She claims she doesn’t know how to talk about her process, but on this episode, Cristin Milioti eloquently lifts the hood and let’s us peek in on the engine fueling her incredibly varied work, across all genres on the stage and screen, like the Broadway musical “Once,” “How I Met Your Mother,” “The Wolf of Wall Street,” the “USS Callister” episode of “Black Mirror,” this year’s “Modern Love” and the huge Sundance hit “Palm Springs,” which just dropped on Hulu and in drive-ins across the nation. She talks about feeling protective of her characters, why it’s necessary to let go of the “death grip,” and the importance of trust, which leads to a powerful testimony for the appreciation of Elizabeth Berkley. Plus much more! Follow Back To One on Instagram

Ron Cephas Jones won a Emmy for his work on the hit series “This Is Us.” His latest series, “Truth Be Told,” just got picked up for a second season on Apple TV. In this episode, he takes us back to his early days at LAByrinth theater in New York City, starring in Stephen Adly Guirgis’ “Jesus Hopped The A Train,” and explains how Philip Seymour Hoffman, who was directing, forever changed his approach to work. He also talks about the importance of collaboration for the actor, why the script never leaves him in the days leading up to production, and how the three words “work begets work” removes all worries, plus much more!

Eve Lindley enjoys puzzles, so you can imagine her delight at finding out that she was recently a crossword puzzle clue. The breakout star of AMC’s “Dispatches From Elsewhere” sat down with me (outside, with physical distancing, and following strict safety protocols) to talk about why she loves auditioning, her belief that “it’s all in the text,” how picking the brain of Jason Segel (creator and star of “Dispatches”) helped her find her character, and much more! Plus we get deep about hopes and hurts as we gaze at the New York City skyline.

She’s barely in her 20’s,  yet Daisy Edgar-Jones has given us a 12-part acting technique masterclass in the form of her portrayal of Marianne in Hulu’s hit series “Normal People.”  Every state of emotion, every point of transformation is reached with striking authenticity stemming from this complex character. It’s a timeless performance for the ages. In this episode, she breaks down some of that work, talks about her love of acting with accents, the importance of creative chemistry, how she manages her acting insecurities, and much more. Follow Back To One Podcast on Instagram

Few actors in recent memory have made a bigger impact with their very first performance in a television series. Paul Mescal’s assured and quietly masterful portrayal of Connell in “Normal People” feels like the work of a veteran. He talks extensively about the “chemistry reads” portion of his audition process, before and after connecting so brilliantly with his equally gifted co-star, Daisy Edgar-Jones. He also goes into detail about the struggle filming one of the most talked-about and emotionally affecting scenes in the series. Plus he tells us why the “light and fun side” of all the attention on his costume accessories “has definitely come and gone.” And much more!

Tom Pelphrey is getting accolades from both critics and viewers for his performance as Ben (brother of Laura Linney’s character Wendy) on the third season of Netflix’s hit series “Ozark.” In Pelphrey’s hands Ben’s vulnerability and explosiveness both seem to have deep-seated roots; there is a vast world behind his piercing eyes. On this episode he talks about how the atmosphere on the set of Ozark helped him bring that character to life, how his early success on daytime television prepped him for other aspects of the work, and why endless takes with David Fincher was heaven. Plus much more!

British actor James Norton gives an affecting and haunting performance in Agnieszka Holland’s important new film “Mr. Jones,” which opens June 19th. Last year he played James Brooke (Meg’s love interest) in Greta Gerwig’s “Little Women.” The discussion in this episode comes back often to those two directors, as Norton generously takes us on a deep dive into his stage and screen work, lets us peek under the hood of his process, and talks about why he’s not consumed by his expanding “leading man status.”

