Back To One

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

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

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

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

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

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

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

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

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

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

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

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