In The Envelope: An Awards Podcast

Ruth Negga has had a clear mission statement since her early days as an actor: “What I wanted as an artist was to sort of shift things—disrupt, maybe,” says the Irish star, illuminating for listeners the nuances of her creative process. Curiosity and quiet introspection are key ingredients, she says, and fellow actors should find their particular means of inspiration. “Acting isn’t just a job for me. It’s a soul vocation. It’s something that I think is helping me understand myself, my place in the world, and others.” Born in Ethiopia, raised in Ireland, and schooled in London, Ruth studied stage acting at the Samuel Beckett Centre at Trinity College Dublin. Her breakout film roles in “Capital Letters,” “Isolation,” and “Breakfast on Pluto” led to theater and TV work on both sides of the Atlantic, including “Personal Affairs,” “Shirley,” and AMC’s “Preacher.” She then won accolades aplenty including an Academy Award nomination for playing Mildred Loving in “Loving,” and led an acclaimed production of “Hamlet”

Beanie Feldstein, a theater kid through and through, now finds herself a veritable film and TV star. While the approach to stage and screen might differ, her philosophy is always the same: her most inspired work stems from bonding with collaborators who can’t help but become family. “Every opportunity is going to fill you up in certain ways and deplete you in certain ways,” she says. “I always just feel like I can go my deepest and do my best if I know the people around me.” Born in Los Angeles in a family of Hollywood professionals (including brother Jonah Hill), Elizabeth Greer a.k.a. Beanie grew up performing community theater and studying at the Stagedoor Manor theater camp before attending Wesleyan University. Her breakout roles in “Neighbors 2: Sorority Rising” and the SAG-nominated “Lady Bird” led to an award-winning turn opposite Kaitlyn Dever in Olivia Wilde’s “Booksmart,” as well as “How to Build a Girl” and guest appearances on “The Simpsons,” “Grey’s Anatomy,” and “What We Do in the Shadows.” Thi

Once Caitríona Balfe made the leap from modeling back to her original dream of acting, she began studying the craft and working her way toward leading roles. In commercials, web series, and eventually on the big screen, she developed on-camera instincts that became her basis of approaching both auditions and creating characters. Caitríona’s work demonstrates how important it is for actors to have confidence in their unique charisma. “Sometimes the reason you’re cast is because there’s something innately within you that you can bring to the role,” she says. “If you kind of let your instincts lead you, then that’s also a really great place to go.” Trained as a model in her native Ireland and then around the world, Caitríona made an uncredited appearance in “The Devil Wears Prada” before moving to Los Angeles and starring in “H+: The Digital Series,” “Money Monster,” “Ford v. Ferrari,” and more. Her breakout role as Claire on the Starz series “Outlander,” adapted by Ronald D. Moore from the hit Diana Gabaldon n

Mike Mills is a screenwriter and director, but could be considered first and foremost an actor’s collaborator. Not only have his films produced some of the most naturalistic performances in recent memory, he’s the kind of filmmaker who follows actors’ leads, singing their praises at every step of the page-to-screen process. “Whatever feels real and alive to them, that’s where I’m gonna go,” he says in this revealing interview. He also grapples with the mysteries inherent in filmmaking: “As a director-writer person, one would think you know everything about your movie...and you don’t.” With a background in visual art that transitioned to music videos, Mike is best known for his award-winning feature films “Thumbsuckers,” “Beginners,” and “20th Century Women.” He’s turned elements of his life into autobiographically inspired stories, including the newly released “C’mon C’mon” from A24, starring Joaquin Phoenix, Gaby Hoffmann, and Woody Norman. In this episode, Jack is joined by Backstage senior staff writer C

Jessica Chastain and Oscar Isaac go way back. They’ve reunited several times onscreen since meeting in the halls of the Juilliard School of Drama. Jessica calls acting “a way of getting to know myself on a deeper level.” For Oscar, the approach must be “expressive and not communicative—not getting too caught up with some idea that I want an audience to feel or to think.” The two reveal to Backstage many of the technical tricks up their sleeves, and provide their fellow artists plenty of inspiration. Jessica, who mounted mini theater productions growing up in Northern California, is two-time Academy Award nominee for “The Help” and “Zero Dark Thirty.” She’s led “The Tree of Life,” “Interstellar,” “The Martian,” “Molly’s Game,” Broadway’s “The Heiress,” and this year, Searchlight Pictures’ “The Eyes of Tammy Faye,” which she produced with her company Freckle Films. Oscar, born in Guatemala and raised in Miami, acted and performed music onstage before moving to New York. He’s earned awards for his work in “Bal