In these last 10 years, stage and screen veteran Peter Friedman has enjoyed a steady flow of work, more than the first 30 years of his career. Recently, he got raves for his Polonius in Sam Gold’s production of “Hamlet” at the Public Theater, had a recurring role on the Hulu series “The Path,” and now plays Frank Vernon on the hit HBO show “Succession.” On this episode, he talks about how being the “new kid in class” as a day-player on set makes him nervous, why it’s ok to dismiss work that doesn’t speak to you, how performing with The Muppets messed with his acting training, and much more! Follow Back To One on Instagram

He was an acting legend before “Succession,” but Brian Cox’s brilliant portrayal of Logan Roy on the smash hit HBO series just might put him in the pantheon. He gets deep into the psychology of that iconic character on this episode, and takes us back to his early days of discovering Shakespeare, creating the role of Hannibal Lecter in “Manhunter,” learning the importance of cultivating mystery in a character, freeing himself in the work, and not taking his characters home with him. Plus much more!

You might know Hong Chau from “Watchmen,” or maybe “Downsizing,” where her astounding performance opposite Matt Damon was recognized with a Golden Globe nomination. I first took note of her in “Inherent Vice,” where she left an indelible impression as “Jade.” Now she stars in Andrew Ahn’s delicate and touching new film “Driveways,” which is currently in “virtual” theaters. I ask her about her very first play, Annie Baker’s masterpiece “John.” She gives fascinating examples of just how much her body wouldn’t let that performance go. She also talks about finding tiny clues in the minute details of a script or the director’s wardrobe selection for a character. And she leaves us with a wonderful tribute to  her “Driveways” co-star, the late Brian Dennehy, plus much more!

She had never even attempted acting before Eliza Hittman cast her in “Never Rarely Sometimes Always,” but Sidney Flanigan’s quietly devastating performance feels like a revelation, something truly miraculous. On this episode she talks about bravely stepping into the role, giving herself over to instinct, and dipping into the well of her own emotional life to power Autumn’s journey. Hers is a heroic story of release and acceptance all actors can find inspiration in.

Talia Ryder gives a remarkable performance opposite Sidney Flanigan in her very first feature film, Eliza Hittman’s “Never Rarely Sometimes Always.” It’s the kind of subtle, assured, measured work you wouldn’t expect from a teenager. She talks about the benefits of getting vulnerable with Flanigan before shooting, and how being deliriously tired actually came in handy when shooting all night in Port Authority. Plus she explains what’s up with that suitcase, and much more! Later this year you can see her in Steven Spielberg’s highly anticipated remake of “West Side Story.” Follow Back To One on Instagram

Mega-talented multi-hyphenate Hannah Marks started writing “Banana Split” when she was still a teenager. It was loosely based on her real life. She rewrote it with her writing partner Joey Power as her acting credits piled up in stuff like “The Runaways,” “The Amazing Spider-Man,” and “Dirk Gently’s Holistic Detective Agency.” Then, after she co-directed her first feature (with Power), “After Everything,” she was able to get “Banana Split” made with herself in the staring role, directed by Benjamin Kasulke. In this half hour, she talks about the ups and downs of standing her ground and seeing the dream of making this hilarious and smart teen comedy come true, what directing has taught her about acting, why she refuses to get bitter about this business again, and much more! Follow Back To One on Instagram

Miriam Shor is unrecognizable as Lorraine Ela in the powerful new Netflix film “Lost Girls.” It’s the kind of performance that doesn’t feel performed, that doesn’t get recognized often because it’s invisible. We talk about that phenomenon this half hour, and break down a hilarious moment from the show “Younger,” where Shor played the beloved character Diana Trout. She talks about the importance of feeling like she is in collaboration with a director, and how being cast in a role you don’t think you’re “right for” can help you grow. Plus much more!

Haley Bennett has given us some great work in films like “The Woman On The Train” and “The Magnificent Seven,” but her performance in Carlo Mirabella-Davis’ “Swallow” is so fully-realized, so ground-shaking, so important, it feels like an artistic re-birth. In this half-hour, she talks about facing the doubts and fears she had with revealing herself in the role of Hunter, the importance of the fruitful and freeing collaboration process with Mirabella-Davis, and how this truly emancipating experience changed her approach to the work. Plus much more!

