Film Drifter Reviews

Via Skype call on 21/02/18

FD: Hello Graeme. Thank you for taking your time do to this interview with the Film Drifter project. I would like to start by simply asking why acting? And since when did you know you wanted to act?

GTK: So my background is actually in finance, I worked in a hedge fund for just under a year. Acting was never on my radar. I was so shy as a child so literally I never considered it. I never did it in school or even at university. What made me take it seriously if you like was a chance encounter I had on a bus in London, where someone asked me to be in their short film they were making. It was a transitional period in my life and I thought why not and pretty much fell in love with it then and there. From there I went and studied at the Esper Studio in New York City and now find myself here in LA. All of this involved quitting a fulltime job of course and making a quantum leap.

FD: That's really interesting. A chance encounter. What did you find so appealing about the experience of acting, to continue pursuing it professionally?

GTK: Well as soon as I started it I knew it was what I always wanted in life. The collaboration with a wide group of people, working together towards a common goal. I played a lot of sports growing up and I've always found the comparisons remarkably similar. You're only as good as the people around you.

FD: How did you find the experience of auditioning after your training, and how did you land your first gig, after the original short?

GTK: It's interesting because no one can really prepare you for the world you step into after you finish training. Fortunately, I had a wonderful audition class teacher called Deb Jackel who teaches at the Esper Studio. She did a wonderful job of preparing me and giving me first-hand experience of what it would be like auditioning in front of big casting directors and managers etc. When you're training, you're protected almost and you get to work with really interesting pieces of writing and some great playwrights. It's just not the case when you first start out after school and it's a tough transition, certainly one I found tough. I think you have to get used to very quickly that your job becomes auditioning, and you have to find joy in that because you'll be doing it a lot (hopefully) and essentially that is your acting if you know what I mean. Statistically you're unlikely to get the gig, it's just hard facts, so enjoy the fact someone is giving you an opportunity to do a tiny piece of acting.

My first major gig came through Neil Jordan's new feature (The Widow). That opportunity actually came about through a self-tape. Totally irrelevant to the project I was up for but they saw something in that they liked and it was enough to get me the job. You never know what it will be that will lead to some success.

FD: How was the experience to work in such a major production?

GTK: The experience was just incredible. Working with such a legend as Neil Jordan firstly was something that will stay with me forever. Working with such a wonderful cast was another. It was an incredibly collaborative process and I can't wait for it to come out. It was how films and art should be made I think, everyone working together, no ego's or attitudes and everyone having fun.

FD: No More Lonely People seems like a very interesting project. A dystopian tale of sorts? How did you get involved in that project, what was the experience of working on that film, and what can we expect from that film?

GTK: A dystopian tale is spot on good word. As dystopian as New Jersey can get I suppose. I'm joking. So, I initially auditioned for the lead role in that project. It went to someone else, Kelvin who was fantastic as Sam, and OJ who's the director and created said that there was another role I'd be perfect for. If I was only time will tell! I played Clark Bruce and had a lot of fun. The premise of the film is that your soulmate is decided for you on your 23rd birthday. A much more fatalistic version of bumble I suppose. My character matches with Dianna, played by Simone Policano a wonderful actor and dear friend, and I have to essentially convince her I'm the one for her despite her being in love with someone else. With the film you can expect a lot of creativity, OJ is just one of the more imaginative guys I've ever met and worked with and he always has tricks up his sleeves. The whole cast got on like a house on fire, we hit it off from the start and I can honestly say I loved working with every single one of them. You should be able to see that chemistry on screen.

FD: IMBD says it will be released 2019! Such long post-production process? Is that true?

GTK: OJ is a perfectionist literally so I wouldn't be surprised if that is accurate. The guy has so many ideas in his head it's crazy and really admirable. Watch the space though I would be surprised if we saw it before that.

FD: Any of your shorts available online?

GTK: I did a TV pilot called Snowflakes, which I believe you can find online. That was a wonderful experience and working with Michael Beddoes was great. That shot in London last year.

FD: What's your approach to acting and/or what do you primarily try to accomplish with your performance? Or in other words, what do you focus on most when developing a character, and what result in your performance brings you most satisfaction? Who are your acting inspirations and why?

GTK: Good question. I have to give a huge shoutout to my acting coach and mentor Dee Cannon who I work with regularly. My approach directly derives from her teachings and please look her up she's taught some of the best. Going back to your question, for me it's all about the other person, if I can make them look good then I've accomplished something. Essentially with a character I always wanted to get to the truth of that person. As Phillip Seymour Hoffman said, to play a character is to be able to defend them and I've always believed in that. I've always felt a huge responsibility with playing other people because you are representing them and their lives and therefore you must get down to the truth of who they are. Therefore, you must never judge them, I've auditioned for serial killers before and it's so easy to judge these kinds of people for the horrible things they've done. That for me is one of the most satisfying things, getting under the skin of these people and finding out who they really are.

My huge acting inspiration has always been Sir Mark Rylance. I always credit him for getting me into acting. I watched him in Wolf Hall and was just mesmerised.

He always brings spontaneity to his work and playfulness and it's something I try and recreate in mine. We are essentially children as actors and we can never forget that, to just get in the sandbox and play.

FD: I saw him in Intimacy. Great performance.

GTK: That's something I still need to see. Highly recommend Wolf Hall if you haven't.

FD: How do you like to be directed, and what sort of mode of collaboration with a director you prefer the most? Do you like a lot of instructions, feedback and input in general?

GTK: I think the key word there is collaboration. We have to work together and fortunately I've worked with directors who are like that. I will always bow to better judgement but I'm never afraid to speak my mind if something doesn't feel right and I think directors appreciate that. Input and feedback is great and always welcome but it doesn't come. It depends how I director works. If I ask a director after a take are you happy? And they say yes, that's often enough for me. We're making something here and there's really no blueprint for success.

FD: What sort of career trajectory you envision for yourself, or better yet, what sort of roles and opportunities you would like to experience/reach in the near future?

GTK: Career trajectory is a tough one. I couldn't even have imagined that I'd be where I am today so I can't imagine what the future may hold. Which is exciting.

There are a number of shows and people I would love to work with in the future. Peaky Blinders has always been a big one for me. That's a dream honestly. Working with Steven Knight also I just love his work.

I would really love to do more theatre, as most of my work so far has been in TV and film. There's something incredibly special about the theatre and it's the ultimate test for an actor. Equally Shakespeare will always have a place in my heart. Playing Hamlet in the West End or Broadway must be a goal.

FD: Since I maintain a film reviewing website, I would like to hear what sort of movies you like, what aspect of filmmaking you appreciate the most? What gets you excited the most about film? Favourite directors and films.

GTK: Of course. I'll give you my top movies of this season. In no particular order; Darkest Hour, Good Time, Three Billboards and The Disaster Artist. I just love stories about real people. And all these movies encompass that. That for me is a main reason I got into acting, to tell other people's stories.

I could rave about all those films I just mentioned but again they all tell the stories of real, living breathing people. Obviously Darkest Hour and The Disaster Artist were biographical.

I personally love being transported into different time periods. I've always had a thing for period pieces and I would love for my work to include this. What excites me about film is just the sheer effort it takes to make one, and everyone being an expert in their chosen field from makeup and costume to lighting to editing. It just requires everyone to come together and work as a team which I love.

Favourite directors off the top of my head have to include Martin McDonagh and Steven Knight as I mentioned before. I'm a big fan of classic films such as On the Waterfront, Godfather and all of James Dean's films, so Kazan and Coppola obviously fall into this.

FD: Thank you once more for this talk. Best of luck in future career.

Copyright by Film Drifter 2018