Back To One

Mary Kay Place's long career is filled with memorable supporting parts in films like "The Big Chill," "The Rainmaker," "Being John Malkovich," and television shows such as "Mary Hartman, Mary Hartman," for which she won an Emmy. "Diane" is her first starring role. Kent Jones wrote it with her in mind. In this episode, Place unpacks and let's us examine the DNA of that vulnerable and subtly devastating performance. She talks about the importance of "building a bridge to the unconscious" (and other Jungian approaches) in her work, finding the rhythm in a scene, not being afraid to be "bad," and much much more.

When I first took notice of Miles Robbins he was a stand-out among stand-outs in the surprisingly satisfying teen comedy "Blockers." Now he presents another level of his talent in the very thoughtful psychological horror film "Daniel Isn't Real." In this episode he talks about the intense, emotionally taxing experience he had creating that performance, how not being scared is a key ingredient in his work, and the importance of connecting with the duality within himself and the universe. Plus he generously shares his feelings and frustrations with this "weird" endeavor called acting and all the hoopla that surrounds it.

To say Aaron Taylor-Johnson puts 100% into every role is actually a bit of an understatement. He starts to live as the character months before filming begins. Then, when it's over, it takes him months to "shed the layers" of the character before returning to himself. This might sound like a bunch of hooey, until you actually see the brilliance of the work and the fullness of transformation. He got his big break with "Kick-Ass," spent some time in the Marvel universe, played John Lennon in "Nowhere Boy," then won a Golden Globe for playing a psychopath in "Nocturnal Animals." Now he stars in "A Million Little Pieces," a film he and his wife, director Sam Taylor-Johnson, co-wrote together based on the James Frey book. In this episode he talks about his intense inhabiting process, its benefits and some of its ramifications on other aspects of his life, plus much more!

Emily Beecham won the best actress award at this year's Cannes Film Festival for her brilliantly nuanced and tightly focused performance in Jessica Hausner's art house science fiction film "Little Joe." Recently she played The Widow in the AMC series "Into The Badlands," starred in "Daphne," and had a memorable supporting role in "Hail Caesar." In this episode she talks about the importance of connection, avoiding "attractive acting," Mike Leigh, the strenuousness of intense physical performance, her "Little Joe" hair, and much more!

Stephanie Kurtzuba plays Irene, wife of Frank Sheeran (Robert De Niro), in "The Irishman." It's her second film with Martin Scorsese. She played stockbroker Kimmie Belzer in "The Wolf of Wall Street." She talks about working with the legendary filmmaker and what sets him apart as an actor's director. She also explains her process of extracting preconceptions made in the audition, and she gushes about her first love--the rehearsal room, but tells us why, despite her heart being on the stage, she wouldn't give up working for the camera if she could. Plus much more!

Tracy Letts has parallel successful careers as an actor and a playwright. He won a Tony Award for his performance in the Steppenwolf revival of "Who's Afraid of Virginia Wolf" and a Pulitzer Prize for his play "August: Osage County." His screen credits include "Lady Bird," "The Lovers," and the new movie :"Ford v Ferrari," in which he plays Henry Ford II. In this episode, he talks about "pretending with authority," making friends with the camera, the "responsibility" of the leading role, and how he's preparing to do something he's never done--act in a play he wrote (The Minutes) on Broadway. Plus he takes us back to a leaner time, and talks about why he stopped chasing empty acting jobs in LA and took "a vow of poverty" to return to Chicago for more satisfying work at Steppenwolf. It paid off.

"The Warrior Queen of Jhansi" is the first Hollywood action film to have a female Indian lead. Devika Bhise not only stars in the film (opening Friday November 15th), she co-wrote it with her mother, Swati Bhise, who also directed it. In this episode, she talks about performing under stressful time restraints, how not having "the leisure to lose it" actually helped her play such a powerful leader, and the physical work required (including some "illegal" horseplay!), plus how her intense training in classical Indian dance helps her prepare for every role, and much more!

