Full Drama Actor Roundtable: Jon Hamm, Nicholas Galitzine, Matt Bomer, David Oyelowo & More

for me I think the biggest lesson that I wish I would have learned earlier was you're allowed to say no but so when you choose and you pick and choose and you do the things that you specifically uh want it becomes they become special and they they carry more weight laen Michaels used to tell me he said how how can we miss you if you won't go away hello and welcome to Off Script with The Hollywood Reporter I am your host Ivan orgie here at the gorgeous Georgian hotel in Sunny Santa Monica California okay so according to girl math there are roughly I don't know about 500 million original dramas streaming right now you can fact check me later but these six actors you are about to hear from have starred in some of the best of them from Cowboys to torture detectives to fights with Jennifer Anderson these actors have phras is what I'm trying to tell you so grab your popcorn sit back and prepare to be inspired by Matt bomber of fellow Travelers Nicholas Gallatin of mar and George and red white and royal blue John Ham of Fargo and the Morning Show Clive Owen of Monsour spade and a murder at the end of the world David oelo of law man bass Reeves and Callum Turner of Masters of the air they are on the record but just a little off script with The Hollywood Reporter hey Lacy they're all yours thanks zon welcome to the drama actor round table thank you all for being here we will start with a question for everyone which is what's the funniest or strangest feedback you've ever read or heard about yourselves I once auditioned uh for a director who in the middle of the audition said this isn't working oh that was pretty bad what do you do in that moment uh you feel like your career is over um thankfully it wasn't there otherwi it would also it Wasing and it and it remains working yes yes yes that was pretty bad in a similar vein I had a ahead of his uh television network tell me tell my Representatives actually that John Ham will never be a television star you show that no longer at the head of that Network I know exactly who it is it was one of those things where I had audition for this person in this network over and over and over again as one does and for whatever reason didn't get the part and didn't get the part and didn't get the park I would always say it would come down to the the last two me and the guy who's going to get it um but it was one of those things and it's such a Steve Martin talks about it in his book but it's like auditioning is the worst it just stinks but it's the only way we got so and uh there's so many variables that are completely out of your control so the the ability to kind of like Let Let It Go is an amazing point in one's career and then of course that's when you don't ever have to audition again so yep yep I like auditioning I did too God bless you God bless you because you get into the room and you get a f of the director and then the people you're going to work with and uh but do you still do that now they day for something it was nice to go in play and U and I there was a there was a crossover I think I hated auditioning and I realize that they want you to get the part like if you think that they don't want me to get the part then you're going to feel like this is a negative experience but if it's a positive experience there is that that realization when you kind of go oh yeah right that's we're all here to do they're not going to waste their time with you for no reason for sure going in is better than doing self tapes though because I feel like over the co and there was a lot of self taping whereas you said getting the the vibe of of someone that you you have the potential to work with is is very different especially for young actors because I think when you're not yet at the point where you're actually getting to exercise that muscle on a set it's a way to you know put together a performance perform it in front of people who are professionals you get a certain amount of feedback I think it's the stuff around it it's walking into a waiting room and seeing 10 versions of yourself there is's no there's no creative uh thing about it yeah and it's of the same people that you've seen over and over over and over again sometimes you have that terrible setup whereby you can hear everyone what I get is I think I'm going to go in there and everyone's going to be listening to me and you know and it's it's it's all of the stuff around it's then going home and the self-loathing and the anticipation and though did I get it did I not the waiting all of that it's the stuff around it that can be really challenging sure that's postate trauma right yeah I think so which which is what and then that gets put into the experien Ser I just hate yeah all right if you think you're going to get away with not answering the question about uh about the funniest weird or funniest or I mean an hathway did just say that you could have chemistry with a lamp which I I guess could classy here true of Vibes watch out it's very potent oh um I I mean honestly that was an amazing uh audition experience where I had a very conducive room and it makes all the difference cuz you come out of it with this almost high the sort of performance High because the sort of anxiety and anticipation um turns into something extremely extremely positive I mean I do always um it's less feedback um but it was just more um the sort of look of horror on um casting director's face but I I went into audition for a young Tarzan uh with no lines um and I was told that I had to pretend that I had an orange that someone was trying to steal from me and I had to guard it and you know when you don't go for something entirely and it just seems very feeble empathetic and um and wrong uh uh that that is a moment that that keeps me awake at night I think about it a lot um so it was motivating there you go yeah you could say that but that chemistry thing is is a real thing because if you get to do chemistry reads which is which is something I do love doing CU there's a kind of an excitement as to is this going to be the person I'm going to get to do this but when it doesn't work when the chemistry isn't there oh my Lord because it because it's an there's an Alchemy to it there's a you you can't quite put your finger on why something works or it doesn't and you know within seconds and then you see these actresses again is that then awkward yeah yeah well it has I