He got his big Hollywood break with “Pitch Perfect,” but Skylar Astin had already made it to Broadway in the musical sensation “Spring Awakening.” Lately, it seems he's been in every television show that features people breaking into song -- “Glee,” “My Crazy Ex-Girlfriend,” and now the NBC hit “Zoey's Extraordinary Playlist” where he plays Max, Zoey's best friend who is secretly in love with her. On this episode, he talks about the hard work that goes into making that show, being bribed into his first audition as a kid, and how his stage experience continues to pay dividends in front of the camera, plus much more!

I remember when I first saw Zach Woods. It was in the Armando Iannucci film "In The Loop.” His comedic sensibilities matched so perfectly with what I demanded as a consumer of comedy—bold choices, molded in subtlety, grounded in reality. He has continued to morph and advance his style with unforgettable roles on “The Office,” “Silicon Valley,” and now again for Iannucci on “Avenue 5,” where he plays cheerful nihilist Matt Spencer, Head of Customer Relations. In this episode we have a far-reaching conversation on his approach to the craft. Summary: the greatest comedic actors take the work VERY seriously, work hard, and still have fun.

It’s time we stop taking the preternaturally gifted British actor Andrea Riseborough for granted. She transforms so completely into her characters (appearance, accent, posture, mannerisms) that it’s easy to just believe she is the character and hard to measure her talents because we don’t know what “default Andrea Riseborough” is like. One thing is crystal clear though—she’s simply one of the best we have. On this, the 100th episode of “Back To One,” she talks about being surprised by the reactions to her chameleon-like abilities, how she uses the shooting environment (no matter how difficult) to fuel her work, why she pours her money back into funding female-made films, and much more! (She stars in the new Amazon series “ZeroZeroZero.”)

The brilliant British actor Lesley Manville has given us two of the truly great cinematic performances of the last decade, Mary in “Another Year” and Cyril in “Phantom Thread” (which landed her an Oscar Nomination). But those are just two in a long list of living, breathing characters she has inhabited with subtlety, nuance and depth, both on the stage and screen. In this episode, she talks about her latest--Joan in “Ordinary Love,” her formative years with Mike Leigh, the necessity of director input, why she doesn't want to take her characters home, and much more!

Zora Howard is a juggernaut. She stars in “Premature” and co-wrote the script with director Rashaad Ernesto Green. Her performance has an assured authenticity and a new brand of quiet desperation that is remarkable for a first feature. She’s been an award-winning creator for years though. Plays, poems, spoken word performances. Her play “Stew” just closed off-broadway to great acclaim. I gush about it and ask where her love of words began, and which of these various paths of creation she’s anxious to continue down. She talks about the necessary step of taking off the writer’s hat in order to perform in the present moment, and much more.

Scottish actor Richard Rankin plays Roger Mackenzie Wakefield on the Starz hit series “Outlander” (Season 5 premieres on Sunday, February 16th). On this episode, he talks about the process of stepping back into playing Roger after being on hiatus. We have a very clinical discussion about sex scenes, chemistry, and the importance of genuine depth in on-screen romance. I ask if he’s looking for roles where he can use his American accent. A listener question leads to a discussion about the effects of time travel. Plus he (very objectively) talks about why he's the reason season 5 of “Outlander” is the best yet.

On a very special episode, the stars of "Portrait Of A Lady On Fire," Noémie Merlant and Adèle Haenel, and their director, Céline Sciamma, sit down with Peter Rinaldi to discuss gazes, play, Noh, breathing, joy, and the collaboration process at the heart of the French cinematic masterwork. 