I've wanted to sit down with Dorian Missick for some time. The seasoned actor has six dozen credits in television shows like "Southland," "Luke Cage," "Tell Me A Story," and movies spanning from "Two Weeks Notice" to this year's "Brian Banks." In this hour, he passes on pearls of wisdom acquired from his many years in the business, like his new radical approach to auditions, why he aims for 100 reads of a script before first day of production, how he and his actor wife Simone Missick support each other's journeys, and the importance of a "team sport" mentality, plus much more!

He's only 21, but going by the depth of his work and the eloquent way he talks about it, Alex Wolff feels like a seasoned veteran. "I've basically been on camera since the sonogram," he says, joking about his childhood in "The Naked Brothers Band" with his brother, Nat, on Nickelodeon. Since then he's knocked out a handful of impressive performances in films like "Patriots Day," "My Friend Dahmer," and "Hereditary." Now he's written, directed and stars in a labor of love called "The Cat and The Moon." He talks about treating his actors like kings and queens on that film, stealing from the greats, letting prep work flow through the bloodstream, and much more.

Australian actor Jason Clarke is a rare breed—the character actor leading man. He gives a virtuoso performance as Grigory Potemkin, opposite Helen Mirren, in the new HBO mini-series "Catherine The Great." He also stars in "Pet Cemetery," "Dawn of the Planet of The Apes," "Terminator Genysis," "Zero Dark Thirty," and won accolades for his portrayal of Ted Kennedy in "Chappaquiddick." In this half hour he talks about his love of research, his dedication to the text, being there for the other actor, and the uselessness of fame. Plus much more!

I didn't know if Tim Heidecker was going to show up for this interview, or if I was going to get his boorish, abusive, dim alter ego, Tim Heidecker. Luckily Tim Heidecker leaves Tim Heidecker in the "On Cinema" universe. That project he started with Gregg Turkington is comprised of an ongoing series called "On Cinema at the Cinema," various spin-off series including "The Trial of Tim Heidecker," special episodes, segments, tweets, songs, and now the feature film "Mister America." In this half hour I ask Heidecker to lift the hood on his performance style and the evolution of his comedy from the brilliantly absurd "Awesome Show" with Eric Wareheim, to the super subtle realism of "Mister America."

The wise and talented Cassidy Freeman plays Amber, wife of Danny McBride's character Jesse, on the hilarious new HBO comedy series "The Righteous Gemstones." She talks about the wonderful troupe mentality on that show, what acting in 60+ episodes of "Smallville" did to build her craft early in her career, the importance of creativity for the actor, plus much more!

One could easily call Josh Pais a scene-stealer, but that's not accurate. He actually feeds the other actor in the scene and they both grow. Check out "Leaves of Grass" with Edward Norton, "Synecdoche New York" with Philip Seymour Hoffman, Lynn Shelton's "Touchy Feely," and his recent work on "Ray Donovan," to name just a few of his dozens of credits. This fall he's in Norton's "Motherless Brooklyn," and "Joker" with Joaquin Phoenix. In this episode he talks about finding the character in his body, counting on spontaneity, partying in the unknown, creating not recreating, and "Committed Impulse," his high performance training course for actors and non-actors alike. Plus much more!

Carroll Baker's work in Elia Kazan's "Baby Doll" and Jack Garfein's "Something Wild" is just as impressive and valuable as any performance delivered by her legendary Actors Studio contemporaries Marlon Brando and James Dean. So why isn't she talked about in the same way? After the simultaneous sensation and scandal of "Baby Doll" (it was condemned by the Legion of Decency), Baker became a star, but she spent most of her career either avoiding sex-symbol roles or begrudgingly accepting them. Despite a handful of other great performances ("Giant," "Cheyenne Autumn," "The Big County," "Station Six-Sahara"), conflicts with studios, producers, and her husband (Garfein) marred her career. One can't help but wonder what it would have looked like if she had her druthers. I sat down with Baker on the second floor of the National Arts Club in New York City to talk about her work as an actor, and also, with the publication of her new mystery novel "Who Killed Big Al?", what she gets out of writing. Thanks to the esteemed author and historian Foster Hirsch for his invaluable assistance in bringing us together.