mean I'm thinking of one experience in particular that I'm not going to mention who it is but it was so not the right fit and you can feel it in the room palpably to a to a comedic degree actually um and to the point where you know that coming up in hives thing I I definitely have that over that it's better to find out then than for sure which is why you doing looking back at at your careers is there a a moment a project that felt like the biggest risk for you I I remember being at a time in my career where I just felt like I wasn't being challenged enough um Nick and I were talking just before this about theater and that being a great place to be consistently terrified and I do think that's something you need as an actor and um I went into my agency I said this and then the next thing that hit my doorm out was a film called Nightingale which was just me in a house having killed my mother um and it was 80 pages with no one else and that was as terrified as I've ever been but it was like careful what you wish for and uh and yeah it was a risk but it was definitely one that paid off and I do think you know I can't speak for any of you guys I do think that's where longevity lies as as an actor is how many times can you be terrified and do it anyway because I think that's where you continue to both challenge yourself and of course the audience yeah I think when anytime you're you're tapped to be kind of number one on the call sheet for whatever it is that brings with it a whole set of circumstances that are also out of your control but that you're somehow expected to shoulder uh and it could be a burden it can be an opportunity it can be all of the all of those things at once um and so in my case for for Madmen when when it came through it was it was the show that nobody wanted so it was stuck on a network that no one had heard of that had never made uh series television before so all you know for first three seasons people thought we were on A&E which is a completely different network than AMC AMC but but uh so there was so many challenges that were completely uh separate from making the show we all knew that the show was good we just didn't know if anybody was ever going to see it so those are all those all get sort of folded into the to the equation and yeah it's it's very did that show hit from the very beginning like the first SE kind of like people were very aware of it but it was right at the beginning of Internet blog culture and before social media so the really wasn't that kind of worry about it it was a very weird time in in kind of the culture of Television too people were really writing about recapping shows and writing about shows and really talking about them in a way that they hadn't done since the network shows um in a different way too so at some point there was a study that was released we never got ratings but there was something called like cultural penetration that we ranked right below American Idol but for the cultural penetration about people talking about it there was some Metric that some advertising company came up with you're not allowed to use that term [Laughter] penetration so it's what David was saying about being scared that's the that's the that's the fun part and the scary part of what we get to do and constantly Reinventing what you want is or redefining what you want is exciting there's no way that you can't be scared either you know such a vulnerable thing for sure sometimes I've l myself instead of my ceiling like what am I doing you know just before something's about to come out this is real feir it's crippling but then how you say it's also the thing that pushes you on it's the thing that makes you get back out there because it's thrilling at the same time it I just don't want to be laughed at that's my faar really on purpose want to be on purpose so that's the fear it's interesting to actually be able to identify what the fear is yeah it's it's the rest the rest of you I feel like I don't want to let folks down so for me I I agree with with both of you it's every time you step on set and and your performance is going to be a part of the Lynch pin of what makes this story come through or not I just feel that that same thrill and excitement and and hope that I've geared up enough and done all the work beforehand that I'm going to be able to step up and um tell the story with my equals and and and just do my job and and not drop the ball for anybody else really sure and it's also I think is it doesn't matter how much you've done every time you go into a new thing the potential to fail is hovering around the potential to not actually do it as well as you hope you can and he always there it never goes away clle you did something early in in your career you were you were on a a crime series it was doing really well and then you made a decision to take a role in the movie uh that I'm guessing is a decision you made because you didn't want to be stuck in a certain Lane no I mean I think because I trained in the theater I was all I got into acting because I wanted to play different parts and I landed very young this big TV show called chancer which got a lot of heat and then I started to get off with a lot of stuff like that it was mainstream TV and even at that very young age I was very aware that I wanted you know I wanted a long career but I also wanted a career that was as varied as possible and then this writer director came to me with this project called close my eyes which was about an incestuous relationship with a brother and sister very delicate very beautifully written Alan Rickman was in it sasu Reeves and I remember at that time thinking yeah I need to do that because I mean ultimately the worst that can happen especially if you've worked for a while the worst thing that can happen is you'll be bad I've been bad before I'll be bad again it's like you that's the only way to learn and to grow is to is to step out there and go I'm going to give this a shot and I'll give it everything I can and if it doesn't work we pick ourselves up and we go again does the team around you all say that's a great idea or does that then never say anything I I I I I I have never listened to anybody else because ultimately you are the one that has to go to work every day you're the one that's got to you know you have to I've never listened to anybody else about you should do or you I do what I want to do because that's what's going to sustain me through it I'm guessing this is resonant