Key Moments
Kevin Spacey: Power, Controversy, Betrayal, Truth & Love in Film and Life | Lex Fridman Podcast #432
Key Moments
Kevin Spacey discusses acting, film, life, and controversy. He was acquitted of all charges.
Key Insights
Spacey reflects on his acting process, particularly his roles in 'Seven' and 'House of Cards', emphasizing subtlety and serving the writing.
He discusses the collaborative nature of theater and film, highlighting the differences and similarities in acting for each medium.
The conversation touches on the impact of directors like David Fincher and Sam Mendes, and mentors like Jack Lemmon.
Spacey addresses the allegations against him, emphasizing his acquittal in all trials and his personal accountability for past misbehavior.
He shares personal reflections on his father's struggles with white supremacy and his own journey with his sexuality.
The interview explores themes of redemption, forgiveness, and the dark side of fame and the entertainment industry.
THE CRAFT OF ACTING: SUBTLETY AND SERVING THE TEXT
Kevin Spacey elaborates on his acting methodology, prioritizing subtlety and faithful execution of the script. He recounts his intense preparation for roles like John Doe in 'Seven,' emphasizing Fincher’s direction to 'do less' and 'say the words and mean them.' This approach extends to his belief in serving the writing, drawing parallels to actors like Jack Lemmon who championed understated performances. Spacey views great acting as making audiences believe in characters as real, lifelong companions, irrespective of their moral standing.
THE INDUSTRY: THE DIFFERENCE BETWEEN ACTOR AND PERFORMER
Spacey explores David Fincher's distinction between an 'actor' (text dramatization) and a 'performer' (audience seduction). He confesses a personal inclination towards performance, often associated with entertaining and winning over an audience. However, he maintains that serving the writing is paramount, and achieving a profound connection with a character, where audiences perceive them as real, is the ultimate goal. This requires a deep understanding of the character's world and context, as a performer is merely a color on the director's canvas.
THEATRE VS. FILM: A LIVING ART FORM AND A FROZEN MOMENT
Highlighting the dynamic nature of live theater, Spacey describes it as a 'living, breathing, shifting, changing, growing thing,' where performances evolve nightly based on audience reaction and performer interaction. This stands in contrast to film, which is a 'frozen' moment, unable to improve beyond its initial capture. He likens theater to sports, where rules remain constant but each game is unique. He acknowledges the intense stamina and trust required in theater, where there's no safety net, unlike the contained environment of film shoots.
MENTORS AND INSPIRATIONS: JACK LEMMON AND DAVID FINCHER
Spacey deeply values his mentorship with Jack Lemmon, recounting how Lemmon’s early encouragement profoundly shaped his career. He shared how Lemmon’s father’s dying wish for him to 'spread a little sunshine' seemed to embody Lemmon's approach to life and acting. Spacey also discusses David Fincher's directorial style, particularly his insistence on numerous takes to strip away pretense and achieve naturalism. Fincher’s guidance, especially in 'Seven' and 'House of Cards,' demanded actors remain truthful to the text and avoid indulgence, pushing them to find the core of the performance.
AMERICAN BEAUTY: EVOLUTION, BEAUTY, AND MORTALITY
In discussing 'American Beauty,' Spacey emphasizes that true beauty lies in the mundane details and the act of 'looking closer,' referencing a subtle 'Look Closer' note found on a bulletin board that inspired the film's poster. He highlights Lester Burnham’s transformation not as a change in character, but as an evolution driven by experiences, a concept inspired by Jack Lemmon’s performance in 'The Apartment.' The film also grapples with mortality, with Lester’s acceptance of his finite time leading to a profound appreciation for life’s beauty, contrasting with the fear of death often associated with lives lived in 'quiet desperation'.
HOUSE OF CARDS AND DIRECT ADDRESS: SHARING SECRETS
Spacey draws a direct parallel between his role as Richard III in theater and Frank Underwood in 'House of Cards,' particularly in their use of 'direct address.' He explains that this technique, originating with Shakespeare, allows the character to engage the audience as a co-conspirator, sharing secrets and insights directly. For Frank Underwood, this meant looking into the camera as if speaking to a best friend, forging an intimacy that could even draw viewers into complicity with Underwood's dark deeds. This technique was so powerful that Spacey often cut dialogue, believing the look alone conveyed enough.
THE DARK SIDE OF HUMANS AND THE LINE BETWEEN GOOD AND EVIL
Spacey views his portrayal of 'evil' characters as a way to explore human nature without judgment, emphasizing that actors must shed personal biases to embody these roles authentically. He references Solzhenitsyn's idea of the shifting line between good and evil within every person, suggesting that circumstances and choices alter one's proximity to sainthood or devilry. This perspective is crucial for him, as he believes embodying complex characters cultivates empathy and a deeper understanding of diverse moral systems, moving away from simplistic labels.