Kaitlyn Dever's sophisticated comedic instincts were on full display throughout her teens in the sitcom "Last Man Standing." This year she took it to another level, starring with Beanie Feldstein in the hit comedy sensation "Booksmart." And now we get to marvel at another side of her incredible acting talent in the powerful new Netflix limited series "Unbelievable." In this episode, she talks about how she dealt with the emotional weight of the material in that series, and one compelling monologue in particular where restraint was a key ingredient. Plus she explains how being a "moldy person" helps her work and the important role music plays in her preparation.

Despite growing up in a Hollywood family, Wyatt Russell didn't seriously consider pursing acting until an injury ended his professional Hockey career. In a few years he's managed to cultivate a subtle and distinct style in comedies ("22 Jump Street"), dramas ("Overlord") and a unique and unclassifiable series that lies someone between (AMC's "Lodge 49"). In this episode, he talks about embodying the lovable Dud in that series, embracing an enunciation lesson from Joe Wright, getting "caught watching" Michael Parks, plus much more!

A Groundlings and Saturday Night Live alum who has evolved beyond her improvisational prowess, Michaela Watkins continues to surprise us. "The Unicorn," "Search Party," "Transparent" and "Casual" are some of her television highlights. And I loved her in movies like "Afternoon Delight," "Person to Person," and the important and inspirational "Brittany Runs A Marathon." We talk about the vital role she plays in that film, and what, if anything, has changed in regards to meaty roles for woman. Plus she talks about being Jill Soloway's muse, and the importance of embodying a WHOLE person.

Lee Pace has one of those dream acting careers where he gets to be painted blue or dons elf ears to play Ronan ("Guardians of the Galaxy") or Thranduil ("The Hobbit" films), sparking the imagination of countless fans around the world, and then he hits the Broadway stage and knocks 'em dead as Joe Pitt in "Angels in America." I ask him if he takes stock of that aspect of his career, and we talk about a curious note Barry Sonnenfeld gave him while making "Pushing Daisies" that he still uses to this day. Plus why he's not bothered by line readings, and how you have to "inspire yourself" into a role, like he did to play John DeLorean in the new film "Driven."

I first took note of Jake Lacy's exquisite comedic delivery in "The Office" and "How to Be Single," and was pleased to see him shine while going deep and dark, like in this year's "Diane," and last year's "I'm Dying Up Here." He even stands out playing opposite heavyweights like Rooney Mara in "Carol," and Michelle Williams in "Fosse/Verdon." I gathered from past interviews that he spoke with an authenticity that was going to work very well on Back To One, but I was not prepared for the level of comfort and delicacy with which he opened up to me about his acting process, experience, and evolution. He's got two movies out now - "Ode To Joy" (in theaters and on-demand), and "Otherhood" (on Netflix).

He started out as a TV host in the 90s, but Greg Kinnear quickly made the transition to leading man thanks to legendary directors like Sydney Pollack and James L. Brooks investing in his acting talent. An Oscar nomination for "As Good As It Gets" followed, and he's been making movies ever since, "Little Miss Sunshine," "Auto Focus," "Little Men," to name just a few. This Summer he has three movies out - "Brian Banks," "The Red Sea Diving Resort" (Netflix), and "Phil," which he also directed. In this episode, we discuss the importance of tone, his penchant for playing real-life people, and how he reacts to being called a natural… plus much more!