for for you uh during the run on Madmen where every script I got was a cigarette and a hat and you know uh cocktail or something and it was it was sure you go okay I get it that's my day job you know that's what I do six months out of the Year and that was why for me it was a very conscious decision to lean into the comedic side of stuff that I wanted to do whether it was 30 rocker SNL or fill in the blank because I knew like I knew I had that going that that train had left the station uh very successfully and so that was it was nice to have cred to earn credibility on both sides of the aisle dramatic andic Kyle um but yeah a clut point like agents and managers have all bad a thousand in the river mirror they can always tell you what they thought after the thing came out and was good or bad it's in the moment that you have to make the decision well and it is the worst thing that happens you suck or or you know or it doesn't work or whatever reason I think appetite sustains you you want to do something even like small big it doesn't matter appetite for something is what keeps an actor going if you genuinely have the hunger to do it you feel you've got something to do in it I think that's hugely important always but sometimes it means waiting around for something that drives that hunger or feeds that hunger or speaks to that hunger as opposed to just keep keeping on going from job to job to feed that hunger perennially you know what did that look like for you uh I mean honestly I feel like fellow Travelers was that for me in a lot of ways because I've been with it like four and a half years now and I was very cynical about it every even seeing the light of day so it was one of those things that was slowly marinating on the back bur I was going oh I really hope I get the chance to do that but who knows to Matt's point about creating space for those things to come your way my personality is I don't do well with waiting around I also there are as a as a black person there are stories that have never been told there are stories that continue to have resistance to them being told and so the only way to get them told is to be part of their creation so Selma for me was a 7-year Journey a United Kingdom was a 7-year Journey this was an 8-year journey and on each of those it was in an environment within which the feedback was this doesn't have a place in the marketplace and so you basically on Selma I didn't realize what I was doing was producing by bringing Ava duvan onto direct here by going to Oprah winfy and saying please come and produce it by badgering path and saying what are we doing what are we doing what are we doing you know but that's what producer does you literally move the needle a little bit every day towards the thing coming to fruition and that's what it was with with bass Reeves as well what happens is that in the meantime the culture is Shifting tastes are shifting you know so when we first went out with bass Reeves the feedback was we're not doing this because no one's doing Western we went out again two years later we're not doing this because everyone's doing Western was the was the refrain but then Yellowstone comes along and there's this clearly very engaged audience streaming comes along which didn't exist when we were first going out with bass Reeves so you now have data on the demographics of people who are engaging globally you know bass Reeves was deemed to be something that wasn't Global when we made it it went on to be the most watch show globally for Paramount plus last year it's that received kind of wisdom that becomes the conventional wisdom which is yes and and you have it's what's behind the feedback you get pretty good at going oh I see what you're actually right saying you know with Salma for instance every director the five directors who were on it in the seven years that I was around the project they were all being given about 20 to 30% less of a budget than the film required that's the marketplace or these Gatekeepers basically saying it's of a C value and that value means that we don't see it as something that is going to reach a big audience and fire in your belly too oh yeah oh yeah and if you're a certain personality that you know for me every no is a cobblestone to a yes I I just don't if it's something I really want to do and to your point about rep Representatives at the end of the day I think as an actor you're a corporation you're the CEO and you have people who are there to enhance or a your vision but they cannot be the driver for it then at the end of the day I would much rather bet on myself than people who don't know what it is to put yourself out there in the way that we do sure Hollywood loves to sort of lock people in Lanes I'm curious of what those types of roles are that you just sort of look at at this point say like not again I'm looking at you now yes you are um I'm very candid about my career and um you know it's interesting what you're saying about sort of not waiting um I think for me everything had to sort of move the needle in the direction towards the Artistry that I really wanted to make and especially early on in my career there was a lot of romantic leads that being said I have done a romantic lead recently with an ha I really love the movie I think it's a lot of fun but you know coming to something like Mary and George which was um very unconventional in in in in a sense um and was able to kind of flip that and and was much more sort of om fatal in in in a way I I think that's something now that I feel like I've um I feel very fulfilled within the sort of romantic lead space but um I I have much more agency now to be able to do these roles that I've not been able to do for the last however many years it doesn't half help working with Julian Mo you know sure she radiates towards me and that and that has opened a few a few doors in itself yeah what about the rest of you what are the things that you're like uh no Ive I've done this and I really want to stretch and do something else right now uh anything set between 1930 1955 I think is off the table is off the table I like to come back to it but not for a bit yeah is that something you worked in the in the past as well is this much more with Masters I did I did fantastic bees which is set in the 30s and then Masters set in the 40s and then boys in the boat was set in the 50s so I'm looking for something set in the 60s what do you think what do you think it is what is is it think my hair man