Hello, everyone! Jon is featured in next month’s issue of Men’s Health. with a brand new photoshoot. Check out the cover and some outtakes in our gallery!
The sun has almost set on a warm October evening, and I can’t find Jon Bernthal anywhere. I’m walking along a racetrack against an exploding lilac-and-orange sky in the middle of the desert two hours outside Los Angeles. The sound of revving engines is so loud that yelling his name is futile. A few hundred people buzz about, carrying cartons of cigarettes and department-store dinner jackets and porkpie hats and scripts and lights and everything else a summer-tentpole budget can buy to transform our present-day digital hellscape into sweet, simple 1966.
I’ve spent the past week holed up in an underground lair with Bernthal, sort of, watching and rewatching his devastating turn as Frank Castle, aka the Punisher—a combat-veteran action hero whose superpower is his quest for justice fueled by the anguish and rage he feels after his wife and children are slaughtered in front of him—so I like my chances of being able to spot him in this traveling circus. I’m confident I’ve memorized each tiny jut of wayward bone in his nose, which has been broken 14 times. When I don’t find Bernthal in his trailer, I walk toward the starting line and look for the biggest, most tatted-up loner. So I’m shocked when a reasonably sized dude with a side part and an A-list smile waves me down; sticks his hand out; says, “Hi, I’m Jon! So happy you made it!”; and begins introducing me to half the crew. Castle is a man of few words and even fewer friends who communicates with his eyes and his fists. The guy who plays him responds to every one of my questions with thoughtful, multiple-paragraph soliloquies and is bros with everyone on the set.
Bernthal is a day from wrapping the three-month shoot of his latest movie, an epic drama about Ford’s push to build a race car that could finally beat the mythic Italian automaker Ferrari at the Le Mans world championship in France. The odds are good that the film—directed by James Mangold (Logan) and also starring Matt Damon and Christian Bale—will boost Bernthal’s profile when it premieres this summer.
Jon is gracing the cover of “Esquire” Winter 2018 with a brand new photoshoot by Beau Grealy. Our press article page was updated with the article about him which Jon, and his family, friends and co-workers talk about his journey as an actor. Our gallery was updated with the photoshoots and scans will be added soon.
LOS ANGELES TIMES – Days before New York Comic Con’s sneak peek of “The Punisher,” Marvel and Netflix decided to pull their next collaboration out of the convention entirely.
The plan had been to simulcast the first two installments of the 13-episode series for fans all the way from the Nuit Noire (Black Night) event in Paris. But in the wake of the Las Vegas shooting on Oct. 1, an attack that left 58 people dead and hundreds more wounded, the studios decided to postpone the screening and push the official premiere back to Nov. 17.
A respectful decision for a series that stars a comic-book character known for his gun violence and featuring a title sequence depicting the slow assemblage of a sniper rifle.
“I wholeheartedly agreed with it,” said showrunner and executive producer Steve Lightfoot by phone. “I think the decision they made was absolutely the right one.”
Fewer than two weeks shy of the delayed premiere date, the U.S. experienced yet another horrific mass shooting with the 26 lives taken in a church in Sutherland Springs, Texas, on Nov. 5.
With the conversation about gun control and gun violence escalating, can a character whose only real superpower is being extremely efficient with a weapon offer audiences something more than gore? Is there an audience for the adaptation of this ultra-violent character?
Series star Jon Bernthal (“The Walking Dead”) is acutely aware of the political climate surrounding “The Punisher,” but views this new iteration of the antihero as a complicated examination of grief and trauma, not an exploitation of assault.
Which would make it a pretty big deviation from the past R-rated film translations of the character Frank Castle.
“If I’ve created a guy who lionizes [violence], I’ve failed miserably,” said Bernthal by phone. “I don’t want you to look at him and say, ‘This guy’s clearly a hero.’ That’s never how I’ve looked at him, and that’s never been the purpose. Frank is a guy who is in unbelievable pain, and there’s an unbelievable cost to the violence that he’s gone through in his life.”
