In Conversation with Thomas Francis Murphy

Davina Baynes
November 23, 2018
Absolute Music Chat

I recently had the enormous pleasure of interviewing the actor Thomas Francis Murphy. Thomas has worked on movies and shows such as 12 Years a SlaveFree State of JonesMindhunterThe Walking Dead and American Horror Story. We talked about his unconventional path towards taking up acting in his mid 30s, Dayton, Ohio, his career, music and much more besides.

[…]

DB: Mindhunter, Detective McGraw, you were in the first episode which is the one that David Fincher actually directed. How did you get that role?

TFM: I taped for it when I was in Louisiana. Then I came out for the first full out LA premiere I had ever done, which was for the Free State of Jones, and then auditioned here for it, in person, with Laray Mayfield who was casting out here and from there I went to New York to audition with David [Fincher] and Julie Schubert– so there was quite a long audition process for that.

DB: What was your experience on-set of Mindhunter?

TFM: Well again, I didn’t know until we started shooting, that it was a re-shoot. They had shot that whole thing and then came back at the end of the season to re-shoot that [whole] section. The actors, by that time, had been acting together for a whole season so it was like coming into the lunch room mid-semester of the senior year.

DB: There are three big scenes: the one where Tench and Ford do that slightly disastrous presentation in front of everyone; then there’s another one in the diner where you are talking to them; and the final one where you show them the photographs. With that scene, where you are back at the station and are showing them the photos, when did you, and when did they, first see the photographs that you were using?

TFM: Then. I’m sure they saw them before, but I saw them then.

DB: So, they had already seen them because of the re-shoot, but that was the first time you had seen them, because they are pretty gruesome.

TFM: That is an interesting question. That’s really an interesting question, you know – because I had never really thought of it before, kind of shame on me, but that’s alright. Even if I had thought of it, just letting this thing come over me…

DB: Did you have to smoke on set?

TFM: Yes! And that was a bitch when it came to continuity. You do it and then the next take you get, ‘No, your hands were like this!’

DB: No one else has mentioned that and it’s really interesting because I had never thought of that.

TFM: If you are a smoker, right, you don’t do it… I mean that’s the whole point of it. If you’re a smoker it just let it flow through you and proceeds according to your internal state. So to come back on a scene and go, ‘No your hand was just like that!’ That’s what I’m hired to do. I’m not hired to think about it. I’m hired to smoke!

DB: But you wouldn’t have felt quite so ill as the ones who don’t normally smoke who said they would smoke some real cigarettes!

What was it like working with Holt and Jonathan?

TFM: Well I had a high regard for both of them, but you know David does a lot of takes, everybody knows that, right. So again, you’re the new kid, that scene in the diner… that was us meeting each other as actors. I got their attention (laughs) and then we did the scene. That’s how often actors meet each other, as actors, and then you know that you’re going to be able to do the scene.

DB: Was that the first scene then, the one in the diner?

TFM: No. The first stuff we shot was the meeting. We shot that particular thing in chronological order.

DB: So, what is David Fincher like working for when he’s directing?

TFM: Well he’s obviously a guy who knows what he wants. Clearly. So that’s always good! I guess the thing you know is that, if he didn’t get what he wanted, you’d still be shooting! (Both laugh) You take your gratification where you can. My comparison that I have in my mind is that now you’re working with an NBA coach, you were in college basketball, it just has that kind of feeling to it. I’d certainly seen his films and I had certainly paid attention.

Again, it’s another story about having lived through that time, having lived through a period of time where the political colouration of the country, the kind of cultural colouration of the country that went along with that storyline. When I went back and watched Mindhunter I was just completely amazed at how it caught the spirit of that particular, in small ways, period of time.