I just think I got shave it shave I don't know I just I you know Masters was a gift you know it really was he was working with all those people and um you know if they if the situation was the same I'd go and do it an epic thing to be a part of yeah uh what about you met I think I needed to just come out of from Under The Cloud of repression with certain characters between Maestro and and fellow Travelers and some other roles I'd done it's just I feel so blessed honestly to have an opportunity to play some of the more nuanced lgbtq roles uh at this point and they are so diverse and how they're written and how they're they're brought to the screen so I I I'm very grateful for those opportunities but I I needed to I needed to if I was going to go on that direction I needed to play somebody who is a little bit more celebratory of themselves yeah yeah it's also a director I think yeah like if Mar SC say go right we got a film I'm in not not doing 40s yeah sorry sorry sorry put my foot down no I mean it's got to be director and actually to your question earlier about how do you keep it fresh and how do you keep it moving it's it's it's director you know the director is the person he or she is going to pick the best uh hods and the best actors and and have the best chance of the film being seen and it being a good movie so what is the stage direction or perhaps it's a character description that you see on the page and you just s of read oh I I I mean the well this is not the stage Direction This is the direction okay and when a director says to me faster I I I I just you or 20% faster yeah and it's that it's that percentage we love little fast you know and it's not that sometimes that that's warranted to to to get some Pace in there but it's the emotional intelligence to know how to speak to an actor in order for that to come from a place of Truth as opposed to just being purely a technical like we're going to keep this thing move and I find more directors than should be the case do not know how to unlock actors into a space of the elevation of the material and the moment you feel like what you're doing is purely a a technical Endeavor it shuts things down and the you know to your point about director the best directors who get the best performances out of actors it's because there's a degree of emotional intelligence not only pertaining to actors generally but specific actors like there's an actor who second take they tend to be dialed in another actor is like the fourth take and you're now trying to get these two actors to the same place at the same time if it's a two shot those are the best directors and I've been so blessed to be around some of those but that's a tell for me when like after one take like we're barely warming up faster like w okay well especially in television too because it moves the the pace of the production is so impossibly fast right and especially working with with Taylor Sheridan's right crowd it's it moves at a at a Breakneck Pace um by Design um but also it's it's just so you kind of have to come in warmed up in a lot of ways yeah um or because you just don't simply don't have time you're not going to make your days and you have directors often who are coming into a fully functioning machine and throwing a giant wrench into it because they don't know how it works or who is to be paid attention to but that's my point John is that once it feels like a machine it's very anti- creative to me like if if it feels like we're directing traffic rather than creating art um and I know that can feel lofty but it it doesn't actually take more time to do that it's it's not inefficient to be thoughtful about about how you approach the work and so that that to me is the thing that you're all because and what is that how do you eliminate that is that being specific is it's tough you know is is the reality but you you know it and you see it in the work when it's good and I think vice versa as well it to your question though the only stage directions Shakespeare gives or he enters or she enters and she exits and I I think he knew what he was doing anything that's not essential to the scene I try to just black out with a sharpie because there's so many descriptive things that are un actable or you not useful or even good to have in your head at the time sure but there's also can be things like you're going to be in the dead of winter and you're going to have uh those are given circumstance it's not a not a s dire or character description really interesting and that's what I love about acting that everyone approached it differently I look at the stage Direction and I'm like why is the writer written yeah what does that mean what is that and I try to dissect it and understand it and maybe I don't listen to it in the end but it it'll be in there for a reason I you know the writer is I mean it's the script is the script yeah I was going to ask about your prosthetic nipples but I guess I'm not going to ask about your we all have them right we have what what what's the nipple story I uh on Fargo my character had pierced nipples so the the question was that I it's called commitment yeah I answered everything no they were not actually my nipples were not pierced they were prosthetic nipples that were placed over my nipples that were pierced which I did not keep because they look way too much like pepperoni of your nipple before you was that a question did somebody ask if you wanted to keep those uh yes and I said no I think I'm I saw them I saw them in that on eBay an auction no doubt on right now Big B for you can say you bought them it's but so to that that's another thing too is what colum was saying it's like the the writers have put a lot of thought into these scripts and and in that case Noah's and we we' spoken about it before it even became a script but we talked about the character and it was like there he wanted him to have this kind of strange buried not immediately visible Edge different side and I was like yeah that sounds great do whatever you want and then he wrote that in okay be careful what you wish you're in a hot tub in Calgary you know naked with the with the plastic things over your nipples well is anyone else an equivalent of being naked in a hot tub with plastic nipples in your careers I spin most of Mary and George uh but naked to be honest I did four sex scenes in one day and you're just like you're meeting hello nice we're going to be in this position now por por projects that's