Created by Gerry Conway, John Romita Sr., Ross Andru and Stan Lee, the Punisher first appeared in the 1974 comic “The Amazing Spider-Man” No. 129. Dressed in full-body armor with a white skull (his insignia) emblazoned across his chest, the assassin was originally hired to murder your friendly neighborhood Spider-Man. As years passed, the character transformed, and origin stories by authors like Garth Ennis painted a deeply bloody back story.
Before he was the Punisher, he was Frank Castle, husband, father and Marine. After several years overseas on active duty (yet another fearful and grim time for the figure), Castle returned home only to witness the mob execute his entire family. This action would forever tilt the moral scales inside him, sparking an epic vendetta with very little room for negotiation. It was simple: All villains will be punished.
That the Punisher doesn’t wear a cape or come with any special superpowers is what attracted Bernthal, 41, to the character in the first place. “His pain in the darkness is what makes him so powerful and so tragic,” said the Washington, D.C., native.
Shifting away from the rooftop battles that introduced the complicated Castle during Netflix’s “Daredevil,” this version of the Punisher spends most of his downtime plagued with self-loathing. There’s still plenty of action, and a story arc steeped in the classic revenge narrative familiar to fans. But, when he’s not engaged in combat, Castle is usually reliving the murders of his family members or other disturbing and violent visions via intense hallucinations.
“His struggle comes right from the comics,” Bernthal explained, reeling off a list of seemingly unanswerable questions about his Marvel persona. “Is the real Frank Castle this guy who loves his family and wants them to live in the suburbs and have a quiet family life? Or is the real guy most happy standing neck-deep in blood and guts, and in war? Is this the guy who he actually really wants to be? Is this the only way to quiet the beast? And was the beast really created by losing his family, or was the beast always there inside of him?”
In an attempt to address (but not necessarily answer) these questions, Lightfoot and Bernthal turned to real-life veterans, many of whom populate the series as extras.
“We did a lot of research reading personal memoirs of accounts from military personnel,” Lightfoot said. “We had a military advisor read every script and a CIA advisor come in and just push that element of the show.”
Indeed, a large part of the action takes place within the confines of a veterans’ support group, following members as they assimilate back into society. “In talking to a lot of these really elite soldiers, it’s a real issue,” Bernthal said. “How do you return to real life when you’ve become so at home in this world with unbelievable stakes, unbelievable bonds between soldiers? When you create a family abroad, how do you go back to your family at home?”
So will “The Punisher” confront the concerns Americans currently have about gun violence?
“I hope so,” Bernthal said. “I hope it makes people think. That’s the best thing that art can do is not try to answer those questions, but to try to ask them and to hold a mirror to society and make you wonder why.
“There are some people that will look at Frank Castle and the way in which he tries to go forward and live his life after his family’s been taken from him and say that he’s an advocate for vigilante justice or potentially that this show sort of glorifies that in some way. For me, that’s not how I see it.… I think that whether you agree or disagree with his actions, my job is to empathize with the man and to try to understand his pain and, to the best of my ability, try to portray that. I hope that we’ve done it justice.”
NERDIST – Jon Bernthal (The Walking Dead, Wolf of Wall Street) and Chris talk about why Jon chose to take the part on The Walking Dead, how Rick’s character has changed from season 1 and how he relates sports to acting. Jon also talks about studying acting in Russia, starting a family and playing The Punisher!
MOVIEFONE – Jon Bernthal’s year has been filled with plenty of violence — and that’s been a good thing for the actor.
In project after project — including the high-octane, high-impact “Baby Driver,” the bleak and chilling “Wind River,” the brutal Medieval period drama “Pilgrimage” and his pending return to Marvel’s unstoppable vigilante The Punisher as the star of his own Netflix series — Bernthal’s work provides a compelling new window on the resounding impact of violence on the characters he plays and those around him.