Read the full interview

Read the other Absolute Music Chat conversations with the Cast of Mindhunter (more to come):

In Conversation with Mindhunter’s Jonathan Groff
An Interview with Mindhunter’s Holt McCallany
In Conversation with Mindhunter’s Cameron Britton
In Conversation with Cotter Smith. Actor (MindhunterThe Americans)
Jack Erdie: Actor (MindhunterBanshee) & writer
In conversation with actor Adam Zastrow (MindhunterHigh & Mighty)
In Conversation With Alex Morf: Actor (MindhunterDaredevil)
In Conversation With Tobias Segal: Actor (MindhunterSneaky Pete)
Spotlight Interview. Chris Dettone: Actor (Mindhunter), Stuntman/Coordinator

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In Conversation with Mindhunter’s Cameron Britton

Paula Courtney
November 3, 2018
Absolute Music Chat

Emmy-nominated actor Cameron Britton mesmerised us all with his portrayal of serial killer Ed Kemper, on hit Netflix show Mindhunter. In this interview we discussed everything from romance to his preparation for the role and working with director David Fincher, the real Ed Kemper and so much more.

[…]

PC: When you were sat in that room with Fincher, was it hard not to show your nervousness, what did you do to combat those feelings or were you not nervous?

CB: It was back and forth that I thought, ‘Oh I’m doing a terrible job, he’s going to fire me,’ and Jonathan would talk me down from the ledge. There were days when we had done 50 takes – let’s do 50 more, 70 more I don’t care, I’m having a blast, I’m just lost in the moment, because it’s not just the takes it’s how quickly we get back to the top of the scene. Often when someone says ‘Cut!’ you know you don’t actually get to start the scene again until 10 minutes later, with him it’s 15 seconds! We are back in it. I’d never done that in my life before and that in character, for that long for a whole day of, since you’ve been awake you’re in character. It just starts becoming this sort of spiritual experience where you kind of forget what you planned on doing, you’re surprising yourself, you’re going, ‘Oh oh God! I’ve never delivered it that way before! Where did that come from?’

PC: I was talking about that with Adam Zastrow and he said by the time you do the 50th take you feel like it’s going through the motions, you don’t have to think about it but by then you are delivering something that is more natural, or organic, and that is what Fincher is looking for: that very moment when you are not acting, you are being it, doing it, aren’t you?

CB: You are! And day one I thought, ‘Are they going to fire me? Am I going to get too tired to do this?’ And that is just not the case. I met a few people playing killers who were nervous – anyone who’s worked on Mindhunter and worked with Fincher – they all think, ‘Ah, they’re going to fire me!’ But when you are in there, man you just keep going. Being fired is the last thing you’re thinking about, you are just alive. It’s a hell of an experience and honestly is moving forward my career. I’ve been fortunate enough, because of my character, to get to do bigger projects now, like that’s sort of my standard. When I go to other projects now I go, ‘Okay, are they living up to what Mindhunter taught me and are they making good art?’ And if they are not then I sort of politely find a way to come off what’s going on.

PC: What about learning your lines: how easy is that for you? Obviously you had quite a bit of dialogue: how do you make it stick?

CB: There’s knowing all your lines, that’s fine and that comes really quickly, what really takes repetition is to do it enough so you don’t need to think about them. There just coming out and that is so necessary to me, if I’m just thinking about the line then I’m not living ‘in the moment’ and that’s just the kind of acting that I do. I need to have nothing happening to distract me. I just take every opportunity to be where I need to be ‘in the moment’ because I’m still working on it. If I don’t feel connected to the scene, or ‘the moment’, I can kind of panic and then you can sort of see me acting. Some actors, they are able to go, ‘Well I’m not connected right now but I can sort of fake my way through this,’ and that’s just part of life: if you have a job there’s some days you are just not feeling it even if it’s your favourite job in the world. I’m still working on that but no matter what, I have to know the lines backwards and forwards.

PC: With regards to David Fincher’s style of directing, is there any room for a bit of give? Do you feel you could suggest to him that perhaps you’d like to try something different or is it all very controlled by him or the other directors?

