just like a moment that Mike wanted to see of, like, again, like, moments internalised, but it’s almost like you’re trying to laugh it off and you don’t know what to say and you can’t say anything. And then it’s like, ‘Okay. Let’s just forget about this’ - and then he goes away. It was a fun scene to film. It was great.
And maybe just throw in a line about, like, the book. Like,
maybe say, like, the se-x stuff was pretty interesting. That will be more Saxon.’ And I was like, ‘Okay.’ And he goes, ‘And then all I want to do is I’m going to put a camera here. And I’m going to have you turn, and I just want to watch you watch Chelsea go jump into Rick ’s arms. And I’m just going to have a camera stay there for 20 to 30 seconds, and that’s going to be the moment that the audience realises you might change.’ And I said, ‘Okay. Got it.’
18
There are a few moments when Mike holds the camera on your face, like when Chelsea says, ‘you’re soulless’. You can literally see inside Saxon’s brain when he’s trying to process what happened with his brother the night before. Your performance is so great because you don’t have the luxury of a line to convey what he is experiencing in that moment. As an actor is that scary or thrilling and what did you think when you saw the final takes? So the scene by the pool when they say that, you know, ‘You’re soulless’ and then the whole thing where the two girls are telling me what happened the night before was one of my audition scenes. And it ended up being pretty different than what we did in during the audition, but it was fun to do. It’s like the nerve-wracking and scary scenes, as an actor, are usually the ones that are the, like, that you look back on and you’re the happiest or most proud of or that you like the most because it challenges you and it puts you in a different k ind of state. And, yeah, they’re the scenes that bother you the most before shooting.
You’re always think ing about them, like, you know,
worrying about them. But that was yeah, those were some of my favourite scenes, and it just worked so well because of his writing of who this character was at the start and just watching him quiver and his ego getting destroyed in front of these girls. It’s just a nice turn. And it’s funny to watch someone like Saxon just melt in their chair and not know what to do and not know how to react and trying to deny it, but they’re both there saying it. And it’s a big power shif t. It’s a big change of, like, he’s the one always ask ing the girls questions, he’s the one always, you know, saying stuff, ‘This, this, this.’ And then now they’re coming at him and he’s not used to that. And, he has nowhere to go with it. And so it’s
We know the whole cast watched the finale together. Was there something that you observed in how saxon was that you were surprised by or you were like, ‘oh, i have this different insight into him now.’? There’s more humanizing moments and there’s more reasons to enjoy and like him by the end than I thought there was going to be. I was surprised how much people hated him in the beginning, and then I was surprised how much people liked him in the end. You’re k ind of just showing up and doing the work that day. Sometimes it’s hard to remember how it’s all going to play. And then you just really have to trust Mike and his writing and his choices. But,
yeah, I was definitely watching it, I was
definitely surprised and I was also surprised how – again I don’t know how biased I am and how attached I am to this project - of how emotional I got during the end, even with my own scenes, so it’s hard for me to say as an unbiased viewer. It’s like real dialogue between these people that helps build the characters and show you who is who and who they are, and who they thought they were and - and then sh-t ensues.
Finally, you said earlier your brother-in-law gave you a great tip about the first two seconds of a taped audition – what is the other best piece of advice you have got about acting? I’ve done auditions where I take a swing in the beginning and I don’t hear back [laughs]. I had another casting director that told me that when you walk into the audition room, that you should be in the character. From how you dress to how you’re sitting, your physicality, like, if you’re going in with that intention of being that character, the casting director knows. But I guess one of the things was actually, it was on that second day of filming, was with Walton. We were k ind of talk ing af ter the scene, and I was sitting there, and I asked him about, ‘Does he get nervous?’ Because I get nervous with public speak ing or with some scenes and, you know, cer tain things. It’s just I can’t control. I get nerves. And I said, ‘Do you get nervous?’ And he was like, ‘Yeah. Yeah. And then he my poked my chest, and he was like, ‘But I never question my process and my work, and I’m the one for this role.’ And I was like, ‘Wow.’
There’s that voice inside your head where you’re constantly k ind of doubting yourself. It’s always, like, k ind of fear and fear of failure and stuff, and it’s easier to said than done to be confident. But what he reminded me there just was like that, you know, and I have my own stuff in my head of why I get casted for stuff or why I got this role, whatever. It’s just a like a a confidence boost, I guess, of going into it and just yeah. I don’t know.
Well, you definitely were the one for the job! Thank you.
LIVE24-SEVEN.COM
INTER VIEW PAT R I C K S CHWA R Z E N E GGE R
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104 |
Page 105 |
Page 106 |
Page 107 |
Page 108 |
Page 109 |
Page 110 |
Page 111 |
Page 112 |
Page 113 |
Page 114 |
Page 115 |
Page 116 |
Page 117 |
Page 118 |
Page 119 |
Page 120 |
Page 121 |
Page 122 |
Page 123 |
Page 124 |
Page 125 |
Page 126 |
Page 127 |
Page 128 |
Page 129 |
Page 130 |
Page 131 |
Page 132