what we're all here for okay but something like that's really bizarre and and and for me I kind of love those scenes because you you really learn who George is in those moments how he dominates people it's um it's how he he manipulates people so um I I'd say I actually weirdly feel more comfortable seeing a a a sex scene in in a stage Direction than maybe something thing like um and he cries you know for me that's always a thing of feeling like yeah single tear like at this point in the script or he is dashingly handsome or yeah yeah yeah all the time exactly but I'll never get tired of that you like that one how does does everyone else feel the same way on the intimacy scenes it is I mean to me it depends on how integral it is to the storytelling if if if the characters and the story is different after the scene than it was before I think that's for me a good barometer whether or not it's essential to the story and it's also gotten so much more adult yeah the the idea of actually putting a person whose job it is is to oversee that and make sure everybody is okay is a little bit like how did we not think of this before like how is it was just not it was an afterthought and you go there's so many things that can go wrong or sideways or uncomfortable in many many ways ways which we've obviously heard and read about over the course of most of our careers but it all it took was just like let's hire somebody whose job it is to make sure was cool dance and yeah and then and then and then we can have a conversation about it an honest and adult and responsible conversation and we can and it the the work is not suffering it's no weirdly you can actually push it more because everybody's on the same page but also there's safety there's trust there's not that thing where is anything I do going to be misconstrued as inappropriate you know the parameters are set and you're right how it's taken this long to have intimacy seems like a Nob brainer it's 100% stunk coordinat forever if it's good writing it's also an extension of the scene it's it's a conversation between between the characters and if you look at something like fellow Travelers which is really a study in repression the way Johnny and I's characters were able to connect were in those intimacy scenes it was the one time that we were free from all the societal judgments and restrictions and could actually express ourselves so in in projects like that those scenes become really integral to the storytelling yeah are there I mean a lot of these projects take you to these sort of Dark Places do you have tricks to sort of get yourself out of it at the end of the day if if in fact you are getting out of it at the end of the day and I'm going to call you up did I did I hear you say Emily and Paris was and maybe some Mean Girls was I I like I like all kind of movies I'm very supportive of of the film industry oh but yeah I like I like watching those films because they're I mean Ming girls is a is a classic and Emily in Paris is phenomenal I say it in just but I also watch them they're really good um I have a dog actually and my dog comes with me to work and something that Masters actually was really grueling and draining and um he really helped me a lot yeah just you know staying at the hotel and going for a walk on the grounds with him and as a as a Gateway back into I don't want to say myself but that is yeah real life and and you know having something that was normal you know and you said in the accent am I right on that yeah the whole time yeah it helps me you know it really helps me just uh find the person I do it for everything I do I did a movie called Tramps and I went a month earlier to living Greenpoint in New York which is uh now a trendy neighborhood it wasn't a trendy neighborhood they were like come live in Manhattan I said no the characters from from Greenpoint and he's polish and uh I'll go and eat as many progis as possible hopefully through osmosis it will come into me somehow and uh I don't know that's just my process I enjoy that that's part of it that's part of the game you know it's it's about uh it's it's like you're a detective of some sort and you're going if you're lucky enough to go into another subculture I think then why not go for it you know yeah and what you what you put in is what you get out of it you know I think feel ver bricks here especially if you're playing an American you know it it is about immersion I found that very useful to stay in the accent the whole time because even for being on set you know going in and out of your accent you're even the people who are behind the camera them are going oh he's not oh you you want to eliminate that you sort of want to just feel like of course there it's just there's just a a Synergy there is there is a smooth to what your day is you're not having to now trick yourself into tricking them while you're also speaking to the audience you know whatever that is for you is is the thing to and everyone is is different like I had the really deep Good Fortune to work work with both Forest Whitaker on Last King of Scotland and then Daniel de Lewis in Lincoln and they stayed the whole time and you kind of got to see what the price is for playing that kind of role the last king of Scotland that is that is a that is a tough role just to stay in on everyone by the way you know playing playing a Ugandan dictator but that's the price and you see it in the results phenomenal in that movie he he he he is because it's a transmission of energy you know ultimately that's how that's how I view it and you know the camera picks up the energy the camera you can't lie in front of the camera so whatever you can do to enable that or enhance that Callum and Nick are are at uh sort of earlier in their trajectories than the four of you I'm hoping you can give sort of advice uh that would have been helpful to you that would whether it's how to sort of navigate success whether it's how to navigate Fame things that you perhaps would have benefited from knowing when you were at the stages of their careers that they are I suppose I suppose something that I learned very early on was that you know the film you know the cliche that when you're filming you spend you know an awful lot of time hanging around and in the trader and those it's all about like the concentration needed for that time the timing of your day the timing of your energy that like I I I for like 20 years eat the same thing like I I don't see when I'm working