Lampman No stranger to compelling, character-driven stories and his latest film, day of battleis no exception. Directed by Jack Huston, the film is an impressive debut feature starring Michael Pitt, Steve Buscemiand Joe Pesci.
In this interview, Perlman discusses his long friendship with Huston, the challenges of shooting the film in a tight 20-day schedule, and how he found inspiration in Pitt’s raw, unfiltered approach to character development.
In this interview, Perlman discusses his long friendship with Huston, the challenges of shooting the film in a tight 20-day schedule, and how he found inspiration in Pitt’s raw, unfiltered approach to character development.
He also talks about acting, how he approaches his roles, and why he avoids auditioning. This interview has been edited for length and clarity. For the full interview, watch the video above or check out our YouTube page.
How did you get involved?
Lampman: Well, Jack and I go back and we did a movie together, I don’t know, 15 years ago, and we’ve been friends ever since. And then we met each other when he was ready to give the green light to this. He has written and is going to direct a movie, can I watch it?
I said, “Have you ever written and directed a movie? You’re considering me being in it. I don’t have to see it. I’m in it. Because he’s Jack Huston, and he’s the guy I met on my long, dirty, terrible journey.” One of the most beautiful souls ever.
What would you do if the script was terrible?
Ron Perlman: To Jack Huston, I would shut up, keep my head down, and get through it. But luckily, this is far from reality.
As a first-time filmmaker, I think he’s nailed it.
Ron Perlman: I did the same. A lot of very important people say that. Martin Scorsese The film screened in New York a few weeks ago and he said it was the best film directorial debut he’d ever seen.
Can you tell the difference between a director who is an actor and a director who is never on the other side of the camera?
Lampman: No, I can’t. I mean, you know that’s the case, but it’s not obvious. Because, especially all the days we had to shoot this movie, there were so few, and the whole movie only took 20 days to complete, which was a pretty crazy schedule.
But the only thing that matters is that the director tells you what he needs. And then when we tried to execute the scene, how we felt about it… I didn’t see the actors there. I just saw a filmmaker. I became obsessed with providing him with everything he needed to realize his vision.
Jack Huston talks Day of the Fight: Directorial debut, creative challenges and assembling an all-star cast
You are peers. So, what was your relationship like with him on set? What was his coaching style with you?
Lampman: He is a fan. I mean, he’s a cheerleader. He occasionally quotes his grandfather, who, you know, happened to be the greatest man of all time, John Houston, who said, “90 percent of the job is casting.” So he felt like he did do it correctly across the board. Everyone in this movie gives a very, very effective, unforgettably beautiful performance. When you do, they’ll come to the party with just about everything you need.
The only time a great director steps in is when someone needs some kind of stimulation. But a great director realizes, “Oh my gosh, this is as good as I thought it would be, if not better. Let’s move on. That’s how Jack works.”
You mentioned the fast shooting schedule. Do you like cumming so fast?
Lampman: I do. If you look at my resume, 95% of it is low-budget independent films, so that’s field-related. There aren’t a lot of resources. I mean, I think HellboyThe shooting period was 110 days. There are 20 of us.
After reading a lot of actors’ profiles and talking to a lot of actors, the bottom line is that there are a lot of people who work best in early takes, and there are a lot of people who need a lot of warm-up, but they don’t need to start cooking until the 12th or 13th time. For the 12th or 13th time, I’m ready to put the gun in my mouth and pull the trigger until it doesn’t work anymore, to quote a great line from Marlon Brando.
What do you think is the most shot you’ve ever taken?
Lampman: Thirty-four.
Oh man.
Lampman: I won’t mention the film or the filmmaker, but I don’t wish him well.
So, you did it after two or three takes?
Lampman: Yeah, after two or three takes, I got what I thought I needed. Then everything after that is no longer my problem. This is his problem.
I’m also aware of the fact that when you go through the place where you feel most spontaneous and authentic, and you have to do it again and again, you’re actually giving up what your best contribution is. So when you realize this, you feel even more frustrated.
Your character, like the father of Michael Pitt’s character. You should have known each other your whole life. What did you do to create that image in your mind before you started shooting? Do you take notes on the script or anything like that?
Lampman: I do that sometimes, but there are some films where I just want to be open and raw. Watching Michael Pitt prepare to play Irish Mike, I realized that he was so open and raw and uncontrolled, and for an actor to walk on set and give up control in the name of spontaneity and whatever it is that you’re sending out, This is an intentional act right now.
I decided that would be my wheelhouse. I’m just going to pay attention to what Michael Pitt is doing and react based on how he reacts. Everything I need to reveal about their relationship will be revealed through action, just sticking to Michael, staying there, being there for him, because I think that’s been the dynamic of this relationship from the beginning.
This kid walks into his gym. He is a troubled child. There’s some shit going on in his home life. But the gym was a sanctuary for him and a place where he could use his best skills. Steve recognized this and said, “This is something that needs to be nurtured, this is something that needs encouragement and sometimes tough love to keep him on track.” That’s the dynamic.
I have to ask you this or I’m going to regret it, but what’s the worst audition you’ve ever had?
Lampman: Almost every audition. I was a terrible auditionee.
Who are you? I couldn’t believe it.
Lampman: I am. Luckily, I don’t audition anymore. You could easily read that as: “Okay, this guy is too arrogant to audition. He’s a big star. But I just don’t want anyone to see me in that state. I’m a bad audition For me, auditioning and then actually getting the role and playing the role are two different, complete sets of skills.
Therefore, I prefer to stay where I am more comfortable.