Actor/writer/director Ruben Santiago-Hudson is the kind of artist whose awe-inspiring dedication to the work can almost be overwhelming. He won a Tony Award for his performance in August Wilson's "Seven Guitars." His autobiographical play "Lackawanna Blues" was a sensation at the Public Theater and went on to be an award-winning HBO film. He started directing plays (particularly Wilson's) and is now one of the most sought after directors working in theater. His production of "Jitney" on Broadway won the Tony award for Best Revival of a Play. As an actor, he can currently be seen on Showtime's "Billions" and recently on BET's "The Quad." He wrote the screenplay for "Ma Rainey's Black Bottom," which is coming to Netflix (starring Viola Davis). In this hour he generously gives us so many golden nuggets about his approach to this amazing craft, both as an actor and director, that you're going to want to listen with a pen and pad in hand.

It's rare for one actor to be cast as the same real-life character in two different productions almost simultaneously. When that real life character is Charles Manson, that makes some news. Australian actor Damon Herriman has taken on this challenging role in both Quentin Tarantino's "Once Upon A Time… In Hollywood" and the second season of David Fincher's Netflix series "Mindhunter." Herriman is perhaps best know for playing Dewey Crowe in the series "Justified" and currently plays Paul Allen Brown in "Perpetual Grace LTD." We talk about the character of Manson, how good writing makes for good acting, and why it's important to NOT add strings to a bow you don't have.

Kevin Corrigan will always have a special spot in the Back To One pantheon, not just because he was the very first guest, but because he set the stage for the discussions on the craft of acting that were to come—personal, steeped in the work, confessional at times, often inspirational, always educational. In this hour, he shares some more inspiring personal experiences from a life in acting, and also talks about the work of those who've inspired him, from his friend Natasha Lyonne and his current co-star Pete Davidson, to Marlon Brando, Glenda Jackson, Taylor Negron, the actor Bob Dylan, and much more!

While he might be best known for his Oscar nominated performance as Mark Zuckerberg in "The Social Network," Jesse Eisenberg's preternatural ability for making unique characterization choices has won him roles in wildly original films, both indie and studio, such as "The End of the Tour," "Adventureland," "Holy Rollers," "American Ultra," "Zombieland," and two of my favorites, "The Squid and the Whale" and "The Double." Now he continues that trend with Riley Stearns's "The Art of Self Defense." In this half hour he talks about the effort he put into finding the right tone to play the absurdity in that film, and the very specific thing he does when he's not happy with a take, and why he never watches his films, ever, not once. Plus much more!

I first was introduced to the incredible talents of Emmy Harrington on the set of Caveh Zahedi's "The Show About The Show" where she plays "Slut Machine," and witnessed, first hand, her ability to adapt to all types of run-and-gun shooting environments and unorthodox directing styles and deliver a great performance take after take. You can also see her work in shows like "High Maintenance" and "Jessica Jones," and an award winning film she wrote, directed, and stars in—"Two Little Bitches"— is currently making the festival circuit. I sat down with her a couple of days after directing her in a little project of my own, and I ask her to assess that experience, plus she talks about her monthly comedy show "SCORE: Interpreting Epic Cinema Through Comedy and Dance," which is slowly becoming a sensation in the New York improv scene.

David Zayas has so many television, film, and theater credits that it's hard to believe he was also a New York City police officer for 15 years. He's played a lot of fictional cops too, so many he's lost count, but he says his career highlight was portraying Angel Batista for 8 seasons on Showtime's hit series "Dexter." Before that he dabbled on the other side of the law, playing Enrique Moralez on the HBO drama "Oz." He was an early member of the LAByrinth Theater company with Paul Calderone, John Ortiz, and Phillip Seymour Hoffman, and is currently the co-artistic director of the exciting Primitive Grace Theater Ensemble, with Calderon. In this episode he shares a little of what he's gleaned from being a working actor for nearly 30 years, alleviates a long-held fear I have about acting, and explains why he'd happily portray another cop.