Deirdre O’Connell is a legend of the New York stage and brings true depth and authenticity to every moment she has in front of the camera, but make no mistake, she doesn’t have this “down” yet. In this hour, she talks about why she likes to travel to the place her character resides and why it’s important that she believes her character is smarter than her. I ask about her incredible performance in “Diane,” one scene in particular, and how on earth she's able to lip sync every single line in the brand new production "Dana H" at the Vineyard theater in New York City. Plus she muses on the “real” reason why she pursued this whole acting endeavor in the first place, what happened when that reason went away, and what, if anything, replaces it. (Photo by Maria Baranova) Back To One on Instagram  

Marsha Stephanie Blake destroyed me. Not just once, a few times. Her devastating portrayal of Linda McCray in “When They See Us” was justifiably recognized with an Emmy nomination last year. She talks extensively about one line in particular that really got to me in that incredible limited series. She also “kills” with comedy too. Like in “The Merchant Of Venice” on Broadway. She talks about obsessively studying Al Pacino during that run, and relishing her time with Viola Davis in this season of "How To Get Away With Murder.” She was on her way toward a career in medicine when she got into acting, but she doesn’t remember getting bitten by any bug. The world lost a doctor but we gained something more precious—a great actor.

He's been called the "sidekick to the stars," but a more apt, yet slightly less elegant description of Adrian Martinez is "scene-stealer from the stars." Some recent thefts occur in "The Secret Life of Walter Mitty," "Focus," and "Casa De Mi Padre." You can also see him in the hit ABC show “Stumptown.” Now he wrote, produced, directed and stars in the brilliant, timely, and deeply impacting new film “iGilbert.”  On this episode, he talks about going “all in” to make that labor of love, how the psychological gesture plays a big part in his craft, the work ethic Philip Seymore Hoffman instilled in him that he still thinks about when the curtain goes up, and he gives us a Sesame Street-like lesson in the importance of the letter ‘R’ in acting: Reveal, Relax, Remember, Rip, and Risk. Plus much more!

On this special episode, I spend a few days with the cast of “A City Of Refuge” as they rehearse this powerful new play by Evan Cuyler-Louison for Primitive Grace Theater Ensemble in New York City. Having had no experience with theatrical rehearsal, I pose lots of questions to Louison (who also directed the production) and his incredible actors, Ylfa Edelstein, Wilton Guzman, Miah Kane, Hailey Marmolejo, Gregg Prosser, and Luke Edward Smith. If, like me, your experience is limited to film production or you just have gaps in your knowledge regarding rehearsal in general, or you're just curious about specific approaches, I think you’ll get a lot out of this fly-on-the-wall-style episode. New York theater legends Paul Calderon and David Zayas are the co-artistic directors of Primitive Grace. Check out their episodes of Back To One from last year, and go to primitivegrace.org for more info.

The incomparable Chris Eigeman is probably best known for the three films he made with Whit Stillman—“Metropolitan” (which was his very first film), “Barcelona,” and “The Last Days of Disco.” The singular style of performance he delivered in those films led to great work with filmmakers and showrunners such as Noah Baumbach, Amy Sherman-Palladino, and John Frankenheimer. Lately he’s been writing and directing his own films. In this episode he talks about the importance of knowing your role in the story, the harmful effects of the disappearing table read, loving those monologues, the freedom of it NOT being game day, and much more. Recently he’s put acting on the back burner to  raise a family, but he talks about getting back in front of the camera soon. Oh and, no, he still won’t play Robert Chambers.

Mary Kay Place’s long career is filled with memorable supporting parts in films like “The Big Chill,” “The Rainmaker,” “Being John Malkovich,” and television shows such as "Mary Hartman, Mary Hartman," for which she won an Emmy. “Diane” is her first starring role. Kent Jones wrote it with her in mind. In this episode, Place unpacks and let's us examine the DNA of that vulnerable and subtly devastating performance. She talks about the importance of “building a bridge to the unconscious” (and other Jungian approaches) in her work, finding the rhythm in a scene, not being afraid to be “bad,” and much much more.

