'Duke Johnson: Capturing 'Theater Troupe Energy' and Why He Sees André Holland as 'Incredibly Intuitive'"
Duke Johnson acknowledges that he has none of the solutions. Yet, this does not prevent him from posing "questions many people care about" via his movies.
In the 1950s-era film "The Actor," universal queries concerning reality, art, and love come under scrutiny. The story revolves around Paul (André Holland), an actor who awakens in a quaint town in Ohio without any recollection of his past identity. As he starts probing into his background and interrogates those around him, he develops feelings for Edna (Gemma Chan), a costume designer. This leads him down a perplexing path filled with confusion over his true self amidst various personas. Could any of these numerous identities actually be his own?
The movie represents writer-director Johnson's initial venture as a sole director following his collaboration with Charlie Kaufman for the stop-motion film "Anomalisa," nominated for an Academy Award in the best animated feature category in 2016. Although Kaufman only has an executive producer role in "The Actor," his impact is evident through the film’s existential undertones and because he brought this particular storyline to light.
While collaborating on "Anomalisa," Johnson sought some reading suggestions from Kaufman, who then recommended Donald E. Westlake's "The Actor." This recommendation came after Kaufman heard about the novel on an NPR podcast. Interestingly, the book saw publication in 2010, which was two years following Westlake’s passing.
Johnson explains that what intrigued Kaufman was how the work appeared to be a crime noir, thriller-style narrative. However, unlike typical stories where amnesia drives the plot, here it served primarily as a means to delve into questions of identity. kor.news .
A decade following the sale of the film rights—including during a pandemic, extensive post-production work, and a period where Ryan Gosling, who is now an executive producer, was set to star—"The Actor" hits theaters on Friday through Neon.
Before the movie comes out, kor.news I had the chance to converse with Johnson regarding the "fabricated realities" that intrigue him. He shared insights into how a revelation made alongside his "Anomalisa" cinematographer shaped his distinctive visual approach. Despite the uncertainties inherent in indie film production, Johnson expressed confidence in the unwavering dedication of his leading actor and executive producer, André Holland.
I understand that you still received backing from Charlie Kaufman as an executive producer, but could you share your experience taking on the role of director all by yourself?
Charlie is someone who has mentored me; we share a close friendship, and I often reach out to him whenever I require guidance. His intelligence shines through as he offers invaluable counsel and generously dedicates his time to review scripts and examine edits. This generosity fills me with immense gratitude every single time. Directing my inaugural live-action feature proved to be quite an expedition. Although I had accumulated extensive knowledge from what felt like eons spent in film studies and created numerous short films along the way, nothing could truly prepare me for the comprehensive learning process that unfolds once you find yourself actively working on set.
You're operating in a distinct format with this live-action approach since you previously worked on 'Anomalisa' using stop-motion animation. Were there specific stylistic elements you aimed to bring forward from that project?
It doesn’t have to be “Anomalisa” precisely, but I tend to view the world through my distinct lens when crafting narratives. I’m often attracted to meticulously built worlds and the intricacies involved in film creation. Movies that showcase the craftsmanship behind them have always appealed to me. The technical facets of filmmaking offer a means for metaphors, enabling storytellers to convey complex tales and concepts effectively.
You have put together an impressive ensemble cast featuring André Holland, Gemma Chan, Tracey Ullman, May Calamawy, Joe Cole, and numerous others. It was quite enjoyable witnessing how well the supporting actors took on multiple roles. What made this particular casting strategy seem appropriate for your project?
I’ve exclusively produced indie movies, hence my lack of experience working with a $100 million budget. However, when faced with minimal funds but grand visions and constrained resources, innovative and imaginative resolutions often emerge. Given our tight finances for casting such a substantial ensemble, brainstorming solutions led us to explore the metaphorical implications of André portraying an actor—considering their transformative abilities and connection to persona and self-identity. As these concepts unfolded, excitement surged and captivated me entirely. The filmmaking journey became exceptionally distinctive due to the intimate team size; just 15 individuals in total.