Jacki Weaver's "big break" story is unique because she was finally embraced by Hollywood at age 63, landing an Oscar nomination for her incredible performance in the Australian film "Animal Kingdom," after being a staple in the Australian theater and film world for 30 years. She went on to great roles in such films as "Widows," "The Disaster Artist," and "Magic in The Moonlight," plus the acclaimed new version of "Uncle Vanya" on the stage with Cate Blanchett, not to mention her second Oscar nomination for "Silver Linings Playbook." And this year she stars opposite Diane Keaton in the cheer-elder comedy "Poms," and the delightfully odd new series "Perpetual Grace, LTD" with Ben Kingsley. In this half hour, she tells two very different audition stories that occurred shortly after Hollywood rolled out the red carpet, and talks about how she's become very tolerant of all types of directors, and has love in her heart for film crews and writers. I have love in my heart for Jacki Weaver and you will too.

Through six seasons on "House of Cards" and multiple Emmy nominations, Michael Kelly has brilliantly embodied the character of Doug Stamper, navigating him through the highs and lows of loyalty, devotion, and dark-heartedness, culminating with a new layer of antagonism in the final season. It was a tour de force performance. In this episode he sits down to talk about the nuts and bolts of his craft, his meticulous and elaborate script breakdown process, how David Fincher knocked him off his game, and why he will never stop worrying about the next job no matter what awaits him post-Stamper.

In this first Back To One live podcast event from the Made In NY Media Center, Christopher Abbott tells us some hilarious stories about his naive beginnings as a pavement-pounding young actor in New York, then he takes us into the nuts and bolts of the craft he's developed both on the stage and in indie films over the past decade. And we find out what he makes of George Clooney's claim that he's going to be our next movie star. If you only know this talented actor from his breakthrough on "Girls," it's time to catch up. His powerful performance in "James White" shows the depth he's willing to go in a role. This year's "Piercing" has him at his most unpredictable and creepiest. And now he stars in the Hulu limited series "Catch-22" (produced by Clooney) where he shows his range, expertly playing absurdity and agony in equal measure.

Lindsay Burdge is one of the bravest and best actors working in indie film this decade. Her breakout role in Hannah Fidell's "A Teacher" brought her raves for her intense performance of destructive obsession. Bold choices continued in movies like Nathan Silver's "Thirst Street," Karyn Kusama's "The Invitation," and Joe Swanberg's Netflix show "Easy." Now she's taken on the role of Mandy in the long-awaited second season of Caveh Zahedi's acclaimed "The Show About The Show," after the real Mandy (Zahedi's wife) left the show mid-production. She talks about the unique experience of working with Zahedi under these conditions, how she doesn't steer away from emotionally challenging material, and her "pen-free" gestation preparation process. Plus lots more! The first Back To One Live Podcasting Event is coming to Brooklyn on May 31st. Special Guest Christopher Abbott ("Catch-22"). Click here for tickets and more info.

He's got "authority" down. But the great actor Lance Reddick can do it all. Perhaps best known for playing Daniels on "The Wire" and Broyles on "Fringe," Reddick has now brought his quintessential warrior servant Charon to the 3rd chapter of "John Wick." In this episode he talks about the triumphs and frustrations of the work, dealing with "bad" directors, learning from great ones, and how surviving hard circumstances on set, especially ones that throw you off your game, can strengthen you and lead to a cleansing of your process. The first Back To One Live Podcasting Event is coming to Brooklyn on May 31st. Special Guest Christopher Abbott (Catch-22). Click here for more info.

Asia Kate Dillon is a true trailblazer. They* are the first non-binary (gender non-conforming) actor to play a non-binary character on a television show (Taylor on Showtime's "Billions"). That itself is noteworthy, but Dillon also happens to be an amazing actor who brings such depth and life to characters, making representation even more powerful. Now, In "John Wick: Chapter 3", Dillon calmly commands attention as a mysterious character called The Adjudicator. Dillon talks about sliding into that role and what it takes to slide out of a role like Brady, the skinhead inmate, in "Orange Is The New Black," plus their longing to do a musical and much more! (*preferred pronouns: They/Them/Their)

