I don’t know. Those are the three words that Joaquin Phoenix probably says the most during our interview. He may be one of the greatest actors of his generation — possibly, the greatest — but even he seems not quite capable of articulating just how it is he does what he does. That somehow feels right. We’re talking about Lynne Ramsay’s You Were Never Really Here, for which Phoenix won the Best Actor award at last year’s Cannes Film Festival. It’s a marvelous performance, but he speaks very little dialogue, and for much of the film we see him only in brief glimpses. During our chat, as the actor fumbles over his words — abandoning analogies halfway through, professing ignorance of his own talents, wondering if anything he’s done works onscreen — he reveals something of his art. Because so much of what Joaquin Phoenix does is about not knowing, both for us as viewers and for him as an actor. In his best performances, he gives off a sense of total absorption and aliveness. Everything seems possible and nothing feels predictable. No other working actor today seems more intuitive, more uncategorizable.
Don’t tell him that, however: Phoenix doesn’t watch his own movies. When I tell him how much I admired him in this film, he deadpans, “Maybe you have terrible taste.” Then when I respond that I’m a fan of his performances in general, he responds, “It looks like you do.” He says it cheerfully, but it’s also hard not to suspect that there’s some doubt in the back of his mind that he uses to rid himself of anything resembling self-consciousness or preciousness. That’s a perfect state of mind for You Were Never Really Here, Ramsay’s devastating and gripping alt-vigilante drama, in which Phoenix plays a hammer-wielding veteran who is paid to save kidnapped children and who brings all his rage and regret and self-loathing and desire for oblivion to the job. The actor is so convincing in the role that at first I was somewhat scared to talk to him. But the result was a fascinatingly open-ended discussion about acting, Ramsay’s brilliant film, as well as his turn as Jesus in the upcoming Mary Magdalene.
I’ve always found there to be something distinct about Lynne Ramsay’s characters — they’re very submerged and self-negating. You’ve worked with a lot of different directors. Was there anything about her approach that felt different to you?
Every director is different. I’ve never once felt like there’s one standard. But what is unique about Lynne…I don’t know how she worked on other films, or how she worked with other actors, but on this movie, something that we were really cognizant of was trying to fight the clichés of the genre. We didn’t really have a set way of doing things. I imagine there’s like a wildly different performance in there, in other takes, you know. Because each take was different. That was kind of a goal — to do things that might seem out of character or uncomfortable, and play with things, and improvise. We looked for a way of approaching each scene that just wasn’t traditional, wasn’t what you’d expect. If anything in the script felt like it was something that we had seen before, we’d try to change it.
Even though you’re the lead and the whole movie’s pretty much from your character’s perspective, we rarely see your face. Sometimes, we don’t even see you. There’s so much of the film where we’re watching a room that your character has just left. I’m sure some of that happens in editing, but was that always the idea behind the performance?
Yeah, a lot of that was in the script. Certainly Lynne set the tone for that from the very opening scene, creating this kind of mystery around this character — where you’re not really knowing exactly where you stand with him and who he is and what he represents. That was pretty evident in the screenplay, but I’m sure there’s stuff that she does in editing to magnify that or to lessen it.
But for you, as the guy who has to give that performance, what kinds of challenges does that present? When you know that your face is not actually going to be on screen much, or that you’re not going to have as much recourse to dialogue? Do you have to work on the character’s physicality, say, or his posture, or how you walk?
I think it’s a mistake sometimes, as an actor, to think about a movie from the filmmaker’s perspective. It’s hard not to be self-conscious, and it’s one of the struggles that you have as an actor. So, I don’t ask what size lens is there and how much of my body are you seeing. I just have to inhabit the space the way I feel is right. And how the filmmaker captures that or uses it is up to them. It was important to never feel certain of how I was going to behave. The crew was amazing — particularly the camera and sound department, you know, who have to basically follow you around and capture what it is you’re doing — but there really was this feeling that the moment you locked something in, it just started to die. So it felt like things would always have to change and you’d act differently. It was really important for the film and the energy of the character to work that way.
It’s also a pretty violent movie, but so much of what we see is the aftermath of the violence. There’s one fight near the end where we see the whole thing, but that’s about it. For the other scenes of violence, did you guys actually shoot a lot of that stuff and then cut around it in the finished film?