like I don't want interesting good food and I'm a foodie I like but not when I'm working needs to be practical simple I sleep every lunchtime and it's all about the delivering when's needed the pacing and that goes when you and and you know when you go from movies to TV the length of a TV show pacing is everything about how you keep your energy good and also remembering when you're young and there's a lot of attention comes right there you know you're being pulled in every direction one thing I lo is when I'm working on something and you're pulled to do press for something else cuz I go this is like this is what I do this is the most important thing now and that little bit of you know time in front of the camera on whatever job you're doing every day that is what sustains you and will that's the most and it's so easy I think when you're young and there's a lot of it and it's very exciting and You' be important all kinds of wonderful things and you have the but is to go if you want to be in it for the long haul you must never forget that that precious little time the way you use your energy and the way you pace yourself is really important you may have another piece of advice because callum's name is all of a sudden thrust into all of these sort of rumor Mills around uh bond which is something that you spent a good portion of your career there are worse things to be T being possibly being James Bond that's what I'll say you could be called bad actor that one's pretty high you could you can handle that one uh fair enough John what about you do you have I mean in terms of sort of have having how to navigate that that moment where everything where you feel weightless and and there is there nobody writes that book right nobody teaches that class and it's something you kind of have to do you can only do it through living through it you can only see it from the inside out and for me I think the biggest lesson that I wish I would have learned earlier was you're allowed to say no at a certain point as Clyde was saying you're getting pulled in all these Direction okay I'll I'll go over there and I'll go over here here and I'll go over here and you and you're kind of like you can say no and and then everything slows down and you can go okay let's do that and that we don't have to do all seven of the things but so when you choose and you pick and choose and you do the things that you uh specifically uh want it becomes they become special and they they carry more weight Lauren Michaels used to tell me he said how how can we miss you if you won't go away you know what I mean and and that's a big thing about like you know you can say no uhhuh and and it's helpful too Matt we were talking earlier about sort of being um an industry sort of wanting to keep you in a lane I feel like I've read recently that that you were talking about returning to uh White Collar character that you did play for I don't remember six years is that right do you have hesitations around returning to something or is that or do you have enough distance from something where where that suddenly feels exciting again I guess what's that mental calculation I think a lot of that is just about the joy of getting to work with that cast again we were all so close-knit we're all still close friends we text at least once a week with each other we go to dinner all together as a group once a year and it was just something where you know when you when you get a fun job like that and everybody can appreciate it at they're at a point in their career where they've been around enough and had enough people tell them no or you're not going to be this or you never be that and then you get an opportunity like that we all just were really grateful for the experience and we've been through a lot we've been through a lot of loss together so it's almost the experience of just getting to create with those people again would be the most appealing thing to me if somebody went to you and said hey there's going to be another Mad Men is that you know part of it is that there's no story to tell you know we we we ran out of story stopped Hollywood No but not a money jump it's literally never stopped anyone from making a sequel prequel sequel threequel um squeel and was the it's coming um no it's it's I obviously you never say that but but the point of it is the way we were able to tell that story and how you've turned the final page of the book and then you you're done that felt satisfying to me uh and I think it was very satisfying to the audience as well so I think that that's that's a story well told so three million in that keep going this got to be on number who you been talking to uh so yeah so I think that there's obviously you would it would have to be some version of what man was saying obviously getting that over the course of and we shot that show for the better part of a decade um we a lot of us became incredibly uh close really good friends you know we all went through the fire together over the course of those 10 years and that's in and of itself an amazing memory so you want to kind of keep that as something that you look back on with fondness and kindness and wonder and then if you kind of reboot it is it does it become something different is that bad is that good we don't know so I don't know I think it's it's I'm happy with the way that that lives in my uh life and in my past and I would love it to stay there stay there are there projects that you feel like or or types of projects or roles that you feel like at this even at this stage or just at this stage you wouldn't be usted with I feel like I've heard you say you would love to do some Voice work oh I would love to do it was you know we talking before about how we how we tune out I mean animated work for me it's just it's it's such a joy it's the thing that I watch at the end of the day that does not feel like work at all and um what are you watching oh my God just so so much I mean literally from from uh Mulan it's my favorite Shrek 2 actually is probably my favorite animated movie to anime to to to um love love death and robots and think is amazing but um you know I Robert patson's someone who I find really interesting because we grew up in similar areas and um he kind of had a similar trajectory in the sense that he was doing something was very romance to begin with and now he's become this incredible leading man but character actor too and him being able to be given that that chance in the boy and the