When I first took notice of Miles Robbins he was a stand-out among stand-outs in the surprisingly satisfying teen comedy “Blockers.” Now he presents another level of his talent in the very thoughtful psychological horror film “Daniel Isn't Real.” In this episode he talks about the intense, emotionally taxing experience he had creating that performance, how not being scared is a key ingredient in his work, and the importance of connecting with the duality within himself and the universe. Plus he generously shares his feelings and frustrations with this "weird" endeavor called acting and all the hoopla that surrounds it.

To say Aaron Taylor-Johnson puts 100% into every role is actually a bit of an understatement. He starts to live as the character months before filming begins. Then, when it's over, it takes him months to "shed the layers" of the character before returning to himself. This might sound like a bunch of hooey, until you actually see the brilliance of the work and the fullness of transformation. He got his big break with “Kick-Ass,”  spent some time in the Marvel universe, played John Lennon in “Nowhere Boy,” then won a Golden Globe for playing a psychopath in “Nocturnal Animals.” Now he stars in “A Million Little Pieces,” a film he and his wife, director Sam Taylor-Johnson, co-wrote together based on the James Frey book. In this episode he talks about his intense inhabiting process, its benefits and some of its ramifications on other aspects of his life, plus much more!

Emily Beecham won the best actress award at this year's Cannes Film Festival for her brilliantly nuanced and tightly focused performance in Jessica Hausner's art house science fiction film “Little Joe.” Recently she played The Widow in the AMC series “Into The Badlands,” starred in “Daphne,” and had a memorable supporting role in “Hail Caesar.” In this episode she talks about the importance of connection, avoiding “attractive acting,” Mike Leigh, the strenuousness of intense physical performance, her “Little Joe” hair, and much more!

Stephanie Kurtzuba plays Irene, wife of Frank Sheeran (Robert De Niro), in “The Irishman.” It's her second film with Martin Scorsese. She played stockbroker Kimmie Belzer in “The Wolf of Wall Street.” She talks about working with the legendary filmmaker and what sets him apart as an actor's director. She also explains her process of extracting preconceptions made in the audition, and she gushes about her first love--the rehearsal room, but tells us why, despite her heart being on the stage, she wouldn't give up working for the camera if she could. Plus much more!

Tracy Letts has parallel successful careers as an actor and a playwright. He won a Tony Award for his performance in the Steppenwolf revival of “Who's Afraid of Virginia Wolf” and a Pulitzer Prize for his play “August: Osage County.” His screen credits include “Lady Bird,” “The Lovers,” and the new movie :”Ford v Ferrari,” in which he plays Henry Ford II. In this episode, he talks about "pretending with authority," making friends with the camera, the "responsibility" of the leading role, and how he's preparing to do something he's never done--act in a play he wrote (The Minutes) on Broadway. Plus he takes us back to a leaner time, and talks about why he stopped chasing empty acting jobs in LA and took "a vow of poverty" to return to Chicago for more satisfying work at Steppenwolf. It paid off. 

“The Warrior Queen of Jhansi” is the first Hollywood action film to have a female Indian lead. Devika Bhise not only stars in the film (opening Friday November 15th), she co-wrote it with her mother, Swati Bhise, who also directed it. In this episode, she talks about performing under stressful time restraints, how not having “the leisure to lose it" actually helped her play such a powerful leader, and the physical work required (including some “illegal" horseplay!), plus how her intense training in classical Indian dance helps her prepare for every role, and much more! 

I’ve wanted to sit down with Dorian Missick for some time. The seasoned actor has six dozen credits in television shows like “Southland,” “Luke Cage,” “Tell Me A Story,” and movies spanning from “Two Weeks Notice” to this year's “Brian Banks.” In this hour, he passes on pearls of wisdom acquired from his many years in the business, like his new radical approach to auditions, why he aims for 100 reads of a script before first day of production, how he and his actor wife Simone Missick support each other’s journeys, and the importance of a "team sport" mentality, plus much more!

