As I delve into this captivating conversation between two extraordinary artists, I can’t help but marvel at their shared passion for their craft and the unique perspectives they bring to their roles. Colman Domingo, with his rich background in theater, brings a raw, vulnerable energy that breathes life into every character he plays. On the other hand, Kieran Culkin, a seasoned actor who’s been part of the Hollywood scene since his childhood, offers a distinct charm and wit that has endeared him to audiences worldwide.
In a stark contrast in their work methods, Colman Domingo and Kieran Culkin exhibit different habits. Domingo dedicates extensive research to each role and sets his alarm well ahead of his call time on set, which Culkin playfully ridicules. “When I have a 5 a.m. pickup,” Culkin quips, “that’s when you wake up.” However, as this piece reveals, their passion for acting shares a profound similarity. Domingo is one of the few professional actors in “Sing Sing”; most of his co-stars are former inmates portraying themselves in a narrative about an in-prison theater program. He assumes the role of their leader, whose composed exterior crumbles as he attempts – unsuccessfully – to overturn a wrongful murder conviction. In “A Real Pain,” Culkin embodies Benji, a troubled character with childlike qualities who embarks on a Holocaust tour with his cousin, David (writer-director Jesse Eisenberg). As they traverse their grandmother’s native Poland, David is plagued by concerns about Benji’s frequent emotional outbursts. Here, the two actors exchange thoughts on their morning rituals, the pleasures and challenges of parenthood – and their irritation over some of their fellow actors’ peculiar descriptions of their craft.
KIERAN CULKIN: You started in the circus?
COLMAN DOMINGO: Yes, I did it. I was mainly seeking an opportunity to perform, as my acting experience was limited to a few classes at that time.
Were the acting lessons useful at all in your opinion? Not everyone believes they should take every word their instructor says as absolute truth, like it’s the Bible. But that’s not really the case.
DOMINGO: Sometimes things fail, but my first teacher once said, “I’ll provide you with some tools, and you can utilize them, but remember to keep on broadening your collection of tools.” Everything I do feels like the initial time I’m doing it. I don’t want to repeat the same actions. I don’t follow a specific method.
CULKIN: Once I begin doing something, I might think, “I’ve grown too comfortable, and now I’m feeling uninterested and don’t want to continue.” That’s why I appreciate auditioning. When I haven’t auditioned, I feel like, “I might dislike this entirely. I only did it because a producer suggested it.” However, if I’ve auditioned, then I at least know what to anticipate. In the case of “A Real Pain,” Jesse Eisenberg hadn’t watched “Succession.” He cast me without me auditioning or him seeing any of my previous work. And he considers this perfectly normal. He said, “I already know you.” But our brief encounters don’t typically constitute how one should cast someone.
DOMINGO: Hey there, I’ve crossed paths with you a few times. It didn’t take long for me to get a feel for you, especially your gaze. You have this certain…let me put it another way?
CULKIN: Maniac. Psychopath. Bipolar.
AS A FILM ENTHUSIAST: Let me tell you, you’re the kind of actor that truly intrigues me. Your performance in “A Real Pain” was captivating – I found myself torn between admiration and suspicion. There was a hint of narcissism perhaps, but it was that very ambiguity that made your character feel so authentic.
CULKIN (PARAPHRASING): Benji, I believe he tends to act without thinking first. That’s why I chose not to prepare in advance. I used to be on my way to the set, asking Jesse what scene we were shooting next, which would cause him anxiety. He’d say something like, “You have a long monologue!” To which I’d reply, “I pick up lines quickly. Let’s figure out the scene by just doing it.
DOMINGO: Are you aware of where cameras are?
CULKIN: Generally speaking, it’s not my concern. On “Succession,” the cameras were usually at a distance. You tend to rely on the person you’re with, and I imagine you understand that as well. “Sing Sing” boasts one of the finest ensembles I’ve witnessed in years, perhaps even decades, or ever. Remarkably, most of these actors had no prior camera experience. That’s truly impressive.
DOMINGO: Our director, Greg Kwedar, encouraged us all to contribute whatever we had without any criticism. At that time, I was working on “The Color Purple” and then doing pickups for “Rustin,” which left me with only 18 days. I had to approach this project in a more unpolished manner than I was comfortable with because I usually like to be well-prepared. This was my first time not knowing every detail of the script. However, it was appropriate for this film as I was collaborating with individuals who have real-life experiences. There should be no gloss or refinement. Instead, I needed to rely on them and meet them where they are.