Heron and completely transform not a role had it been been a live action thing well because he can't play a heron I suppose but but you get my point um you're you're able to kind of just really deviate from all of the the the preconceptions about you and I think that that that is something that I find very fascinating and exciting right now in in in what we do the the the opportunities are insane yeah um it's not even even from 10 years ago it's not that you you if you're in the Marvel Universe then you have to do this this and that and then you're going to do those movies for the rest of your life now it's you can do this and that and you can you can be on TV or a streamer or a movie or a major motion picture or a tiny emotion picture it's it's all so fluid at this point that it's it's exciting and it's it's amazing as we've all been kind of talking about with the the ability to do different things it's never been more I you could do something on [ __ ] Tik Tok for all you all I know I don't I'm not on Tik Tok but I hear you can and it's it's it's just as differently creatively fulfill culturally penetrative you might one might say but it's definitely you people will see it and there's so many different ways to get to get I hate this word but your content into into the hands of people who who who consume that content and that's tremendously exciting and I don't think we've landed on what the future is going to look like at all I think that there's going to be some major upheavals and shifts in that landscape for the next few years at least with the with the Advent of AI and what that's going to look make everything look like um I'm always positive about the future it's going to be something fun people said that you know television was going to kill the movies it didn't it made them better and I think cable was going to kill television you know everything you know it's radio killed stage it's it's none of it is true it's all just a different way to process this and and generationally we find that you just learn how to do it differently and it's and it's exciting it's exciting to get to do what we do and I'm looking forward to seeing what it looks like in 10 15 20 years down the line I love it we're going to go into a more of a lightning round who's ever lied to get a job oh every absolutely figure skate I play ice hockey roller blade like we got this like yes years of experience what's been your life horse horse lighting when I was very young that's awkward yeah a couple of times and Nightmare experience absolute Nightmare and then eventually I got offered King Arthur and the day the deal was done I made a call and said I need to get on the horse tomorrow just proper riding that's like not no joke you know just walking into I did I did a job where I got thrown off and then I ended up in this big pilot and I went over to the states and this is a true story and and and the the Wranglers were there Bo and they were these horses were and I was and there was a scene where I was supposed to ride into this scene it was a civil war thing and I promise you this is true jump on the horse I turn and I go oh well comy it was so that was my horse rid I had an audition for a movie called Miracle which was about the 1980 US hockey team and I love ice hockey cannot play Icey however which is a very specific skill set I can skate a little bit uh I can go forwards and backwards I can turn can't really stop but who needs that that's what that's what the boards are for um so I went to audition for this thing and it was absolutely humiliating as it's a similar thing I was just like I I should not be out here on this ice and I really wish I could go home and it was like a 2hour drive somewhere way out in the valley to some ice rink and I literally was just like we're good I've learned now that I should take that one off my resume uh good idea yeah yeah it and the movie ended up being great one of my one of my favorite uh Sports movies of all time it and I'm not in it nor should I I mean mine's more um physical things like being able to grow facial hair and look older I'm like yeah I'll no I'll come in I'll come in with a B yeah yeah yeah I I'll definitely look like 34 when I when I come in not 20 year old prepubescent young man but I'm still waiting for that I mean see some some lovely facial hair over here there you go it's coming for you not with you I can't grow it and I wish I could keep I wish I could mine was kind of a mistake akake I I'm a pretty good roller skater but then I had to rollerblade in something and it's not a transferable skill so so I I was just like yeah of course I can rollerblade I've been roller skating for years and it is very wildly different um so that was that was pretty here I leared the wrong way I do like that you classified that as a mistake yes and not strictly speaking a lie exactly um what's the last piece of acting uh that made you insanely jealous oh wow Sandra hula oh yeah those thing I saw her in anatomy of a fall and then it was deep into the film before I knew it was the same actress in Zone Of Interest and I just thought that is as good as it gets yeah that's quite a year I think car an's closeup work in Maestro was unbelievable I mean especially in that aspect ratio that they were shooting in the cameras right here and to see the truth in the character behind her eyes in in those moments on a giant screen was really revelatory I thought what Emma Stone did in uh poor things was pretty impressive too just the physicality of it um everybody in that movie was outstanding um but there was such a risky that could have gone left at any point at any point and the way that she was able to really Wrangle that into something consistently inconsistent or consistently chaotic was really impressive and um yeah it was bold was bold I and I've known Emma for forever um and and it's it's been an amazing thing to watch her kind of really sort of take charge of this thing and become become this she's just a wisp of a thing but she she projects such a gravity on on screen it's impressive and it's so confident to see you also get the feeling she can go anywhere she's created a space for herself now it's all there for her cuz she she can do anything that that movie is a perfect example it's it's heartbreaking and it's wildly funny and it's sexy and it's all of the things uh at once Testament to Yos too cuz everyone's in the same movie yeah yeah for sure is there a dream for all of you guys is there