He's only 21, but going by the depth of his work and the eloquent way he talks about it, Alex Wolff feels like a seasoned veteran. "I’ve basically been on camera since the sonogram," he says, joking about his childhood in "The Naked Brothers Band” with his brother, Nat, on Nickelodeon. Since then he's knocked out a handful of impressive performances in films like "Patriots Day," "My Friend Dahmer," and "Hereditary." Now he's written, directed and stars in a labor of love called "The Cat and The Moon." He talks about treating his actors like kings and queens on that film, stealing from the greats, letting prep work flow through the bloodstream, and much more.

Australian actor Jason Clarke is a rare breed—the character actor leading man. He gives a virtuoso performance as Grigory Potemkin, opposite Helen Mirren, in the new HBO mini-series “Catherine The Great.” He also stars in “Pet Cemetery,” “Dawn of the Planet of The Apes,” “Terminator Genysis,” “Zero Dark Thirty,” and won accolades for his portrayal of Ted Kennedy in “Chappaquiddick.” In this half hour he talks about his love of research, his dedication to the text, being there for the other actor, and the uselessness of fame. Plus much more!

I didn’t know if Tim Heidecker was going to show up for this interview, or if I was going to get his boorish, abusive, dim alter ego, Tim Heidecker. Luckily Tim Heidecker leaves Tim Heidecker in the “On Cinema” universe. That project he started with Gregg Turkington is comprised of an ongoing series called “On Cinema at the Cinema,” various spin-off series including “The Trial of Tim Heidecker,” special episodes, segments, tweets, songs, and now the feature film “Mister America.” In this half hour I ask Heidecker to lift the hood on his performance style and the evolution of his comedy from the brilliantly absurd “Awesome Show” with Eric Wareheim, to the super subtle realism of “Mister America.”    

The wise and talented Cassidy Freeman plays Amber, wife of Danny McBride's character Jesse, on the hilarious new HBO comedy series “The Righteous Gemstones.” She talks about the wonderful troupe mentality on that show, what acting in 60+ episodes of “Smallville” did to build her craft early in her career, the importance of creativity for the actor, plus much more!

One could easily call Josh Pais a scene-stealer, but that's not accurate. He actually feeds the other actor in the scene and they both grow. Check out “Leaves of Grass” with Edward Norton, “Synecdoche New York” with Philip Seymour Hoffman, Lynn Shelton’s “Touchy Feely,” and his recent work on “Ray Donovan,” to name just a few of his dozens of credits. This fall he's in Norton's “Motherless Brooklyn,” and “Joker” with Joaquin Phoenix. In this episode he talks about finding the character in his body, counting on spontaneity, partying in the unknown, creating not recreating, and "Committed Impulse," his high performance training course for actors and non-actors alike. Plus much more!

Carroll Baker's work in Elia Kazan's “Baby Doll” and Jack Garfein's “Something Wild” is just as impressive and valuable as any performance delivered by her legendary Actors Studio contemporaries Marlon Brando and James Dean. So why isn’t she talked about in the same way? After the simultaneous sensation and scandal of “Baby Doll” (it was condemned by the Legion of Decency), Baker became a star, but she spent most of her career either avoiding sex-symbol roles or begrudgingly accepting them. Despite a handful of other great performances (“Giant,” “Cheyenne Autumn,” “The Big County,” “Station Six-Sahara”), conflicts with studios, producers, and her husband (Garfein) marred her career. One can’t help but wonder what it would have looked like if she had her druthers. I sat down with Baker on the second floor of the National Arts Club in New York City to talk about her work as an actor, and also, with the publication of her new mystery novel “Who Killed Big Al?”, what she gets out of writing.   Thanks to the esteemed author and historian Foster Hirsch for his invaluable assistance in bringing us together.

Kaitlyn Dever's sophisticated comedic instincts were on full display throughout her teens in the sitcom “Last Man Standing.” This year she took it to another level, starring with Beanie Feldstein in the hit comedy sensation “Booksmart.” And now we get to marvel at another side of her incredible acting talent in the powerful new Netflix limited series “Unbelievable.” In this episode, she talks about how she dealt with the emotional weight of the material in that series, and one compelling monologue in particular where restraint was a key ingredient. Plus she explains how being a “moldy person” helps her work and the important role music plays in her preparation.