CB: With David there’s a line here, a line there, in this big, giant script where he says, ‘I want this to be arrogant,’ or, ‘I want this in a form of a question.’ And I think, when he says ‘arrogant’ there are many, many, many ways to do that so it’s up to you how you want that to be conveyed – the rest of the script is all yours. And maybe that’s just my experience. David puts you in: he guides you in the right direction. So if an actor strays too far this way or that way he’ll sort of put you back on track, but the point of all those is not to do anything you’ve prepped and just be truly alive ‘in the moment’. If you’re over-directing somebody then it won’t be that: then you’re just using all those takes to get this exact delivery or performance out of them, which is fine, but it’s not allowing… like he’s so trusting that inspiration will come; you know if he has too much vision for a moment he’s not allowing for a better vision to show up. If he’s saying it has to be this way then how do you know if something better wouldn’t have come along? He’s very trusting and it empowers you; you can tell [when] your director is letting you do your job. There’s been times he’s had to put me back on track: the hospital scene in the final episode when I stand up and turn around he let me go two or three takes where I just went ballistic. When we first started shooting that part I stood up like a maniac and then by the third he said, ‘I can’t think it up with the rest of that part of the scene. You can’t do that’. It needed Kemper to stay calm and collected but, in a way, I needed to go crazy for a second, I needed to really feel that wild, impulsive energy, that’s sort of Kemper though isn’t it: even when he’s calm you can feel his urge to hurt; he’s almost masking a lot of violence, no matter how mellow he looks.

Read the full interview

2018-11-03. Cameron Britton

Read the other Absolute Music Chat conversations with the Cast of Mindhunter (more to come):

In Conversation with Mindhunter’s Jonathan Groff
An Interview with Mindhunter’s Holt McCallany
In Conversation with Cotter Smith. Actor (MindhunterThe Americans)
Jack Erdie: Actor (MindhunterBanshee) & writer
In conversation with actor Adam Zastrow (Mindhunter, High & Mighty)
In Conversation With Alex Morf: Actor (MindhunterDaredevil)
In Conversation With Tobias Segal: Actor (MindhunterSneaky Pete)
Spotlight Interview. Chris Dettone: Actor (Mindhunter), Stuntman/Coordinator

In Conversation with Actor Adam Zastrow

Paula Courtney
October 14, 2018
Absolute Music Chat

I had the pleasure – and a lot of fun – interviewing actor, Adam Zastrow, who recently excited us playing the role of Darrell Gene Devier on Netflix’s hit show Mindhunter. During our conversation we talked about Adam realising his dream of becoming an actor, the shows he was part of leading up to Mindhunter and what it means when David Fincher says, ‘Take 50!’

[…]

PC: Getting back to David Fincher. I was reading the other day someone saying the reason he shoots a scene 70 times is because he suffers from OCD but that isn’t the case at all is it. He wants to get the best possible scene, it’s not because he has perfectionist issues.

AZ: I hate when people use the word ‘perfectionist’ when they are talking about David and the amount of takes he does because I was told about that – I don’t want to say ‘warned’ but I was ‘told’. Before going out I was told be prepared for long days Fincher likes to do a lot of takes. After having done it – those 70 takes fly by, it does not feel like you are doing 70. Fincher himself addressed this in an interview – he really hit it right on the head – it’s not that he’s a perfectionist (that’s not the issue at all) it has more to do with your pre-production staff. The guys will build sets for months, the art guys, you have all these people spending the better portion of a year just to make sure a scene looks the way it’s supposed to or to just make sure the drinking fountain in the back works even if nobody is using it. All these people put all this time and effort into this production and how dare you rush through shooting! It’s almost like a slap in the face to all these people. It’s like, ‘Okay, you spent 6 months building this scene and we’re going to come in and just shoot three takes in 12 minutes, now we are going to walk away and ask you to tear the damn thing down.’ No. No. No. I think it’s as much trying to find the best performance as it is taking the time to finding the best performance. You owe it those people not to rush through anything. When I heard that I thought, ‘Oh my God! That makes so much sense.’

PC: It’s like when you spend hours making dinner and someone wolfs it down in like 5 minutes.

