Hey everyone. Capone in Chicago here with one of the great all-purpose chameleon actors of his or any other generation, David Strathairn, who is currently appearing in the documentary TRUMBO (beginning its limited release this Friday), along with other notable names like Paul Giamatti, Joan Allen, Michael Douglas, Nathan Lane, Liam Neeson, Brian Dennehy, Donald Sutherland, and others reading the letters of one of the greatest screenwriters to ever live (look him up to see what films he's written over the years), Dalton Trumbo. Trumbo was one of the Hollywood 10, a group of creatives who were blacklisted after testifying before the Joseph McCarthy-fueled House Un-American Activities Committee. Trumbo was luckier than some of his blacklisted peers since he was still able to work under assumed names during his time on the black list, although maybe "luck" is too strong a word. The studios took advantage of his predicament and paid him a fraction of what he was worth. The documentary is a mix of straight biography, and some of the most interesting and worthwhile recitals of his personal letters you're ever likely to hear.
It seems wholly appropriate that Strathairn, who took on McCarthy's tactics playing Edward R. Murrow in GOOD NIGHT, AND GOOD LUCK, should be a part of this project. I first remember becoming familiar with the actor's work in his frequent collaborations with writer-director John Sayles. The two met in college and both made their first film together, THE RETURN OF THE SECAUCUS SEVEN. Since then, they have teamed up in such films as THE BROTHER FROM ANOTHER PLANET, MATEWAN, EIGHT MEN OUT, CITY OF HOPE, PASSION FISH, and one of the best films either has ever made, LIMBO. Strathairn has also taken on memorable roles in films like L.A. CONFIDENTIAL, A LEAGUE OF THEIR OWN, SNEAKERS, THE FIRM, BLUE CAR, THE NOTORIOUS BETTIE PAGE, WE ARE MARSHALL, FRACTURE, and most recently MY BLUEBERRY NIGHTS, THE SPIDERWICK CHRONICLES, and THE BOURNE ULTIMATUM (Jason Bourne pays a visit to Strathairn's office in one of the film's more memorable scenes).
Strathairn, like his friend Chris Cooper, is the perfect Everyman. There is nothing he can't play. He can play the hero in one film and the villain in the next, and you might not ever recognize that it's the same actor. I was profoundly honored to get to talk to him. Here is David Strathairn...
Capone: How are you today?
David Strathairn: I’m fine. How are you?
Capone: A whirlwind press day for you?
DS: Not too windy, not too worldly. [laughs]
Capone: I’m going to guess that the question you’re asked most often is, How familiar were you with Dalton Trumbo’s work as a screenwriter and as an almost reluctant activist prior to your involvement in this film?
DS: I remember the name vividly from having read “Johnny Got His Gun,” back when it first hit the streets. That to me was a seminal piece of literature, in terms of activism or, at least, the insight into the effects of war. And, then, when his name would come up, I was, like, Oh, that’s the guy who wrote “Johnny Got His Gun.” I see SPARTACUS, Oh, yeah, that’s the guy who wrote “Johnny Got His Gun.” And, then, more recently, maybe about 10 years ago, there was a project that was about the Hollywood Ten that I was involved in the beginnings of…Obviously, his name came up then. And, then, the play, I saw the play [the format of the play was adapted into the movie TRUMBO]. Then, when [director] Peter [Askin] called, this is as close as I’ve gotten really to a hands-on…as close to Trumbo, you know.
Capone: You mentioned the play. How long ago did you see that?
DS: When was that? Umm, I saw it with Richard Dreyfuss when he was doing it. It must have been…Well, Peter’s been working on this about seven years now, so it had to be within that span of time, I think.
Capone: I’m not familiar with the play. Was it…?
DS: It is the letters.
Capone: One person reading them?
DS: One person, yeah, it’s one person. That was the director’s and sort of a collaborative idea, decision to have one person, being a lot cheaper for an Off-Broadway production to have one actor. And, then, to read the letters, which were the spine of the piece, and, as it turns out, this film could not--as Peter has said--would not have existed without the letters, because they are the most vital and insightful evidence of this guy.