I haven’t seen the movie, so I’m not sure what’s in there, but it was intended that you didn’t see a lot of it. But there are probably other things that we shot and didn’t use. Lynne is a really amazing filmmaker because the more her back is against the wall, the stronger she gets, the better the ideas that come to her. She’s like this brilliant eleventh-hour kind of person. And it’s really astonishing because the story shifted throughout production. There were a couple times where I thought, “Fuck, we’ve painted ourselves into a corner and we’re totally fucked.” And she just came up with something at the last minute, you know, and it was really, really impressive. Like, the brothel sequence was originally conceived as something different, and then she got to location.… But that’s what happens; you imagine something in your head and then you have to react to the location. That’s part of what filmmaking is, right? It’s the imagination, and then it’s the reality of what you’re working with. She was great at just reacting to the environment and coming up with something that felt unique.
The Psycho references, when you’re playfully doing the “eee eee eee” sound and air-stabbing your mom — were those always there, or were those improvised?
Does it happen upstairs in the bathroom?
It happens twice early on in the finished film — once when she’s actually watching Psycho on TV, where you do it playfully. And then up in the bathroom, when she’s yelling at you from the other side of the door, and then you do it again — and it’s slightly more sinister the second time.
We shot all of that stuff with the mom over, like, two or three days in the same house. We played around with different versions of me coming home — what that could be like. And it was three takes in or something when Judith [Roberts, who plays the mother] said that she was watching Psycho; it wasn’t written in the script. She just said that, and so I did the Psycho voice. But I didn’t know if that was the take that was going to be used, so then upstairs when we shot that other scene, it just came up again. And I didn’t know if we would use that version or not. You know, there’s probably like four or five different versions of those scenes, each different.
Those two little moments early on in the film really let us know that we’re watching something quite different from the average revenge drama. They’re funny, of course, but they’re also revealing about the mother-son relationship.
Yeah. Initially in the story there was an almost idyllic dynamic to their relationship, where I was this loving son.… But it seemed like as we got into it, the reality is that when you’re taking care of somebody like that, who has a lot of needs and is struggling, inevitably you’re going to feel frustration. We wanted to find ways to show that.
When you’ve got a character like this who is so wounded, with such a complicated and tragic backstory, to what extent do you have to connect to those kinds of feelings to feel like you’re doing justice to the part?
I don’t know. It’s a good question, it’s a fair question. Movies are strange, man. Sometimes, you hear the writer talk about it, and you read about some of this stuff. For example, we spoke to someone who actually does [hostage] extractions. He goes in with a team. Some of the stories that he told were impossible not to be affected by. But to be honest, sometimes you’re fuckin’ eatin’ Fritos, and you shoot a scene. [Laughs] And you want to take credit for stuff as an actor, but the truth is that it’s really the filmmaking, ultimately. Probably some of the greatest moments in movies the actor was just thinking what was for lunch. So, I don’t know, it’s hard to say. There are times where you feel affected by things, and it’s emotional. But there’s other times when you go, “This scene is shit, and this is not fuckin’ working.” Then somebody tells you a year later, “I really love that scene. It felt powerful.” And you’re like, “Oh, really?” It’s probably different on every movie. And I think you learn something from every movie — even if the lesson is “Well, let’s not do that again.”
There were parts of this film that were really challenging. Part of it is that we put in a lot of time, a lot of work in pre-production, and that’s about going all day long, into the night, going through and talking. Also, Jim Wilson, who’s the producer, was a really big part of that process. There were a lot of changes to the script, and when you spend your time thinking about one subject matter, it starts seeping into you. Inevitably you’re affected by it. But there are times where maybe it’s just that you’re emotionally available, and so you can go in and shoot a scene and be brought right into it. But, you know, there were times in the fuckin’ brothel where the hammer would bend, and I’d be carrying it in my hand and everybody would be laughing. And I’d go, “Oh, what the fuck’s going on?” You know what I mean? I hope it ends up being a tense sequence, but over the one or two days that we shot it, there were moments that were really tense, and there were moments where we were going, “This is a stupid line. How the fuck are we gonna say this? What is this?”
So, how do you get through that? You’ve talked about trying to avoid being self-conscious. How do you pull that off? Because you seem to do it pretty well.
And I realize that probably makes you self-conscious too, me just saying that…
I don’t know. There’s not one approach. It depends on the scene. The important thing with this movie was — and I acknowledge I probably do this a lot — to feel comfortable enough to make a lot of mistakes. To be able to say there’s not one right way for him to behave. Again, it seemed like the key was not knowing what his reaction was going to be. I’m sure that sometimes we used just a really straight version of a given scene, but we filmed so many different versions. You just dive head on into that feeling. But sometimes, when you’re making a movie, yeah, your nerves wear off and you grow accustomed to it, or you get tired, or whatever. Maybe it’s a million things over the course of the six weeks. So you just go, “OK, well, this is fuckin’ shit,” and you go outside and you sit and you talk about it, and you try to connect again to what is meaningful about this moment — to try and uncover something that you can latch onto. I guess. I don’t fuckin’ know, man.