AZ: Yeah exactly, exactly. I 100 per cent agree that you find stuff on take 70 that you did not even think about. As someone who’s never experienced that kind of dedication to the shoot, you get to take twenty or thirty and you’re like, ‘Okay. I rehearsed this for months. We rehearsed this together for a week. We’ve gone through this thirty times, there’s nothing else for me here to find. I’ve giving you everything that there is.’ Also from take 30-45 they are all the same, they are kind of all blah, because at that point you’re either over-thinking or under-thinking your character and you really feel like there is nothing else to give. And then, right around that point, there’s a weird moment that happens where you just stop thinking about it at all: you’re no longer under- or over-thinking it, you are just doing it because you are just going through the motions. And you’re like, ‘Okay, let’s just do this because I have to,’ and then this beautiful, beautiful thing happens where, all of a sudden, as soon as you stop thinking about it, all of this shit comes out of you that you never even knew was there! I think that’s what he’s going for. He does it enough times to where you are so used to it that you are not thinking about it, and that’s where the best stuff comes from. If you film a scene where you come home from work, you throw your keys on the table, you take your jacket off and you put it on the hook, you take your shoes off and you walk into the kitchen and you do whatever it is you do. If you were to film that scene, every single one of those moves is going to seem so cold and so calculated because it’s written in the script and you know what you are supposed to do and it’s fine, and most of the audience are not going to notice how calculated it looks – but a good audience will – and that’s what separates great shows from okay shows, and amazing shows from really decent shows, amazing directors from half-decent ones – it’s that kind of thing that half won’t notice but the ones that do are going to call you out.

PC: That’s a great explanation actually.

AZ: It’s one thing to say you shoot a scene 70 times and it looks more ‘natural’ but what does that mean? That exactly what ‘natural’ means. You are putting your keys on the hook because you’ve done it a million times, it’s like getting all of your emotion to that point where you forgot that you did it, like when you leave the house and get half-way down the road and have to turn back because you don’t remember if you have locked the door. It’s that exact thing. Fincher wants your emotions and everything on camera to be stone natural – that you are not even 100 percent sure that you did it.

That’s what I think makes all of his stuff so, so good. I’ve heard so many people talk about the 70 takes thing and how it’s unnecessary, but after doing it I’m almost wishing everyone would do it: because everything looks so much better, and so natural and yeah, you might not see it, but those that do, it makes that difference.

Read the full interview

2017-11-18. Adam Zastrow (Facebook) - Adam Zastrow, Cameron Britton, and Jack Erdie
Adam Zastrow, Cameron Britton, and Jack Erdie (Adam Zastrow / Facebook)

Read the other Absolute Music Chat conversations with the Cast of Mindhunter (more to come):

In Conversation with Mindhunter’s Jonathan Groff
An Interview with Mindhunter’s Holt McCallany
In Conversation with Cotter Smith. Actor (Mindhunter, The Americans)
Jack Erdie: Actor (MindhunterBanshee) & writer
In Conversation With Alex Morf: Actor (MindhunterDaredevil)
In Conversation With Tobias Segal: Actor (MindhunterSneaky Pete)
Spotlight Interview. Chris Dettone: Actor (Mindhunter), Stuntman/Coordinator

In Conversation with Mindhunter’s Cotter Smith

Davina Baynes
September 14, 2018
Absolute Music Chat

Cotter Smith was born in Washington DC, the son of a federal judge. He is an actor with a stage and screen presence spanning over 40 years. Most recently he can be seen on our screens as Unit Chief Shepard in David Fincher’s Mindhunter and as the Deputy Attorney General in The Americans but his on-screen career stretches back to Hill Street Blues (1982) and Blood Feud (1983) when he played Robert F. Kennedy. I was recently very privileged to talk with Cotter about his life and career in both acting and teaching, working with David Fincher and Steven Spielberg and much, much more.

[…]

DB: When you actually got the call from David Fincher: how did that come about?