Paul Calderon is New York acting royalty. A list of his collaborators and co-stars, in numerous plays, films and television, reads like a who's who of legends: Pacino, De Niro, Scorsese, Lumet, Burstyn, Tarantino, to name a few. Not to mention Abel Ferrara, whose many films he's graced (he also co-wrote Bad Lieutenant). He was made a member of the Actors Studio in 1984, and eight years later was one of the founding members of LAByrinth Theater Co., where as writer/director he helped mentor such talent as Philip Seymour Hoffman, David Zayas, and Sam Rockwell. For many years he's been on the faculty of NYU, The Lee Strasberg Institute, and SVA. He's now the co-artistic director of the Primitive Grace theater ensemble, and can currently be seen in the Amazon series "Bosch." He sat with me in the mezzanine overlooking the noisy (sorry!) lobby of the Public Theater in New York, a place that has benefited from his talents, to talk about what he's gathered from 40+ years in the craft.

Dominic West is best known for playing Jimmy McNulty on "The Wire," Noah Solloway on "The Affair," and gay activist Jonathan Blake in the film "Pride." Now he's taken on the classic role of Jean Valjean in the new 6-episode BBC version of "Les Misèrables," currently on PBS. He also happens to be British, which seems to continually surprise people, probably because he's mastered his American accents. He talks about that and many other nuts and bolts in his inspiring approach to the craft.

She's wonderful in comedies like "Man Up" and dramas like "No Escape," but Lake Bell shines brightest in material she writes and directs herself, like her indie hit "In A World." Now the mega-talented multi-hyphenate has joined forces with Liz Meriwether ("New Girl") on the ABC sit-com "Bless This Mess." We talk about the benefits and challenges of writing, directing and starring in a network show; knowing when to land the joke slightly off the landing pad; and doing it all as a mom.

For one year now on this podcast, I have talked to dozens and dozens of actors about their approach to the craft of acting. There are few living non-actor directors whose thoughts on this subject I feel would be worthy for this archive. Mike Leigh is on the top of that list. Listening to actors talk about their working experiences has made me think of an analogy. They are like fish people, showing up on a set expecting some water to work in but mostly finding dry land everywhere, and, for the most part, having to supply the water themselves. Taking this perhaps odd analogy a little further— when these fish people act for Mike Leigh, it is like working completely submerged in a safe, life-size aquarium with constant fresh water pumping in. He starts without a script. The actors build their characters from scratch in collaboration with Leigh, using someone (or a composite of many people) in the actor's life as a foundation. They then move and "be" that character privately in the presence of Leigh alone before getting together with the other cast members for long improvisations, durning which Leigh "distills" the story into what he wants to shoot. This goes on for many weeks before shooting begins. When it does, the actors have already not only built an entire backstory for their characters and lived as them, but they've also worked out creatively and practically everything they'll be shooting. It is the most organic and actor-centric process in the history of filmmaking. There are many reasons why movies are mostly not made like this. Firstly, the amount of money spent on non-shooting days makes no sense to producers and money people. Therefore it's hard to put this kind of thing into a budget. But also, many actors who are not familiar with this approach have misconceptions about the process and are resistant to the idea of not having a script, which they take as lack of control. But I believe examining Mike Leigh's process will shed light on what works best even for actors working on "normal" film projects. Then, at least some of these aspects, even truncated versions, can be applied to any director's process to yield better results and happier actors. Even actors working without aid from a director can manifest the phantom guidance of Mike Leigh and benefit greatly in any project. In this woefully brief half hour, Leigh talks about a few aspects of his work that should act as a starting point in understanding his unique process, and also points out certain procedures in the mainstream of the craft that might ring as counterproductive when seen through Leigh's lens. The proof is in the pudding as they say. When films like "Naked," "Life is Sweet," "Vera Drake," "Meantime," "Another Year," "Secrets and Lies," "Happy-Go-Lucky" (to names just a few) contain, consistently, the great performances of our time, it leads one to believe that maybe this guy might be onto something.