In You Were Never Really Here, there’s a random shot, almost part of a montage, where you’re reading a book and you tear out a page as you’re reading it. Do you remember the motivation behind tearing that page, or even what book it was? It’s such a mysterious little moment.
I don’t remember the book. It was just sitting there. That was another day in which we were shooting stuff in the house, and we had all these different things that we talked about as possibilities. I don’t remember why that came up. Honestly, it was probably nothing. There probably wasn’t like a great idea behind it. Don’t know that it symbolizes anything. I think it was just in that moment, it happened.… We shot a bunch of stuff. We shot a thing with the knife [Phoenix’s character plays with a knife, balancing it in front of his face] and we decided to use that, and use this book. But I honestly don’t remember what occurred to me in that moment. Maybe it’s something that I read about somewhere, or something I did once. I don’t remember. I have no idea why I did that.
It’s a great little moment. It’s probably better that you don’t remember why you did it.
It is. I mean, those are the things that I’m most interested in and want to be open to. I’ve become less interested in mapping things out, as an actor, and making decisions. Or maybe I’m just not good at doing that. Maybe, like, once I’ve made the decision, in that moment, it becomes boring. It just feels dead to me if you say, “This is what we’re doing.” And so, it’s just trying to be open to inspiration and what happens in the moment — feeling comfortable enough to make those decisions.
I don’t know if it’s in there, but do I sing a song in the movie, to the mirror? At the Russian bathhouse. It was just another thing that we’d talked about. A song that my grandfather used to sing to me. We were just trying things in that moment, and I think we were always trying to figure out where the song might go. I don’t know whether it came from Jim or Lynne or both, but they said, “Maybe try it here.” Sometimes, you have something and you don’t know precisely where it goes or if it will work, but you just try to create the space to try those things.
It’s revealing hearing you talk about this. My job is to write about movies, and often I have to discuss why the filmmakers made certain decisions. But hearing you talk, it’s clear that so many of those decisions are intuitive. You don’t necessarily sit down and reason them out.
Yeah, I’ve had both experiences, and certainly, my preference is the more intuitive — because I do think that if you’ve done your work and you feel familiar with the character in the world, that’s…I don’t know, any analogy sounds stupid. It’s like you have all your ingredients, right, and so you know your basics, of what you’re going to put together. But in the moment, you try a few different.… Oh, man, I don’t want to say herbs or fuckin’ spices! That’s so terrible; I don’t want to use that analogy! But you understand what I’m saying. And that is a joy. When I was younger, I thought the whole key to good acting was figuring it out, and locking something in and nailing it. And I just find that repulsive now. It was really something that we went after on this — just trying to be available and open to what the scene might tell you. I like that way of working.
I haven’t seen Mary Magdalene yet; I don’t even know when it will come out in the U.S. But how exactly does one prepare to play Jesus?
Well, there is a lot of information to consume, and a lot of it seems to contradict each other. So you just start reading all sorts of shit, and you go, “OK, well, I like this, and I like that.…” For me, it was important trying to find true contemporary figures that I thought possessed qualities that I was interested in. We always think about the spirit and mythical side of Jesus, but I was trying to find the humanity. That’s what makes the crucifixion such a sacrifice, because if he was just spirit-body then it’s like, “Great, I’m goin’ back.” Oftentimes, for me, research is great. Like, it’s great to take in a lot of information; it will give you ideas, and you’ll try to focus on, you know, what your character fuckin’ ate daily or whatever bullshit it is, right? But oftentimes it’s not until I start experiencing something, at least for me, that I start feeling close to it. I don’t know what the process is, but sometimes I just have to start having the experience. There was this healing scene we did, and it wasn’t until Garth [Davis, the director] and I started talking about it when we were on set, and I was in wardrobe, and I was touching the sand, did I start thinking about it differently — sort of feeling it instead of having this idea that in some ways was…I don’t know, I don’t want to say polluted, but in some ways polluted by the research that I did. I had a particular idea, and then when I got there it started changing. And I’m sure there’s still pieces of that work that are in there, but then it becomes something else — and to me, that’s the ideal place to get to.
This article from the Village Voice Archive was posted on March 27, 2018