Back To One – Détails, épisodes et analyse

To be a standout on a show featuring Jason Segel and Harrison Ford is quite a feat, but that’s exactly what Luke Tennie did in his breakthrough role as Sean in the hit Apple TV+ series “Shrinking.” On this episode, the seemingly effortlessly-talented young actor takes us back to his early days and details how football played a pivotal part in helping him with the disciplines required for acting. He explains his belief that there can be no real “play” without massive preparation; talks about coming to a place of understanding that auditioning is simply a “demonstration of my capabilities;” tells a hilarious story about his first job, working with Rob Reiner, which ends up being a lesson in letting go, plus much more. The second season of “Shrinking” is dropping this fall and Tennie also has a small part in the eagerly anticipated film “Nickel Boys” which is scheduled to be released on October 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. 

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He was in “The OA,” “The Marvelous Mrs. Maisel,” and played Roy Cohn in “Fellow Travelers,” but the stage is where Will Brill has found the most satisfaction and success recently, in “A Case For The Existence of God,” “Uncle Vanya,” and, just this year, as Reg in “Stereophonic” on Broadway, for which he received a Tony Award. On this episode he talks about building Reg by starting with his voice, why following playwright David Adjmi to a bar was a pivotal move, the importance of directorial affirmation, how his pre-show ritual has changed, 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. 

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There are few actors more well respected than the preternaturally gifted Julianne Nicholson. Recent notable credits include “August: Osage County,” “Dream Scenario,” “Mare of Easttown” (which won her an Emmy award), and her latest, playwright Annie Baker’s first film, “Janet Planet.” In this episode, she talks in-depth about playing Janet in that remarkable film, her elusive preparation process, getting the environment to settle into her body, actually learning how to do acupuncture, why she lets her instinct lead the way, 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. 

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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! 

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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!

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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!

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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.

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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!

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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.

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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.

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