He brought to life one of the most iconic TV characters this century, Omar little on the acclaimed series "The Wire." Then Michael K Williams went on to work with some of the great directors of our day (Steve McQueen, Paul Thomas Anderson, Ava DuVernay, Todd Solondz) and turned in powerful work in series like "Boardwalk Empire" (where he played Chalky White) and "The Night of," to name a few. He's earning rave reviews for his latest performance in Emilio Estevez's "The Public." In this episode, he talks about one particular "all-in" moment during the filming of that movie, also the role music plays in his preparation, and the place he was at in his life when he landed the Omar audition and the mindset he had upon entering that room.

I first took note of Caitlin FitzGerald in one of the great showcases of incredible acting in recent indie film—Sophia Takal's "Always Shine." You might know her from "Masters of Sex" where she played Libby Masters, or the third season of the cult hit series "Unreal." Her latest film, just released on DVD and Blu Ray, is "The Man Who Killed Hitler and then The Bigfoot." In this half hour she generously opens up about the epiphanies and frustrations she's experienced as a working actor in this business, how good directors help her process, and how she deals with nose-pickers in her eye-line. It's in-depth craft-talk from a serious actor, but one who also makes clear, "I dress up and make believe for a living, so I just like to keep everything in perspective."

She's perhaps best known for playing one of modern television's baddest villains, "Vee" on "Orange Is The New Black." Now with NBC's "The Village" premiering last week, and both "Fast Color" and the new season of "Into The Badlands" premiering this week, plus Julie Taymor's "The Glorias" wrapping this month, all featuring the incredible Lorraine Toussaint, we might as well call this period "The Lorrainaissance." In this half hour she takes a break from the hubbub and takes us deep into her process, her "almost schizo" embodiment of characters, what she needs on set, and what it means to LIVE the art. A truly inspirational listen awaits.

Michael Mando is best known for his captivating portrayal of Nacho Varga on the hit AMC series "Better Call Saul." You might also know him from "Orphan Black," "Spider-man: Homecoming," or "Far Cry 3." In his latest film, "The Hummingbird Project," he plays the chief engineer of a massive high frequency trading operation opposite Jesse Eisenberg and Alexander Skarsgård. In this half hour he talks about his interest in the metaphysical aspects of the craft, his beginnings as a hungry but happy acting student, and how he doesn't let fame get to his head but he's open to the changes it brings.

I've wanted to sit down with Thomas Sadoski since the inception of Back To One. I had a "who is that guy?" experience while seeing him in Neil Labute's play "Reasons to Be Pretty" and was positively delighted by his portrayal of the quick-witted Don Keefer in "The Newsroom." He's now part of an incredible ensemble of actors in "Life In Pieces," one of the few network comedies worthy of your time. He talks about where he's at one day before the first official performance of Suzan-Lori Park's new play "White Noise," which he stars in at the Public Theater in New York. And he has a few things to say about the intersection of art and activism. Plus -- SORKIN!

His portrayal of Lola, the drag queen in "Kinky Boots," put Chiwetel Ejiofor on the map, then his astonishing performance in "12 Years A Slave" made him a household name. Roles in "The Martian," "Doctor Strange," and the under-appreciated "Z for Zachariah" followed. Now he has written, directed and stars in "The Boy Who Harnessed The Wind," which is in select theaters and on Netflix. He talks about the art of wearing many hats, directing the extremely gifted young Maxwell Simba in his first film role, and the effort he took to not shortchange his own character.

Shea Whigham could easily be in the running for the hardest working actor in show business. In just this past year, he was in "First Man," "Beirut," "Vice," and brilliantly played Thomas Carrasco, the Department of Defense bureaucrat tasked to investigate Julia Roberts' character, in the series "Homecoming." He's worked with Martin Scorsese, Werner Herzog, David O. Russell, Terrence Malick, and is probably best known for playing corrupt mob brother Eli Thompson in "Boardwalk Empire." In this half hour he talks extensively about his preparation process, what he's learned from the greats, and much more. The constant room noise you hear in the background is the roaring fire we were sitting beside in two comfy armchairs in Lafayette House in New York's East Village.

