In its review of Jolene, the New York Observer said Jessica Chastain “not only holds her own corner of every scene, she’s the only thing you want to watch.” And that was before she suddenly became the most known unknown in the business and instantly labeled as one of the finest actors of her generation. Listen in as Chastain talks with Off Camera about her Julliard audition (the phrase “an interesting choice” comes to mind…), her forensic approach to character study and why preparation is something best done in moderation. That, and how a sex change courtesy of Interstellar Christopher Nolan and a little movie parlor game called The Bechdel Test inspired her never to look at a script the same way again. She’s an artist who not only prepares to be surprised, but always to surprise – and one we couldn’t wait to talk to.
Captaining the Enterprise is one thing. Captaining a career that moved a warp speed from relative obscurity to leading man/action hero status requires navigating a universe of a different kind. It can be puzzling to go from not wanting to act at all to landing on Planet Box Office with very little experience to make calculated career decisions and deal with the ensuing fame. But Pine has done so while maintaining both a demystified view of his profession along with an almost boyish delight in his art. He talks to Off Camera about the early career decision that put him on the track to leading manhood, his thoughts on privacy (his own, and the nation’s), and how he gets through the still-awkward business of being an “actor”. He also shares his passion for photography and angles with our host for a free camera.
Captaining the Enterprise is one thing. Captaining a career that moved a warp speed from relative obscurity to leading man/action hero status requires navigating a universe of a different kind. It can be puzzling to go from not wanting to act at all to landing on Planet Box Office with very little experience to make calculated career decisions and deal with the ensuing fame. But Pine has done so while maintaining both a demystified view of his profession along with an almost boyish delight in his art. He talks to Off Camera about the early career decision that put him on the track to leading manhood, his thoughts on privacy (his own, and the nation’s), and how he gets through the still-awkward business of being an “actor”. * He also shares his passion for photography and angles with our host for a free camera.
Captaining the Enterprise is one thing. Captaining a career that moved a warp speed from relative obscurity to leading man/action hero status requires navigating a universe of a different kind. It can be puzzling to go from not wanting to act at all to landing on Planet Box Office with very little experience to make calculated career decisions and deal with the ensuing fame. But Pine has done so while maintaining both a demystified view of his profession along with an almost boyish delight in his art. He talks to Off Camera about the early career decision that put him on the track to leading manhood, his thoughts on privacy (his own, and the nation’s), and how he gets through the still-awkward business of being an “actor”. He also shares his passion for photography and angles with our host for a free camera.
Jason Sudeikis switched schools to play basketball and found the stage. He worked his ass off to audition for Blue Man Group (three times) and didn’t make the cut. He finally condescended to audition for an acting gig on Saturday Night Live (read on, it’s complicated), but was hired as a writer instead. But we can all agree that things turned out okay for Sudeikis, who’s now enjoying plenty of screen time in films like We’re The Millers, Horrible Bosses and the upcoming Fletch Won, while in many ways remaining “a 15-year-old kid who doesn’t know anything.” He tells us about his career trajectory, couch surfing and why this issue of Off Camera may be the last one Tom Brady ever picks up.
Jason Sudeikis switched schools to play basketball and found the stage. He worked his ass off to audition for Blue Man Group (three times) and didn’t make the cut. He finally condescended to audition for an acting gig on Saturday Night Live (read on, it’s complicated), but was hired as a writer instead. But we can all agree that things turned out okay for Sudeikis, who’s now enjoying plenty of screen time in films like We’re The Millers, Horrible Bosses and the upcoming Fletch Won, while in many ways remaining “a 15-year-old kid who doesn’t know anything.” He tells us about his career trajectory, couch surfing and why this issue of Off Camera may be the last one Tom Brady ever picks up.
Jason Sudeikis switched schools to play basketball and found the stage. He worked his ass off to audition for Blue Man Group (three times) and didn’t make the cut. He finally condescended to audition for an acting gig on Saturday Night Live (read on, it’s complicated), but was hired as a writer instead. But we can all agree that things turned out okay for Sudeikis, who’s now enjoying plenty of screen time in films like We’re The Millers, Horrible Bosses and the upcoming Fletch Won, while in many ways remaining “a 15-year-old kid who doesn’t know anything.” He tells us about his career trajectory, couch surfing and why this issue of Off Camera may be the last one Tom Brady ever picks up.
Jon Brion might be the most hyphenated man in the music industry. He’s definitely one of its most gifted. The musician-producer-songwriter-film scorer-hamburger connoisseur (a lesser known talent) is the mad genius behind a who’s who of recording artists and the oddly engaging scores to films like Magnolia, I Heart Huckabees and Punch Drunk Love. In this issue, Brion talks about his one-man campaign to get out of school and on with life, creative problem solving, and the value of the occasional public face plant. We also hear the story of the gig that started it all: his vaudeville-for-the-musical-Mensa set show at Largo. [Insider bonus for Off Camera fans: If you’ve watched the show, you’ve already heard some of his finest work.]