something you would love to do I mean I would love to do more action I'd love to do you know I I think Born identity has become you know for actors the where you get an intelligent they're doing it now they're reming it to be yours well listen you heard it here first but uh you know that that kind of film that that also has a brain is something I would love the opportunity to do yeah yeah how about you Nick I'd love to I mean I know Andrew Scott's just uh done it but I'd love to play a Ripley esque character I think someone who's so uh mellan and calculating and and um and dark I think steering into the darkness is definitely something I want to do I love that what about you C uh I don't really do theater and um I really want to play Stanny Kowski yeah oh you'd be amazing do no as a play I saw uh Ben fost to do it a few years ago and he was amazing he threw me away and I know Joe Edon did it brilliantly and obviously i' go see that sure no you don't have to comp it I'll pay I'd like to be comped done done done done no I just think that's such a beautiful play and yeah it's uh it's really a daunting idea to go and do a play for me cuz actually it's film film was the thing that really excited me at the beginning and theer was something I like to go to but not to be on the stage so I'd love to be back on stage again as well I think that's the always the most thrilling challenge as an actor um I'm getting to do my first kind of overt comedy right now which has been really challenging but also really liberating and and and such a joyful experience so that's that's been a a fun muscle to try to exercise for sure sure I I I just did one of the highlights of my kind of dream job in playing some Spade really was I've always been a huge fan of Noir I'm a massive Bogart fan many years ago I worked with a studio to try and get Marlo they they they got the rights for me to do Marlo and we never really got a script that was you know good enough really and then when Scott Frank called up and said want to play Sam Spade I literally was sitting with and it's true behind me an original multi F comp poster on the w and I went sent it and went you've come to the right guy is a GI so that like that was a highlight just to get to do that I have U Tom staart is one of my favorite living writers and he wrote a play called Rosen Cranson Gilden Stern her dead and they made a movie of it which he directed which Tim Roth and Gary old man were phenomenal it was a very very fun movie and I directed or co-directed a production of it in high school uh when when I was teaching High School bunch of kids came out I love it it's funny it's fast-paced it's wickedly intelligent and it's a two-hander and my dream of it would be to do it with somebody who who would go along with this with me where we would switch parts every night so that would be the fun part let me finish so it would be that kind of thing and getting back to what we're talking about about things that are terrifying or scary to us um that would be fun again fully terrifying have you actually tried to I talked with a producer about it a long time ago someone else owns the rights to it at the moment they're trying to maybe put it up I'm not sure it's one of those things that I I could play tomorrow or I could play in 10 years it doesn't necessarily have to be a certain age or a certain or than that but it would be it would be fun and I I just love the the language in that play is my friend said once uh to to be able to do something on Broadway for an extended period of time you better love what you're [ __ ] saying oh yeah because it's a slog and those are the those kinds of words I would love to say every I'm going to end on what will seem like a silly crazy question but I do think it's revealing or well I I guess you guys can be the judge of this what's the most used emoji on your phone I don't um oh God it's probably the little winky uh wink yeah the Groucho glasses guy uh or the salute guy cuz that's usually how I sign off as with a little salute and I I lean on that Groucho glasses does this say something about you cuz mine is mine is that one it do kids that's theid yeah yeah yeah what about you man I I do mind blown a lot I I do grow mind blown is the one and then I do I use hearts a lot different color hearts for different things it's quite it's yeah the different colored you have to be careful about that I sent the wrong color to the color what's the wrong color well you know if you send the red heart that's a lot of and it was it was an actor whose work I really love but I could tell by the silence afterwards that I use you you overstepped been was a bit of an over 22 red heart I bed my soul a too what about you K yeah Hearts as well yeah are they red now now red I don't really use emojis actually I like stickers on what you like stickers generational good yeah it's a Well I think it's a South American Thing Really they love the stickers what are they what kind of stickers are you using photos of things that are like the what's the most used one on your phone I've got one I'm using at the moment is someone holding the photo is someone holding the um thing in the car like hold on tight oh okay the oh [ __ ] handle yeah exactly exactly hold on I told you they they do actually reveal something and you're going to have to start using emojis and learn about yourself oh no of course not um thank you guys so much for doing this I really appreciate should we should we cheers to the uh Chin Chin Che cheers be pleasure bu Madam well cheers to another insightful and enlightening Round Table conversation here you go baby I made you a drink just for you as for my most used Emoji I it's got to be the Bron heart or the laughing face cuz you know I'm all about that heart and humor and apparently alliteration but until next time I am Ivan orgy and this is OSD with The Hollywood Reporter did you drink it is it good

Channel: The Hollywood Reporter

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Keywords: thr, the hollywood reporter, hollywood reporter, entertainment, hollywood, Close up with the hollywood reporter, the hollywood reporter roundtable, hollywood reporter roundtable, Off Script With The Hollywood Reporter, the hollywood reporter roundtable 2024, hollywood reporter roundtable 2024, Drama Actor Roundtable, Jon Hamm, Nicholas Galitzine, Matt Bomer, David Oyelowo, Callum Turner, Clive Owen

Id: tBX44jKkphY

Length: 54min 36sec (3276 seconds)

Published: Sun Jun 09 2024