Take Tracey Ullman as an illustration: her role required embodying numerous characters throughout most filming days. Consequently, everyone participated extensively, each person taking primary parts along with secondary supporting ones. Thus, collaboration permeated every aspect of production, fostering a vibrant atmosphere akin to a theatre group’s dynamic. Since then, I’ve harbored a desire to replicate that collaborative spirit consistently.
André Holland really shines in this role, particularly through his gestures and the way he depicts someone disconnected from their physical self. How were the discussions to get those nuanced aspects just right?
We discussed some narrative aspects, yet André stands out as both instinctive and deeply connected to his emotions. He’s truly remarkable not only as an individual but also as an exceptional performer. His presence provided me with essential cooperation and encouragement. As a producer for this project, he fully embraced his responsibilities. It felt like our efforts merged seamlessly through every stage. Whatever I requested from him, he approached wholeheartedly without reservation. Despite the tough and demanding nature of the shoot, where many unaffordable challenges arose, I consistently counted on him knowing I’d find solid ground.
This presents a fascinating twist within the noir/detective genre as Paul finds himself probing into his own mysteries, uncovering aspects of his personality he'd rather not face. A striking instance occurs when his companions recount a joke he made targeting homeless individuals; surprisingly, they find humor in it while he remains unamused.
Part of this idea involves the notion — if you lose track of your identity, you essentially turn into a detective searching for hints. Paul aims to return to New York under the assumption that arriving there will help him rediscover himself. However, upon reaching his destination, he realizes this isn’t the case. Consequently, he begins questioning his past: “Who exactly am I?” This prompts him to delve deeper into whatever resources he has access to. He sifts through items in his home and seeks insights from acquaintances regarding his former self. Yet, when faced with information about yourself that’s unappealing or feels disconnected, how does one cope? Viewing oneself dispassionately might reveal aspects not aligned with either current perceptions or aspirations. In such scenarios, what actions should follow? To some extent, this experience resonates universally; we’ve all had moments where our social blunders lead us to recoil inwardly, saying, "That wasn't really me." Or perhaps attempting humor only to realize later it may have been offensive. Post-incident introspection often leaves us grappling with unwanted facets of our personality, prompting questions about authenticity and personal growth.
Let's explore further into the visual style of the movie. You've come together again with ‘ Anomalisa 'Cinematographer Joe Passarelli. Can you share how you both worked together to develop a distinctive visual style that still pays tribute to classic noir movies? I particularly enjoyed the scenes where the lighting dims around Paul and Edna, leaving only the two of them visible.'
It’s amusing because I genuinely adore classic films. In fact, I find myself drawing inspiration predominantly from older cinema rather than contemporary works. However, incorporating modern tech into this process means there’s an ongoing fusion; it isn’t retro for nostalgia’s sake. While you’re not replicating their techniques exactly, you take cues from those aesthetics and visuals. Monochrome serves as a lenient canvas since it can handle exaggerated elements without being too apparent. Hence, my approach involves adding subtle hints of color through methods such as diffusions to merge different aspects seamlessly.
In “Anomalisa,” one objective was making the puppetry appear more lifelike cinematically, which led us to extensively employ softening effects via diffusion. This technique enhanced both the appearance and ambiance of scenes significantly enough that it shaped our distinctive visual identity somewhat. Always striving for greater depth, I aim for atmospheric details—rain, snow—and lighting nuances like bloom and diffusion to capture nature’s grandeur beautifully.
With the creations of Charlie Kaufman and movies such as 'The Actor,' even though you may not fully grasp every literal detail, you can still sense the emotions and rely on the director to guide you through the experience.
I came across a recent video on YouTube featuring a contemporary art exhibition where someone simply placed a pineapple atop a pedestal. Visitors began entering the space, examining the fruit, snapping photos of it. The gallery might've even added a glass case around it. Often, such displays consist solely of fruits without conveying any specific message. Although I’m not a philosopher and lack definitive solutions for everything, many intriguing questions resonate with me as well. Thus, when artists delve into their own concepts and incorporate those thoughts into their creations, they tap into our shared subconscious—our common worries and notions. Even though this may not provide clear-cut resolutions, it does bind us through mutual understanding somehow.
The interview has been revised and shortened.
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