PERSONAL JOURNEY: FATHER, SEXUALITY, AND FORGIVENESS
Spacey shares deeply personal struggles, including his father's descent into white supremacy and the resulting fear and confusion it caused. He discusses his own journey with his sexuality, regretting the time spent in the closet and being unable to celebrate his love openly. He acknowledges making mistakes in his past behavior, particularly related to flirting and crossing boundaries, and expresses profound regret for anyone he may have offended or hurt. He stresses that while he has been acquitted of criminal charges, he takes responsibility for personal missteps and is committed to learning from them.
ALLEGATIONS AND ACCOUNTABILITY: DUE PROCESS AND PERSONAL RESPONSIBILITY
Spacey addresses the sexual allegations against him and his subsequent acquittal in all civil and criminal trials. He emphasizes the importance of due process and distinguishes between public perception and legal outcomes. While maintaining his innocence regarding specific serious accusations, he takes accountability for past behaviors that were 'pushy' or crossed boundaries, stating he has 'learned the memo' and will not repeat them. He highlights that relationships are complex and reciprocal, and while he accepts responsibility for his actions, certain accusations have been proven false.
LEGACY AND REDEMPTION: HOPE FOR THE FUTURE
Spacey expresses a desire for his legacy to be one of continued growth and inspiration, believing his best performance is yet to come. He speaks about the importance of forgiveness and redemption, noting the industry's conversations around these themes. He hopes the fear surrounding his situation subsides, allowing for a return to reason and the possibility of rejoining society and his profession. He believes that given the chance, he can still deliver Oscar-worthy performances, and he ultimately wishes for less hate and more love in the world.
Mentioned in This Episode
●Companies
●People Referenced
Common Questions
Kevin Spacey initially auditioned for the role but didn't get it. He was called back last minute on December 23rd, 1994, after the originally cast actor was fired. Spacey flew to Los Angeles, shaved his head with David Fincher, and began shooting the next day.
Topics
Mentioned in this video
Playwright of 'Long Day's Journey into Night', referenced by Kevin Spacey in his interaction with Jonathan Miller.
Writer for 'House of Cards', with whom Kevin Spacey discussed dialogue and character rhythm.
Kevin Spacey's character in 'House of Cards', a ruthless and cunning politician whose motivations and development are extensively discussed.
A journalist from The Telegraph whose interview with Kevin Spacey is recommended for more details on the allegations against him.
Director of 'It Should Happen to You', mentioned in an anecdote about Jack Lemmon's early acting experiences and the concept of 'doing less'.
Actress whose quote about acting 'finding the similarity in what is apparently different' is shared by the host at the end.
The individual who made an allegation of sexual abuse against Kevin Spacey in 1986, leading to a civil lawsuit that Spacey was acquitted from.
The film studio that produced 'Seven', initially resisted Kevin Spacey's request to not be billed on the movie poster.
Kevin Spacey's trainer who helped him get in shape for American Beauty.
Director who helped Kevin Spacey understand a difficult scene in a play by asking him to analyze the last line, and later directed Spacey in 'The Big Kahuna'.
The director of 'Glengarry Glen Ross' who later directed episodes of 'House of Cards', mentioned when Spacey got his part in the film.
Actor and friend of Kevin Spacey, who at 98 years old, inspires Spacey's perspective on life and death.
Director and mentor to Kevin Spacey, who gave Spacey early stage opportunities and his first film role. Spacey credits him with a significant impact on his career.
Renowned actress who starred in Kevin Spacey's first film. Spacey mentions a specific scene where he had to wink at her.
Director of 'American Beauty' and 'Richard III'. Spacey praises his theatrical approach to film direction and his insight into character evolution.
Actress who publicly supported Kevin Spacey recently.
Actor who starred in 'Hurlyburly' and was impersonated by Kevin Spacey on Saturday Night Live. Spacey praises his unique and unapologetic style.
A journalist whose interview with Kevin Spacey is recommended for more details on the allegations against him.
Actor who starred alongside Kevin Spacey in 'Seven' and 'Outbreak'. Spacey discusses his strong performance in the car scene of 'Seven'.
Legendary actor, mentor, and father figure to Kevin Spacey, who first encouraged Spacey to pursue acting. He worked with Spacey in several productions, including 'Long Day's Journey into Night' and 'Glengarry Glen Ross'.
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