CS: It was a call from my agent, initially, saying, ‘There’s interest. Would you be willing to read for David Fincher, for this series?’ And I said, ‘Absolutely. I’m a big fan.’ They said, ‘Well, first of all, let me tell you, it’s a guaranteed ten episodes already ordered for Netflix, but it would be a required eight months, in Pittsburgh.’ So I called my wife and said, ‘So here’s the deal, there’s this possibility, it’s not an offer but they’re interested in me, to come in and audition and we would be eight months in Pittsburgh.’ And she said, ‘Cotter, go get it, and get me out of here!’ (Laughs)

DB: She was packing her bags!

CS: She was so keen to leave New York. (Both laugh) So I auditioned. Then the wonderful casting agent, Julie Schubert, who was so helpful to me – she is really lovely, a casting agent who really loves actors and believes in the whole process – we had prepared, I think it was, these three or four scenes (I never met David) it was all on tape, that third one went off to him. She said, ‘You know, he takes a very long time to cast, so just relax. Everything he does he takes a very, very long time: from casting to shooting.’ So I said, ‘Okay,’ and a week later my agent called and said, ‘You got the job.’ I said, ‘What?’, ‘Yeah, you got the job!’ That was the first time it was ‘real’. I didn’t honestly believe I was going to get the job: I knew many, many, many people would want this job and, as an actor, you do these auditions and you don’t actually put much on them because it’s too heartbreaking if you don’t get them. I was so thrilled, and stunned. It’s exactly the kind of work that I want to do, with a kind of director that I want to work with: I love serious drama; he’s a master, master filmmaker. Just knowing he had cast me made me realize: ‘He knows what he’s doing, so this is going to be good.’ And it was. He’s so fun to work with. He’s challenging. He’s tough. He’s fast. He’s improvisational and you’ve really got to come with your A-game – which I like. He does endless takes: 30, 40, 50. My record was 64 takes on one scene. Endless shooting: we took eight months to shoot ten episodes. That’s a long time! Usually a director will be given eight days for an episode so that’ll be three months – he had eight months. But he’s David Fincher.

DB: And aiming as near to perfection as you can get?

CS: He’s a perfectionist. When you look at his work the proof is in the pudding.

DB: What about marks for the camerawork, are they really rigid?

CS: They’re necessarily rigid, at times, but it changes. On the spot, he will change things, change intention, change everything. It was fun.

DB: You don’t have to smoke as a character, do you?

CS: Thank God no! They sent out notices and said: ‘It’s the ‘70s, so who among you would be willing to smoke?’ And I just wrote back and said: ‘Absolutely no.’ And poor Holt McCallany said ‘yes’ and I think he regrets it to this day. This season he’s going to taper off. He really smokes.

Read the full interview

Read the other Absolute Music Chat conversations with the Cast of Mindhunter (more to come):

In Conversation with Mindhunter’s Jonathan Groff
An Interview with Mindhunter’s Holt McCallany
Jack Erdie: Actor (MindhunterBanshee) & writer
In Conversation With Alex Morf: Actor (MindhunterDaredevil)
In Conversation With Tobias Segal: Actor (MindhunterSneaky Pete)
Spotlight Interview. Chris Dettone: Actor (Mindhunter), Stuntman/Coordinator

Cameron Britton on Channeling the “Intellectual Creepiness” of a Real-Life Serial Killer

Patrick Harbron / Netflix

The Netflix series’ breakout guest actor reveals what it took to pull off his haunting performance as the murderous Ed Kemper (hint: lots and lots of director David Fincher’s infamous takes).

Daniel Fienberg
August 17, 2018
The Hollywood Reporter

You can’t always pinpoint exactly the moment when a show makes its big qualitative leap, but with Netflix‘s Mindhunter, it’s easy. Holden Ford (Jonathan Groff), an FBI agent experiencing frustration at his colleagues’ antiquated approach to murder investigation, goes to prison to visit a notorious killer and comes face-to-face with Ed Kemper (Cameron Britton).

Towering in stature, soft-spoken, viewing the world inquisitively through thick glasses, Kemper is intellectually vicious, yet unfailingly polite. By the end of one 10-minute conversation, we understand completely why Holden has been pulled into Kemper’s gravity and how this giant has instantly transformed his worldview.