Capone: When I finished watching the film--and as great a screenwriter as Trumbo was--the whole time I was watching this film, I was thinking, Nobody writes letters like this anymore.
DS: We’ve discussed that a couple of times already. Yes, it’s really a wonderful remembrance and acknowledgement of the art of letter writing. And, here’s a screenwriter who, you know…you couldn’t help but think he’s crafted these letters, because they flow so well, almost like these mini-plays. But, that was him. I think that was his gift. He was sort of to the manner born.
Capone: Yeah, each one has a theme. He’ll make a reference in the beginning and then bring it back again at the end. It makes me feel like the art of letter writing is dead today, because I’ve seen this and heard these letters.
DS: Yeah, well, with instant messaging, you don’t have to embellish. You get just the facts. Yeah, that’s one of the wonderful things about the film, I think. I’m glad people recognize that.
Capone: I taught a writing class here in Chicago, and it’s hard even getting the students to remember to use capital letters half the time, because, like you said, we live in a culture of instant messaging.
DS: Yeah, e. e. cummings has taken over. [laughs]
Capone: That’s right. What is it about Trumbo’s story that resonates so strongly today? Why is it still so relevant?
DS: Well, much in the same way that Edward R. Morrow, or you can even go back to Brutus and Cicero, who by means of colloquy and exchange of ideas through writing, they…obviously, in the political arena, the resonances are apparent. And, I think, it’s important for us to remember that there have been people who have come under the, you know, throughout our history, people have come under oppression and being vilified and accused and condemned for speaking out against the powers that be. In particular to Trumbo, today, the whole slippery slope of civil liberties and First Amendment, our Bill of Rights and the Constitutional issues that have been assaulted by this administration…it’s important to acknowledge somebody who, although maybe he lived in a different time, was doing essentially the same thing--speaking truth to power--and using cunning coupled with his passion and his rage and his humor, spoke to these issues, was really one of the canaries in the mind…I mean "mine"…
Capone: That’s a good slip, though.
DS: [laughs] Yeah…It’s something that we constantly have to remind ourselves of, that you can find ways to speak out, and you should. When he was, through his creative works, using the alias, the producers are smart, you know, they’re going to pay him less, but they’re still going to make a product…I don’t know, he’s just one of those characters who can inspire and encourage, and you can sort of hold up as a halberd for saying, Oh, yeah, he did it, and look how he is revered today for what he did. He wasn’t afraid. All of those things, they’re kind of self-evident, when you get to know the guy.
Capone: I couldn’t help thinking, watching all the different actors read his letters…and I believe, if I’m not mistaken, you’re the first one we hear in the film…it seemed that you’re one of the more central people to have in this group, because of having played Edward R. Morrow, who battled McCarthy with words in a not-so-different way, I suppose. I’m guessing the parallels weren’t exactly lost on you…
DS: No, I think they were really beautiful. Although they came from different podiums, but the elegance of Morrow, the incisiveness, and his passion. In many ways, they were both men destined to be these voices. They had a different aesthetic, but the parallels or the connective tissue is pretty apparent.
Capone: In the last nine months, or so I’ve spoken with both John Sayles and Chris Cooper about different things. But, I truly love talking about the group of actors and the creative types that work with John Sayles. Obviously, the two of you have a great actor/director relationship. I’ll ask you the same thing I asked Chris: Can you put into words the nature of the connection you have with him? Why does it keep coming up? You haven’t worked with him in a while, but you did--for a while, at least--keep coming back to him. Although I guess, technically, THE SPIDERWICK CHRONCILES could be looked at as your reunion [Sayles got a writing credit for the film].
DS: [laughs] Yes, I guess it could, an indirect kind of reunion.
Capone: He was really the guy who made me aware that independent films existed when I was a younger man. And, I’m always fascinated to see the familiar faces that appear in so many of his films. You two, in particular, have something that…Is there a way you can describe it?
