By Donna Durham
21 Nov 2008
Whether there's a Tony in his future is almost irrelevant. The thing is… Broadway: "Everything I've done has led up to this moment. I grew up in the theatre. Both my parents were theatre animals. I was eight years old when I climbed onstage with my mother and father and did Chekhov's The Darling, not knowing what I was doing, probably butchering Chekhov. My mother still runs the Piven Theatre in Evanston."
In Chicago, he fell in with The New Criminals, a theatrical troupe that did a three-hour adaptation of Fear and Loathing in Las Vegas (he was Hunter Thompson's sidekick) and practiced Tim Robbins' style of commedia dell'arte ("That style really set me free"). Then calls from Carol Burnett's "Carol & Company" and Garry Shandling's "The Larry Sanders Show" sent him west.
With 22 years in films and TV, it has taken this "child of the theatre" his whole 43 years to get to Broadway — but theatre was a constant.
"People said when Speed-the-Plow came up, ‘What'll you do? There's no second take.' They don't realize I'm, first and last, a stage actor. What I try to create when I work in front of the camera is the momentum you get onstage. You can't get it anywhere else — and you need it since you work in fragments if you work in film. I don't even think of it ["Entourage"] as TV. Here we are, shooting on film with language that's not curtailed by the standards and practices of network TV — so we have that freedom of language. It's as if I'm shooting a stage play. At least that's the way I envision it.
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| Raúl Esparza, Jeremy Piven and Elisabeth Moss in Speed-the-Plow
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| photo by Brigitte Lacombe |
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