I first took note of Ariel Kavoussi's singular comedic talent in Onur Tukel's "Applesauce" and then "Catfight," where she hilariously played Ann Heche's assistant and stole every scene she was in. She performed a similar theft this past year on the Netflix series "Maniac," opposite Emma Stone. She also writes and directs her own work. Her new short film "The Poet and The Professor" was called a "truly absurdist, provocative, and contemporary feminist film" by Indiewire. We talk about the origins of her approach to comedy, how she works the audition rooms she suddenly finds herself in, and her relationship to her own unique speaking voice. Plus much more!

If I ever need to cry on cue, I can just picture the expression on Josh Hamilton's face, in "Eighth Grade," when Elsie Fisher hugs him. It's a beautiful, wordless culmination of his incredible performance, which landed him a Spirit Award nomination this year. We discuss that scene, and he shares some of what he's learned from jumping from the New York stage to the big & small screens and back again over the past 25 years. He talks about the importance of syncing with the director's vision, being off-book before rehearsals, and why he's a self described "take whore."

Mads Mikkelsen is perhaps best known for playing villains in "Casino Royale," "Doctor Strange," and the television series "Hannibal," but he's also been called the "face of the resurgent Danish cinema," culminating with his Best Actor win at Cannes for his work in Thomas Vinterberg's "The Hunt." In this half hour, he talks about performing some physically and emotionally wrenching scenes in two new movies he currently stars in, the pure survival film "Arctic," and the live action adaptation of the popular graphic novel "Polar." Warning: Spoilers abound. "Arctic" is in select theaters now. "Polar" is on Netflix.

Noomi Rapace became an international sensation playing Lisbeth Salander in the original, Swedish version of "The Girl With The Dragon Tattoo" and its sequels. Hollywood beckoned and leading roles in such films as Ridley Scott's "Prometheus" and Brian DePalma's "Passion" followed. Now she stars in Vicky Jewson's Netflix nail-biter "Close," in a role based on real-life female bodyguard Jacquie Davis. In this half hour, Rapace talks about the intense training she went through to prepare for the part, and how that awareness expands to all aspects of her life. Plus she explains how "kicking ass" is more a mental exercise than a physical one.

If you didn't know Imogen Poots was British, it is understandable. Few young actors transform so chameleon-like, role-to-role, applying accents so skillfully. I was first wowed by her in Peter Bogdanovich's "She's Funny That Way" and then I actually didn't even know it was her in "Green Room" until I saw the credits. She floored me again in "Frank and Lola" opposite Michael Shannon, in an entirely different kind of role. Now she plays a drifter with questionable parenting skills, who steers into escalating trouble in "Mobile Homes," and by the end of the movie her performance wrecked me. In this half hour she lifts the hood on her craft and we get to peek in. ("Mobile Homes" is out now on VOD and digital)

Ethan Hawke's "staying power" is grounded in hard work. He survived being the poster child of Generation X ("Reality Bites"), and thrived as Richard Linklater's go-to actor ("The Before Trilogy," "Boyhood") and always returns to the true home of the actor--the theater (he's currently starring in "True West" on Broadway). Now he has delivered one of the most critically acclaimed performances of the year in Paul Schrader's "First Reformed." He generously shares the wisdom and knowledge he's acquired over the years as an actor, and is extremely eloquent when doing so. In this episode, he talks about the importance of off-camera acting, magic vs. rehearsal, not being seduced by laughter, and lots more.

He's perhaps best known for his portrayal of Petyr "Littlefinger" Baelish on "Game of Thrones" but I first took note of the uniquely talented Aidan Gillen as Mayor Carcetti on "The Wire." The Dublin native's most recent role was the manager of Queen in "Bohemian Rhapsody." Now he stars in the period UFO drama "Project Blue Book," which premieres January 8th on History. In this half hour he talks about his intuition-based approach to preparation, how Jez Butterworth introduced him to the work of John Cassavetes, and I toss a name at him to spark some memories from "The Wire."