DS: In essence, it’s the same as what Chris was saying, but, for me, it’s the relationship with John’s work. It dovetails with a lot of my politics, my ideas of collaboration, communal experience on a film, working in a …you know, lots of equanimity throughout production, the characters--each is an essential part of the tapestry. I love the stories he tells and also John’s certainty about how he wants to tell the story that he wrote.
There’s very little mystery, it’s very much about the work. By mystery, I mean you are not left to figure out how are you going to do this, because John’s map through each day and through the production and through the stories is so clear, so it’s very accessible. You know what you’re on about, and where your responsibilities are, vis-à-vis the character and the story. It’s always been very refreshing, rewarding experiences. And, the integrity to the work, too, is exemplary. You know a John Sayles film, and you always will know a John Sayles film…All of those things.
And, he’s very generous about telling you what he expects. He does a lot of backstory for you, and by that, I mean he’s done this over and over again. He says, This is who the character is, and it’s your job then to fit those attributes into the film. It’s different than a lot other directors. And because he’s the writer, the director, and the editor, that offers a lot more access to the essence of what he’s trying to get to. But, all of those things are part and parcel of the experience.
Capone: You mentioned that there’s not often mystery in what he’s attempting to get at, but you were in what many would consider his most mysterious work, LIMBO. I remember the first time I met him was at a screening of LIMBO before it opened, and, if you can have a positive reason to riot, I think the audience at that film almost did…
DS: [laughs] I know. I was in a theater in Philadelphia and I saw it, and someone threw their popcorn at the screen at the end. It’s, like, "You can’t do that!"
Capone: And then, of course, it has come up again recently, when “Sopranos” left the air--a show that you were on. It ended up that they had ‘stolen’ their series ending from John. And, the same theory applies to both as to why they ended that way, because there’s no way that either writer could have created an ending that would satisfy everybody--so, why not write no ending at all.
DS: Exactly.
Capone: Do you ever take a break?
DS: Oh, yeah, jeez, yeah.
Capone:…because it seems like you make three to five movies a year.
DS: No, no, it seems that way, but that’s just because they accumulate, and they sort of get stacked up on the tarmac, and then they get released all at once or something, but no.
Capone: But, by the same token, it seems like you make a lot of films that…and I spoke to Chris Cooper about this, too, and he seemed very aware of how he’s perceived by casting directors and sort of attributed that to the reason he’s cast in so many military roles or someone in authority. You, on the other hand, are much more of a chameleon. Just in a single year, I’ve seen you THE SPIDERWICK CHRONICLES and MY BLUEBERRY NIGHTS and BOURNE ULTIMATUM. These characters could not have been more different. Do you deliberately try not to repeat yourself?
DS: Yeah, I think it’s important to keeping changing up, because you can get pigeonholed pretty quickly, for better or worse. Some people say, Yeah, it’s great. I’ll dial this one in, this is what people expect, and this is what they want. But, just for my own personal entertainment, I like to change it up, yeah.
Capone: Thinking of Morrow and then the character you play in BOURNE ULTIMATUM, that’s your range, like, that’s anybody’s range, really. There couldn’t be two more different people. I think sometimes people forget it’s even the same actor, because the roles seem so diametrically opposed.
DS: [laughs] Well, you hope they do. That’s one of the traps, too…is that, "Oh, there’s that guy again!" So, you hope to keep it fresh, fresh and new.
Capone: You and John both seem to have a very workmanlike approach to the films that you do. It’s not a passive thing for either of you. Is that a fair thing to say, that you don’t just dive in?
DS: Yeah, it’s important…you dig in. You’re given the responsibility to represent either an idea and sometimes a person, like in the Morrow thing…
Capone: Not everyone’s like that, I guess that’s my point, even though they probably should be, especially actors, they’re not always like that.
DS: Well, it depends on the material. Sometimes the material does not bear the weight of investigation, in-depth investigation. That’s just maybe the nature of the story and sort of the tone of the film. But, for me, it’s important to get as much of a gestalt on the situation, character, because you’re under a microscope. And, you want the audience to get something extra, hopefully, you know, surprise or learn something or perceive a person differently. But, I feel it’s important, I consider it my duty, really, to study a character.