Corey Hawkins’ training at the Juilliard School of Drama, and background in singing in church, set him on the path toward becoming what he calls “a well-rounded artist”—and he has a Tony, Emmy, and two SAG Award nominations to show for it! Speaking to Backstage, his go-to resource during post-grad years in New York City, Corey offers fellow actors plenty of valuable advice, particularly when it comes to auditions. “To go into a room and literally just have an opportunity to act, or sing, or dance, or do whatever you do, you get to showcase that and share it with somebody for that little bit of time. And that’s a joy.” Born in Washington, D.C., Corey made his Broadway debut in “Romeo and Juliet,” which was followed by an award-winning revival of “Six Degrees of Separation.” After a Hollywood breakthrough in “Non-Stop,” he appeared on “The Walking Dead,” “24: Legacy,” and “Survive,” plus in “BlacKkKlansman,” “Kong: Skull Island,” and as Dr. Dre in “Straight Outta Compton.” This year is Corey’s most impressive

Rebecca Ferguson has combined backgrounds in music, dance, short films, and soap operas in her native Sweden to become one of today’s most versatile and compelling screen stars. From life advice (“Lay your own path and have other people follow you!”) to technical secrets (she gets into character by creating a silhouette), her “In the Envelope” interview has endless value for artists at any level. “It’s a really, really difficult job and it takes a lot of time,” she says of an acting career. “The more you get to know yourself, the more grounded you can be in this world of scrutiny.” After dabbling in various performing arts, Rebecca earned a Golden Globe nod for playing Elizabeth Woodville in the BBC’s “The White Queen,” which launched her into a screen career on both sides of the Atlantic. Tom Cruise cast her in the “Mission Impossible” films as Ilsa Faust, and then came “Despite the Falling Snow,” “Florence Foster Jenkins,” “The Girl on the Train,” “Life,” “The Greatest Showman,” the award-winning “Doctor S

Alessandro Nivola’s career trajectory is proof that artists, especially actors, must continue to adjust ambitions and dream big. On first the stage and then the screen, Alessandro carved out a character actor niche, morphing into roles “very unlike” himself, as he tells Backstage. “It’s part of staying alive, always having new cravings and goals and longings.... One has to battle those feelings on some level and try and feel grateful for what you have.” A Boston native who studied acting at regional theaters and as an undergrad at Yale University, Alessandro fulfilled his dreams of a stage career as a young adult, award-nominated for his Broadway debut opposite Helen Mirren in “A Month in the Country.” After watching his theater peers cross over to Hollywood, he did the same with “Face/Off,” and appeared in “Laurel Canyon,” “Junebug,” “Selma,” “A Most Violent Year,” “The Wizard of Lies,” “Disobedience,” and in many more character roles. Tony-nominated for “The Elephant Man” and a SAG Award winner for “Americ

In an extra-special (and long-overdue) discussion episode, Backstage’s senior staff writer Casey Mink and industry news writer Diep Tran join Jack to discuss the state of the theater industry in 2021. On the heels of the 74th Tony Awards finally presented Sept. 26 after almost two years of uncertainty on Broadway and beyond, this team of experts is asking and answering many of the questions on the minds of thespians everywhere: How exactly did COVID-19 affect the live performing arts, and what role do vaccinations play going forward? How has the state of New York City theater changed, from the pandemic’s disruption to now? What are the facts and resources that casual listeners and diehard Broadway fans alike need to know? Many such resources are being covered by our editorial team, so for up-to-date reporting on the theater industry’s gradual reopening, head to backstage.com: https://bit.ly/3zXx2ps To read about the 2021 Tony Awards honoring the Broadway of 2019–20, including top winners “Moulin Rouge!” and

Actors and comedians at any level can study Ken Jeong’s trajectory through the entertainment industry—particularly those breaking into it later in life, as he did at age 37. The fact that he’s also a licensed physician who left a career in medicine to pursue the arts makes him truly one of a kind. Naturally, Dr. Ken is something of an expert on balancing work and life, approaching any venture with a student’s mentality, and infusing personal experience into scripted and unscripted projects alike. “It really boils down to passion,” he tells his fellow performers. “A career, like your life, is a series of moments.” After growing up and studying medicine in North Carolina, while also dabbling in improv and stand-up, Ken committed to acting full-time upon his breakout role—as a doctor—in “Knocked Up.” More Judd Apatow films followed, and Ken stole the show in the “Hangover” trilogy, the comedy “Community,” his writing and producing debut “Dr. Ken,” “Crazy Rich Asians,” multiple voiceover projects, a comedy speci

