And, with 14 Emmy nominations already under his belt, the man who called Norman Mailer and Marlon Brando good friends says he has no plans to relinquish his interview chair anytime soon. In fact, he's switching things up. The 18th season of Inside will feature the ensemble casts of some of his favorite TV shows, with the cast of Glee up first on April 9 at 8pm. "You'll have to watch," he teased when asked about any standout moments from the episode. "You'll see some dancing; I'll tell you that."
|"The students would stay all night. I literally threw [the cast of] Mad Men and Glee out of there in the middle of the night."|
So I began to study. I started studying with Stella Adler, who was one of the most famous teachers of the Stanislavsky system in New York. I realized after about a year with Stella that this was really what I wanted to do. And that began 12 years -- and I'm not joking or exaggerating -- of study. I studied two and half years with Stella Adler, four years with Harold Clurman, the founder of the Group Theatre, two years with Robert Lewis, also of the Group Theatre. I started studying voice; I studied almost up to the operatic level. I studied dance and became enamored of that. I studied modern dance. I studied classical ballet to the point where I actually choreographed a ballet for Ballet Theater. This was an extraordinary time of my life.
When you first started working with the Actor's Studio, what was your role?
I was a director. I was invited by Norman Mailer and his wife, Norris Church, both now sadly deceased. And at that time -- this was about 20 years ago -- many cultural institutions were in dire straits, as cultural institutions frequently are. And we were looking for ways to somehow support the studio, and I said to myself, why does the studio not have a school? And I went to the president of the New School... and I said, "What if I was able to provide you with a major drama school? What if I could get my colleagues to create...a degree-granting program?" Then he said, "Where do I sign?"... I had no intention of staying with it. I was just doing it on behalf of the studio.
When did you develop the show, Inside the Actor's Studio?
At the same time. We were accredited very quickly, which we hadn't expected. Suddenly, there we were and I thought, we'll do a master class, a seminar, because I had people who would teach. All of our core classes are taught by members of the Actor's Studio, life members, and I had stars like Ellen Burstyn and Arthur Penn and people like that who would come and teach a six-week course, and that was all they could give us because they were working very hard.
And then I had people like Paul Newman who wouldn't do that, so I sent a letter to a bunch of them and asked if they could give me one night. Can you give me one night for a master class and I'll conduct an interview? Paul Newman said yes, Dennis Hopper said yes, Sally Field said yes, and that was just as we were starting, in the weeks before we opened our doors. So I sent word back to television people, where I had worked as a producer and writer and actor, and I said, "I see something worth preserving. Is anyone interested?" And Bravo, to its eternal credit, said yes. And so we began the school and these master classes at the same time, in the fall of 1994.
What determines who you invite on the show?
It's very simple. I ask myself one question: Does this person have something to teach our students? That is the criteria. And it's worked very well for us. And I thought we would stick to craft, no gossip, no nonsense like that, not like other talk shows... What I didn't realize is that if I were to ask you about the turning points in your life, about whatever lead you to wherever you are now, who are the people and what are the moments and the events that shaped you... as a person, you would find the same thing as everybody on the show: that the most painful moments are often the most emotional. And that's why we've kept the reputation of reducing our guests to tears but I didn't expect that; it wasn't something I had anticipated. Bradley Cooper couldn't stop crying for the whole time we were on our stage. He was trained by us; he's a graduate of our school.
|"The most painful moments are often the most emotional. That's why we've kept the reputation of reducing our guests to tears."|
The other fateful decision I made is that there would be no pre-interview. None. It's the only talk show in America that has absolutely never had a pre-interview and never will. That forces us into a conversation, and the guest doesn’t know what's coming next, and I have to spend two weeks, 12 hours a day, preparing for it because no one is out there doing a pre-interview. Nothing is handed to me. I get raw material from my researcher... and then I watch all the movies, read everything that the person has written about himself or herself, and I go through all the articles that have been written about them, and from that I distill the blue cards, which are approximately 300-500 [cards] for each person. And then they come to me and they're on stage with me for three and a half to four hours, up to five or six hours, because it's a class. The students would stay all night. I literally threw [the cast of] Mad Men and Glee out of there in the middle of the night.
There are a few commonalities that you have found in the people you've interviewed over the years, like coming from divorced families.
That is the dominant theme.
Are there others you've found in your years interviewing actors?
Shyness. Many of them are shy, were shy as children and are shy to this day. So shyness is one. These are things you would not expect. Most people think they're all supremely confident, because once they step in front of a camera or on stage they are. But the reason that they are is that they are overcoming something always, and that something is usually shyness. Very often one of the motivating factors is a loss of a parent, either from death or through divorce where it happens at an early age where something in them says "I'm going to show you; you're going to see." And so the drive begins.
Have you ever been completely caught off guard by someone's answer?
Oh, frequently. Those are some of the best moments. I've done my cards and I'm expecting a certain answer, and it goes off in a random direction and that's when we find ourselves galloping off together. I've compared it to a high wire in the circus. We come out on stage, there are our students out front, I go up one rope ladder on one side of the stage, and the guest goes up the other, and we meet on a high wire after three or four or five hours.
Have you ever asked someone to come on the show and they've refused?
Sometimes they can't come because of their schedules. The only person who ever absolutely refused was Marlon Brando, because by the time I started the show -- although he was a member of the Actor's Studio and had been trained by Stella Adler as I was; we knew each other, and we used to talk on the phone for hours at a time -- but by that time he was already reclusive. I couldn't get him out of the house and neither could anyone else.
You've been doing the show for 18 seasons now. How much longer do you think you can keep up the 12-hour days seven days a week?
For as long as I live. I love it so. It's very much a part of my life, and I think I'm very much a part of its life, and I've never thought ever, ever of stopping for any reason ever. We're already starting to cast next season.
Amanda Ernst is a freelance writer living in New York. She also manages business development and social media marketing for B5 Media, the publisher of five women's lifestyle sites.
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