Capone: How much do you really allow your mind to think like the characters you play? I’ll give you an example of what I’m talking about. It’s maybe the character in a movie that you made that still sometimes haunts me a little bit…I’m thinking of your work in BLUE CAR. How much do let the thought process of a person like that creep into your own mind?
DS: I don’t know. It’s hard, because it usually happens in the moment, or on the day, or in the two or three weeks, whatever time you’re involved in the picture, that you’re trying to access, obviously, a different kind of neurology or a different kind of thinking. But, I don’t know, I don’t think I could quantify it very well.
Capone: I did want to ask you about a couple of things you have coming up. Of particular interest to our readers…I think it’s now called THE UNINVITED…
DS: Oh, yes, I think it was TALE OF TWO SISTERS, now it’s UNINVITED.
Capone: I’ve seen that original Korean film.
DS: Yeah, I did, too.
Capone: What did you think of that?
DS: Well, frankly, I thought, Why are they remaking it? [laughs]
Capone: That question could be asked a lot lately about different projects.
DS: Yeah. I haven’t seen the film. I have no idea how they put it together, what the ultimate outcome of that is going to be. It was interesting to work on, because of having seen the Korean one and seeing how it had been sort of adapted…I don’t know, my jury is certainly out, because I don’t have much evidence, but I’ll be real curious to see how that comes to fruition.
Capone: I take it you play the father of the two girls?
DS: Yeah.
Capone: What did you actually think of the original film, other than, Why are they remaking this? You must have liked it to a certain degree, if you thought that.
DS: Well, actually I saw it after I finished shooting the later one, so it was a little more surprising to me, why they remade it. Different, really different, the feeling of this production versus the original. Very different feeling.
Capone: Okay, I guess that’s always a possibility when you’re remaking a film from Japan or Korea or anywhere. It feels like it’s only been in the last couple of years that you’ve done some of this genre work.
DS: Yeah, FRACTURE and this one tale is…I’ve never done those kinds of films before. Yeah, they’re a lot different than a John Sayles film, that’s for sure. [laughs]
Capone: Better believe it. The other thing, when I was speaking to Wong Kar Wai about MY BLUEBERRY NIGHTS, he mentioned that the segment that you and Rachael Weisz are in--I’m sure he told you this, but I was looking for your take on it--was his attempt at writing a sort of Tennessee Williams play in a sense.
DS: Yeah, you do get that feeling, isn’t it? It’s very evocative of Tennessee Williams, the whole environment, and her character, especially, is just exquisite in that kind of…and the texture. I wanted so much more of her character, really.
Capone: …of Rachel’s character?
DS: Yeah, oh yeah.
Capone: And, I mentioned it to him, too, that that whole scene, even before it turns violent, just feels like it’s going to get violent. It’s just brewing under the surface the whole time. When you see somebody that jealous, you just know that violence is imminent.
DS: Well, he’s a master of mood, that’s for sure.
Capone: Yeah, absolutely. And, you’ve made a film that Paul Giamatti’s in as well.
DS: Yeah, that was a fun little thing. I had a couple of days on that one. OLD SOULS, I think it’s still in post-production.
Capone: What is your role in that?
DS: I play a doctor who sells soul replacements. Yeah, we can give you a new soul, if you’re not happy with yours. And, Paul gets a hold of one that creates all sorts of ramifications and complications. It’s a very wonderful, little whimsical, odd tale. It’s got a great tone to it. I’m really excited to see how that turns out. Plus, of course, Paul is a comic genius.
Capone: Based on your description, I wasn’t sure it was going to be whimsical. It could go in a very ugly direction.
DS: Could do, could do, but it’s not. It has a nice aesthetic to it. I think it’ll be surprising.
Capone: David, thank you so much for talking to us, and it was great to hear you read the words of Trumbo.
DS: Okay, man. My pleasure. All the best.
Capone
capone@aintitcoolmail.com
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