Despite growing up in a Hollywood family, Wyatt Russell didn’t seriously consider pursing acting until an injury ended his professional Hockey career. In a few years he’s managed to cultivate a subtle and distinct style in comedies (“22 Jump Street”), dramas (“Overlord”) and a unique and unclassifiable series that lies someone between (AMC’s “Lodge 49”). In this episode, he talks about embodying the lovable Dud in that series, embracing an enunciation lesson from Joe Wright, getting “caught watching” Michael Parks, plus much more!

A Groundlings and Saturday Night Live alum who has evolved beyond her improvisational prowess, Michaela Watkins continues to surprise us. “The Unicorn,” “Search Party,” “Transparent” and “Casual” are some of her television highlights. And I loved her in movies like “Afternoon Delight,” “Person to Person,” and the important and inspirational “Brittany Runs A Marathon.” We talk about the vital role she plays in that film, and what, if anything, has changed in regards to meaty roles for woman. Plus she talks about being Jill Soloway’s muse, and the importance of embodying a WHOLE person.

Lee Pace has one of those dream acting careers where he gets to be painted blue or dons elf ears to play Ronan (“Guardians of the Galaxy”) or Thranduil (“The Hobbit” films), sparking the imagination of countless fans around the world, and then he hits the Broadway stage and knocks ‘em dead as Joe Pitt in “Angels in America.” I ask him if he takes stock of that aspect of his career, and we talk about a curious note Barry Sonnenfeld gave him while making “Pushing Daisies” that he still uses to this day. Plus why he’s not bothered by line readings, and how you have to "inspire yourself" into a role, like he did to play John DeLorean in the new film “Driven.”

I first took note of Jake Lacy’s exquisite comedic delivery in “The Office” and “How to Be Single,” and was pleased to see him shine while going deep and dark, like in this year’s “Diane,” and last year’s “I’m Dying Up Here.” He even stands out playing opposite heavyweights like Rooney Mara in “Carol,” and Michelle Williams in “Fosse/Verdon.” I gathered from past interviews that he spoke with an authenticity that was going to work very well on Back To One, but I was not prepared for the level of comfort and delicacy with which he opened up to me about his acting process, experience, and evolution. He’s got two movies out now - “Ode To Joy” (in theaters and on-demand), and “Otherhood” (on Netflix).

He started out as a TV host in the 90s, but Greg Kinnear quickly made the transition to leading man thanks to legendary directors like Sydney Pollack and James L. Brooks investing in his acting talent. An Oscar nomination for “As Good As It Gets” followed, and he’s been making movies ever since, “Little Miss Sunshine,” “Auto Focus,” “Little Men,” to name just a few. This Summer he has three movies out - “Brian Banks,” “The Red Sea Diving Resort” (Netflix), and “Phil,” which he also directed. In this episode, we discuss the importance of tone, his penchant for playing real-life people, and how he reacts to being called a natural… plus much more!

Actor/writer/director Ruben Santiago-Hudson is the kind of artist whose awe-inspiring dedication to the work can almost be overwhelming. He won a Tony Award for his performance in August Wilson’s “Seven Guitars.” His autobiographical play “Lackawanna Blues” was a sensation at the Public Theater and went on to be an award-winning HBO film. He started directing plays (particularly Wilson’s) and is now one of the most sought after directors working in theater. His production of “Jitney” on Broadway won the Tony award for Best Revival of a Play. As an actor, he can currently be seen on Showtime’s "Billions" and recently on BET’s "The Quad." He wrote the screenplay for “Ma Rainey’s Black Bottom,” which is coming to Netflix (starring Viola Davis). In this hour he generously gives us so many golden nuggets about his approach to this amazing craft, both as an actor and director, that you’re going to want to listen with a pen and pad in hand.