How many actors can claim they launched a thriving screen career by playing a washed-up, unemployed actor? That distinction belongs to Richard E. Grant, whose road from cult classic “Withnail and I” to an award-winning oeuvre began with what he calls a “fuck you” attitude. From tips on playing drunk to his instinctive acting techniques (hint: they involve a character’s sex life), Richard has plenty of advice for his fellow performers. His thoughts on forging a career in the arts are evergreen: “Never give up. If you feel that it is something that you’re compelled to do, you will know that. And if it’s not, then don’t waste your time and energy because there are too many people that want it more than you do.” Born in the Protectorate of Swaziland, now Eswatini, Richard performed onstage as a child and studied at the University of Cape Town. After landing the titular role in Bruce Robinson’s “Withnail and I” thanks to casting director Mary Selway, he amassed onscreen credits in the UK and Hollywood, collaborat

Michael Shannon can give a quietly nuanced supporting turn—or flat-out steal the show—all in service of whatever story he’s helping tell. What are the secrets to his endlessly compelling performances? “Usually if you want to have a career in this business, it’s gonna involve doing a lot of things that scare you, and at first may seem unwise,” he tells Backstage. “But you just have to be willing to take those risks, I guess.” Although wary of putting a name to his techniques or giving ironclad, how-to advice to up-and-coming artists, Michael does so with clarity and generosity. With roots in Kentucky and Illinois, Michael got his start on Chicago stages, collaborating with Tracy Letts and founding A Red Orchid Theatre. His theater work eventually led to a Broadway career, including a Tony nomination for “Long Day’s Journey into Night,” while his on-camera work went from appearances in “Groundhog Day” and “8 Mile” to star turns in “Kangaroo Jack,” “99 Homes,” “Take Shelter,” “Boardwalk Empire,” “Man of Steel,”

Talent agents: What do they do? What do performers at all career levels need to know about their central function in the entertainment industry ecosystem? And, of course, how does one reach representation, and therefore opportunity? “In the Envelope’s” latest deep-dive on a particular aspect of the biz features interviews with first Shauna Perlman of Creative Artists Agency, then both Jason Rodriguez and Ricardo Sebastián of the recently launched Arraygency. CAA is one of Hollywood’s oldest and biggest agencies, managing A-list actors along with writers, directors, hosts, sports and music stars, and other creatives. Shauna Perlman got her start at United Talent Agency before eventually coming to CAA and representing the likes of Rachel Brosnahan, Anthony Ramos, Teyonah Parris, Sebastian Stan, and Henry Winkler. One of her many points to talent looking for representation? Representation is on the lookout for talent. “Putting out the work is everything, keep staying focused on that,” she advises. “And you will

Julianne Nicholson’s impressive Hollywood career is the result of both magnetic on-camera charisma and a commitment to only playing roles that speak to her on a deeper level. In this insightful interview, Julianne reminisces about early auditions, pulls back the curtain on the many acting techniques she puts to use, and walks the line between optimism and realism that being a working actor requires. “Experience goes a long way,” she tells Backstage. “And life! Life gives you more things to draw from. And I expect that will keep happening as I go.” Hailing from Massachusetts, Julianne spent her young adult years modeling and waitressing in New York City, eventually finding the right acting class and committing to a life in the arts. A feature film debut in “Curtain Call” led to TV characters on “Ally McBeal,” “Masters of Sex,” “Boardwalk Empire,” and a lead role on “Law & Order: Criminal Intent.” On the big screen, she’s starred in “Kinsey,” “Tully,” “Black Mass,” “Novitiate,” “I, Tonya,” “Togo,” and “August:

Giancarlo Esposito can speak at length about his strategy for navigating a career in the arts, but what it all boils down to is quite simple: “Do what means something, and then don’t be exclusive.” As first a child actor doing musical theater, then a voiceover and radio artist (Backstage magazine in hand), then as an award-winning scene-stealer onscreen, Giancarlo has pursued every role with the kind of passion required to persevere in such a fickle industry. “Your intention is proved out over time,” he tells his fellow artists. “If you feel like you’re connected to that gift, then pursue that, whatever that is.” Born in Copenhagen and raised in Manhattan, Giancarlo spent his teenage years in Broadway musicals, then turned a radio and television communications degree at Elizabeth Seton College into a screen career. His Hollywood breakout came courtesy of Spike Lee in “School Daze,” then “Do the Right Thing,” “Mo’ Better Blues,” and “Malcolm X,” as well as “Taps,” “The Usual Suspects,” “Ali,” “Once Upon a Tim