It’s a show-changing character and a career-changing performance for Britton, making his first major TV role and earning his first career Emmy nomination. The actor talked with The Hollywood Reporter about his approach to the real-life killer, director David Fincher‘s notoriously exacting standards and more.

Read the full interview

 

Meet Your Nominee: Cameron Britton on ‘Mindhunter’s’ Lone Emmy Nomination & Future of The Show

The Hollywood Reporter (YouTube)
August 7, 2018

2018 ‘Mindhunter‘ star and the show’s only Emmy nominee, Cameron Britton, joins THR for Meet Your Nominee!

 

Cameron Britton (‘Mindhunter’): It was difficult to get into the mind of a killer

Gold Derby (YouTube)
August 6, 2018

Cameron Britton (‘Mindhunter’) chats with Gold Derby editor Daniel Montgomery: It was difficult to get into the mind of a killer, and to get out of it.

Complete Interview Transcript

 

How Ice Cream and The Beatles Helped Cameron Britton Destroy a Killer

TV Guide (YouTube)
August 15, 2018

Mindhunter’s Cameron Britton tells us how he was able to get into the mind of serial killer Ed Kemper, the toll it took on him, and how he ultimately got him out of his system.

 

Emmy-Nominee Cameron Britton On Becoming Ed Kemper In ‘Mindhunter’

Mindhunter‘s Cameron Britton talks to Awards Daily about how he became serial killer Ed Kemper, how the role impacted his life, and what his Emmy nomination means to him.

Clarence Moye
August 20, 2018
Awards Daily

Cameron Britton is having a very, very good year.

When Netflix’s Mindhunter premiered last fall, critics and audiences alike approached the dramatic series with respect and awe, thanks to the influence of the great director David Fincher. But everyone, literally everyone, was talking about Cameron Britton. His take on infamous serial killer Edmund Kemper captivated audiences. If you were talking about Mindhunter, then you were talking about Cameron Britton’s brilliant performance.

Here, Cameron talks to Awards Daily about how he wrestled with Edmund Kemper. He dove so deeply into Kemper that it took time to exorcise the role from his system. He also talks about what the role meant for his career and how he prepped for it by running lines with his close friends. It’s a fascinating conversation with an actor clearly on the rise in Hollywood.

Listen to the full interview

MINDHUNTER: ATAS/Netflix FYSEE panel highlights

Ted Sarandos (Netflix Chief Content Officer), David Fincher (Director/Executive Producer), Anna Torv, Jennifer Starzyk (Costume Designer), Steve Arnold (Production Designer), Erik Messerschmidt (Director of Photography), Cameron Britton, Laray Mayfield (Casting Director), Holt McCallany, Jonathan Groff. (Frazer Harrison / Getty Images)

‘Mindhunter’: David Fincher Shot a 9-Minute Take 75 Times and Didn’t Let Cameron Britton Talk to Anyone on Set

The notoriously fastidious director discussed his process for the Netflix original series during a panel discussion Friday night.

Ben Travers
June 2, 2018
IndieWire

Netflix FYSEE MINDHUNTER Panel, Los Angeles, CA, USA - 1 June 2018
“Why 75 takes? Cos I’m motherf***ing David Fincher, that’s why” (Eric Charbonneau, REX/Shutterstock/IndieWire)

Jonathan Groff And David Fincher Revisit ‘Mindhunter’ As Emmy Beckons

Gregory Ellwood
June 2, 2018
The Playlist

Netflix FYSEE MINDHUNTER Panel, Los Angeles, CA, USA - 1 June 2018
Fincher being “Rorschached” at the MINDHUNTER Netflix FYSee space (Eric Charbonneau, REX/Shutterstock/IndieWire)

MINDHUNTER at NetflixFYSEE

Panel tweets and photos from 6/1/18 event

Diane Gordon (Twitter)
June 2, 2018
Wakelet

Netflix FYSEE MINDHUNTER Panel, Los Angeles, CA, USA - 1 June 2018
Fincher surrenders to the cuddly, adorable, and “hot” bear Cameron Britton (Eric Charbonneau, REX/Shutterstock/IndieWire)