My note: This article by The Times is mostly a rehash of old information (and it’s an old interview done around the time period of Evening), but as there are a few extra bits, I decided to include it for anyone who is interested.

In evening, the actor Hugh Dancy enjoys a standout role. Surrounded by an armada of powerhouse performers — Vanessa Redgrave, Meryl Streep, Glenn Close, Natasha Richardson, Claire Danes and Toni Collette — Dancy, grabs a spotlight of his own.

Currently starring in Journey’s End on Broadway, Dancy took time out to discuss his career and new film at The Regency Hotel in New York.

It must be a gift as an actor to get a role like this.

It’s a great character. Great potential for acting. Great potential for disaster — for over-acting! It wasn’t a gift, though, because I had to pursue it.

What was it about the film that attracted you?

It’s just brilliantly written. It’s so unusual to read a character who, without being maudlin, depressing or an intellectual exercise, is simply not perfect. Someone who is flawed and is vulnerable. Buddy is also dramatic and goes through these extremes. But extremes without a human heart are just boring. It’s dangerous to portray a character who doesn’t have a centre. It was the centre of Buddy, that vulnerable, human centre, that I thought was really remarkable.

Does working with a cast like this do something for your own performance?

You’re always better when you’re working with good people. W hen you’re working with actors of this calibre, they’re generous. They can afford to be generous and they know that that’s what it’s about. So you profit from them, rather than being put in the shade. You get dragged into the light with them. It’s also daunting. I remember ringing my parents, just before we started, and telling them I was terrified. And my Dad said, yeah, but who doesn’t want to be in that position? And he was right.

What surprised you most about the experience?

It surprised me that I had to dance with Glenn Close and she had a broken ankle. The thing about these people who you know from reputation is that they’re normal, nice people at the end of the day. It was unexceptional in the best way, if that makes sense.

What about Claire Danes and Mamie Gummer?

They’re just brilliant. But you don’t need me to tell you that. I had more scenes with Claire, but I noticed it in Mamie, too … that you’re drawn into the life that they show when they’re not doing anything. They’re both strong, intelligent actresses. That shines through in what they do. But it doesn’t overpower what they do.

What were rehearsals like?

We all went down — me, Mamie and Claire — and spent a weekend in Rhode Island before the whole shoot began. We read through some scenes and hung out. But not all the scenes. My scene with Claire when I give her that note — we didn’t read that. Some of them are best left alone.

Did your parents encourage you to become an actor?

I’m the only one in my immediate family who’s an actor. A lot of my family are teachers. My dad is a university professor. My grandfathers are both retired schoolteachers. Headmasters. So it was more natural for me to go to college, rather than drama school. That said, I did know that this is what I wanted to do.

What was the biggest challenge for you on this film?

Drunk acting.

Seriously?

It’s frightening. Acting a drunk is worrying. I was still worried about it after I’d finished. And now that I’ve seen it, I’m still worried. We’ve all seen bad drunk acting. Waving your arms around and slurring all your words. God knows I do a bit of that in this movie. But hopefully with some degree of accuracy and gradation, in terms of the character.

I was just trying not to fall into what I perceived as the big traps. This is a bit of a truism, but, basically, drunk people, are trying not to be drunk. They’re trying to hold it together.

It’s easy to ignore that and just go for all the mannerisms and blow it out of proportion. You’re trying to remain in control while playing somebody who is essentially out of control but trying to be in control. That’s complicated.

You’ve already worked with some of the top actresses out there today. Who stands out for you?

Helen Mirren in Elizabeth I. I just had more work to do with her than any of the others. As far as I’m concerned, that part for her was just exceptional. That was the greatest piece of work by an actress that I’ve been able to observe.

I don’t know if you necessarily learn from that though. I can sit and watch Helen doing a scene and I can recognise that it’s great and maybe even recognise why it’s great. But that doesn’t mean I can do it myself.

Source: The Times

Posted on January 10, 2008 by Anna
Filed In News