CULKIN: Clarence Maclin is brilliant.
AS A FILM ENTHUSIAST: Man, isn’t that scene stunning? My favorite moment from the entire film is when he traps me in a confined area and I tenderly offer him the term “beloved.” He simply walks away, leaving me yearning for more. I couldn’t help but think, “He needs to let that word resonate with him.” So, I nudged my director, pleading, “Could he just linger on it a bit longer?” And remarkably, he did. Kudos to Greg Kwedar for his patience and understanding of the craft. It’s rare nowadays to find directors who aren’t so quick to call “cut.” I find myself always craving more, knowing there’s always another layer to uncover.
CULKIN: Occasionally on “Succession,” we’d chat casually to pass time during breaks between scenes. As the on-screen siblings, we’d often fill in some blanks about what might be happening off-camera. It added a sense of realness and completeness to the show.
DOMINGO: Who was one of your favorite scene partners?
CULKIN: Sarah Snook is my favorite. Contrary to what’s generally expected, I do have favorites. Occasionally, during filming, I’d secretly take her lines and give her a knowing glance. The scene would continue, and when it was my turn again, she’d steal my line and retort playfully, “Got you, jerk.” Just before we were about to wrap up shooting, she said, “Are you prepared to cry? No one will ever cast us together in anything again. We’ll never work together again.” This sent me into tears. Working on a show like that, where we portrayed siblings, people are always bound to draw parallels. So she might be right about that.
DOMINGO: Do you still see each other a lot though?
She resides in Australia, making it challenging for us to stay connected due to my less-than-adept phone skills. I had been counting on another season coming up. However, she is my son’s godmother and one of the individuals I admire most.
DOMINGO: Although I’m acquainted with many individuals, my circle of close friends is quite modest. How about yours – is it a tight-knit group or a larger one?
CULKIN: My wife and my two kids. That’s it.
DOMINGO: What do you like about being a father?
Everything except meal times. I adore everything else. It seems like nothing else has significance. Now that I’m a father, my sole purpose in life is this role. That’s what true life feels like. All of this is nice, but I just want to return home. Do you ever consider having children?
DOMINGO: In my twenties, I longed for children. Now, I possess a wonderful collection of furniture instead. Could you recommend a place where one can relax after dealing with all that?
CULKIN: I don’t.
DOMINGO: I won’t pretend to be a psychologist, but it seems like you could benefit from some personal time. What time does your day typically start for you in the morning?
CULKIN: I don’t think I’ve ever woken up at the same time.
DOMINGO: This morning, I got up at 4:30. I require around two to three hours of personal time before tackling everything else on my schedule.
CULKIN: You’re nuts. Do you do that on set?
DOMINGO: No matter what character. A hero, a villain, you name it — I need time for myself.
PARAPHRASING: Do you recall if a director has ever provided you with a piece of advice that was so valuable and insightful, it could be applied to various aspects of your career?
DOMINGO: George C. Wolfe broke my shit down on “Ma Rainey’s Black Bottom.” He said, “You’ve been directing, right? I can tell, because you know exactly the way the scene should be.” I said, “That’s good, right?” And he said, “Yeah, but I’m missing the discovery in the moment. I want to watch, behind your eyes, you taking in information, and it’s shifting you. Because you cannot recycle vulnerability.” He was taking me back to 21-year-old Colman, who was a bit more wild-eyed and feeling my way through.
I take issue with actors referring to themselves as “storytellers.” Frankly, I’m not a fan of this term, Jeremy [Strong]. To be clear, I don’t believe it’s my role to narrate the story. Jesse Eisenberg did an exceptional job in ensuring everyone was included, but he authored the script. He’s the one telling the story. We’re simply assisting him. Therefore, if you received a note about the story, it’s not primarily your responsibility to be aware of it or convey it within the scene. Instead, your focus should be on the character and how they contribute to the overall narrative.
DOMINGO: We’re not storytellers. We’re servants of the story.
CULKIN: Let’s fucking work together, man.
DOMINGO: I’d like that. You have a sparkle in your eye, man.
CULKIN: I’m not dead inside yet.
DOMINGO: You’re alive.
Production: Emily Ullrich; Lighting Director: Max Bernetz; Set Direction: Gille Mills
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2024-12-18 19:17