What should actors know about a casting director’s job? And what is pursuing a career in casting like? Today’s episode, featuring an intro from Jack and Christine and two interviews with award-winning CDs, pulls back the curtain on the gut-based and logistical processes involved in, as Emmy nominee Ellen Lewis puts it, the “creative collaboration with a director and/or writer to cast actors that will fill the world that they are envisioning.” And there’s plenty of advice for auditioners, as fellow 2021 Emmy-contending CD Avy Kaufman reiterates her empathy and respect for actors: “It’s gotta be so hard to walk into a room with a stranger, give one take or maybe two takes.... Know your material, do the best you can. And good luck.” Avy Kaufman has cast some of your favorite films and TV shows, from “Brokeback Mountain,” “The Sixth Sense,” “Garden State,” “Lincoln,” and “Ma Rainey’s Black Bottom,” to “Billions,” “The Alienist,” “High Fidelity,” and “The Stand.” She’s earned Primetime Emmy Awards for casting “Da

You may be surprised to learn the confident, charismatic Rosie Perez still gets nervous on set. “Everybody gets nervous,” says the actor, dancer-choreographer, and activist. “Not everyone admits it.” As she explains in great detail to her fellow artists, persevering in the entertainment industry means taking one’s craft seriously, overpreparing yet staying flexible, and learning how to rise above or even use nervousness—“finding the champion spirit within those butterflies.” Rosie has become an icon in her hometown of Brooklyn and beyond, since dancing on “Soul Train,” breaking out in Spike Lee’s “Do the Right Thing,” and earning Emmy nominations for directing and choreographing “In Living Color.” She’s starred on Broadway, scored an Academy Award nomination for “Fearless,” and turned in memorable onscreen roles over the years: from “White Men Can’t Jump,” “Untamed Heart,” and “The Counselor” to “The Take,” “Pineapple Express,” “Bounty Hunters,” “Rise,” “Birds of Prey,” and more. She’s now up for her first P

Actor, writer, and comedian Brett Goldstein has made, by his own admission, “loads of stuff that no one’s watched.” As he explains to Backstage, breakthrough successes in the biz are always the result of unseen projects, rejections, and persistent hard work. Now that his latest, “Ted Lasso,” is an Emmy-dominating hit, Brett is reminding himself of what truly matters and passing that onto his fellow artists. “The fame and success and awards should never be the aim. The aim should be: Are you enjoying the making of the thing?” Brett got his start in fringe theater shows and stand-up stages in his native England, starring on “Derek,” “Hoff the Record,” and “Adult Life Skills,” for which he won a British Independent Film Award. He created shorts that became the film “SuperBob,” the AMC series “Soulmates,” and more, and ended up collaborating with Catherine Tate on “Catherine Tate’s Nan” and with Bill Lawrence on a pilot, the latter leading him to “Ted Lasso.” The hit Apple TV+ comedy, co-created by and starring

Jeff Bergman is a legend in the voiceover industry, particularly when it comes to cartoon animation. The first actor to replace Mel Blanc as the voice of Bugs Bunny and other Hanna-Barbera characters, Jeff has tips for fellow actors on recreating iconic animated characters—“I’m trying to capture the essence of the memory that I have, and maybe it’s the memory that you have,” he reveals—plus getting your foot in the industry’s door, keeping your voice healthy, and paying attention to what ignites your passion as an artist. In addition to Bugs Bunny, Daffy Duck, Elmer Fudd, and many other Looney Tunes, Jeff has also lent his voice to “The Flintstones,” “The Jetsons,” “JellyStone,” “Despicable Me” and “Batman” films, and Showtime’s animated satire “Our Cartoon President” as Donald Trump and Joe Biden. Alongside LeBron James, he now stars as Bugs and other voices in “Space Jam: A New Legacy” from Warner Bros and HBO Max. If you’re looking for “Space Jam”–inspired acting gigs now casting on Backstage, here’s your

Like many of today’s hardworking actor-writer-comedians, Cecily Strong knows how to give the exact creative advice that aspiring artists need to hear. The longtime “Saturday Night Live” cast member has thoughts on telling inclusive stories in Hollywood today, being in the moment on set, and embracing the ups and downs of the biz. “How easy is it to just feel bad about yourself and just feel so beaten up?” she points out. “Keep your chin up and know that your path may look different—your path should look different.” Raised in Chicago and a student of theater before comedy, Cecily has been Emmy Award–nominated two years in a row for helping make NBC’s “SNL” must-see TV. A scene stealer in “Ghostbusters,” “The Boss,” and many animated and sketch series, Cecily is now paying homage to classic movie musicals as producer and star of Apple TV+’s new original musical series from Cinco Paul and Ken Daurio, “Schmigadoon!” Tune in also for a recap of the 2021 Emmy nominations, and read up on them here: https://bit.ly/