic musical re-imagining of the Gospel of John. In this episode, Harry generously shares his vast knowledge of the classic foundations of the acting craft while skillfully placing a few perfect sports metaphors, but if you’re here just to listen to his beautiful voice, I understand.

In this hour, Sheila Vand gifts us with a glimpse into the inner life of an incredibly talented young actor on the verge of harnessing her art and reaching new heights. She first captured our attention in Ana Lily Amirpour’s noir vampire western A GIRL WALKS HOME ALONE AT NIGHT, and in the small but pivotal role of Sahar, the Iranian housekeeper, in ARGO. Co-starring stints on NBC’s STATE OF AFFAIRS and FOX’s 24 LEGACY followed, and by the end of this episode she’ll make you anxious to see two of her upcoming projects, Jeremiah Zagar’s festival hit WE THE ANIMALS and the TV adaption of SNOWPIERCER. She’ll also make you optimistic for the future of the entertainment business, so long as she is in it.

Joshua Leonard first came onto the scene with the lo-fi sensation The Blair Witch Project, then went on to receive rave reviews for his performance in Lynn Shelton's Independent Spirit Award-winning Humpday. His narrative feature debut as director, The Lie, premiered at Sundance in 2011 and he just wrapped production on his sophomore feature Behold My Heart which stars Marisa Tomei. Currently he co-stars in Steven Soderbergh's thriller Unsane, which was famously shot on an iPhone. Leonard talks about how freeing that was and how he’s dismayed, now that he’s a dad, at all the bad guy parts he’s being offered.

Emily Mortimer is perhaps best known for her role as MacKenzie McHale in Aaron Sorkin’s beloved HBO series “The Newsroom.” Some of her other memorable performances are in Woody Allen’s “March Point,” Martin Scorsese’s “Shutter Island” and “Hugo” and as Phoebe, Jack Donaghy’s love interest, on the NBC series “30 Rock.” In this hour she talks extensively about one particular, powerful scene in her breakout film, Nicole Holofcener’s “Lovely & Amazing” (which earned her an Independent Spirit Award for Best Supporting Actress), and about what it was like to play a character named “Emily Mortimer” in her HBO series “Doll & Em.” Plus, of course, we talk SORKIN. And before you run to see Ms. Mortimer in the eagerly anticipated “Mary Popins Returns” at the end of the year, be sure to catch her in the charming Isabelle Coixet film “The Bookshop,” opposite Bill Nighy and Patricia Clarkson, this Summer.

We could not have a more perfect guest for the first episode of a podcast about “the work” of acting if we build one. The TV guest star extraordinaire, the go-to indie comedy player of our time, the actor's actor--Kevin Corrigan seems to be in everything. From nearly 30 years of experience in front of the camera in indies like Buffalo 66 and Results, studio films like Goodfellas and The Departed and television shows such as Grounded for Life, Community, and The Get Down, he has developed a poignant and often hilarious wisdom about this craft he loves. And in this hour he generously shares it with us. Presented by Filmmaker Magazine, a publication of IFP, the Independent Filmmaker Project Producer and Host: Peter Rinaldi Executive Producer:  Scott Macaulay