And Bernthal always rises to the physical challenge — in “Pilgrimage,” in theaters and available on VOD and Digital HD Aug. 11, he not only mastered 13th century swordplay, he took on the task of playing a mute character who must communicate entirely without words. And as he tells Moviefone, it’s tests like that — and turning The Punisher into a enduring protagonist — that keeps him coming back for more.
Moviefone: Tell me about figuring your way into playing a character with almost no dialogue in “Pilgrimage.” Was it an unusual experience for you?
Jon Bernthal: Yeah, absolutely. I think everything about this experience was pretty unusual. Jamie Hannigan’s script really blew me away. I love the use of language in it, and I love the fact that there’s about seven different languages on the page that’s used in the film. With that, I saw this other language that needed to be created, and that would be the language of the Mute.
He’s a guy who is a central character in the film, but he has no dialogue. Therefore, I had to kind of create this own sort of way of communicating. It was a tricky sort of way. My first instinct was just to stop speaking totally, and that’s what I did for the first couple of weeks, both on set and off. I felt a learned a ton about myself, I learned a ton about my character. In the end, I thought that it was sort of hurting the process of the movie.
Cutting off my ability to communicate with the director was tough, because I needed him to sort of see the dialogue that I was creating. When I couldn’t tell him about it, it was a rich experience for me in terms of learning about the character, but I was worried that the film was suffering for it. So I decided to abandon that going silent after the first couple of weeks — much to the disappointment of my cast mates, who all said they enjoyed my company more when I was quiet!
It was a very unique challenge. It was an experience that I’ll never forget. It let me meet a group of people that will now be a part of my life forever. I really love the people that I made that movie with.
You’ve had such a great run of projects this year, and so many of them deal with the language of violence, in different ways. What’s been the endgame in your head as you’ve been exploring these different characters in things like “Wind River,” “Baby Driver,” this film, and “The Punisher”? To look at the ways we use violence in the arts, and what we say through that violence.
It’s a really good question, and I’m not going to sit here and try to convey a message to you like I sat down in the beginning of the year and said, “You know what? This is going to be my thesis on violence and the effect it has with the roles I take.” Look, I really try to choose parts that resonate with me. I try to work with filmmakers that I believe in, on material that I think will challenge me and that’s great. I try to work with other actors that I admire. I’ve been really lucky this year that I’ve gotten to do pretty much everything that I’ve done.
I think as far as the question is concerned, I really do believe in being part of projects with a cogent voice, and that really makes you ask questions. I love to read a script and not really know who I’m “rooting for,” or who I “believe in.” I like it to be challenging. I like there to be a lot of grey area. Yeah, I think all the projects I’ve done lately, that’s in there.
I think with both “Wind River” and with this film, I think that the characters that I play, you might think they’re one kind of guy, but then they end up being something completely different. I really like that, too. Then, obviously with Frank Castle, violence is a huge part. I didn’t pick these things purposely, but yeah, I’m really glad and grateful for the projects that I’ve gotten to be a part of this year.
Along that vein, in terms of making Frank Castle more of an antihero at the center of his own series, what kind of shift did that involve for you creatively, kind of figuring out how to play him as, yes, he’s the protagonist, but we’re also aware of what kind of antagonistic baggage he brings from the “Daredevil” series?
It’s an interesting predicament. To put him as the central character is interesting. I think that my big struggle with him is that one of my biggest kind of things that I’m always fighting for on set is, I always want to preserve the essence of Frank, and have the right and be bold enough to really turn my back on the audience, and not do things to win the audience’s favor, but rather stay true to the character and the essence of who he is.
I think Frank is brutal. Frank is damaged. Frank is tortured. I think Frank, when he engages in violence, there’s something utterly satisfying and addictive for him to be doing that, and that may not be something that the audience can agree with or get behind. But I’ve always fought to preserve that, and I think that that’s a part of him. I think the pain and what’s behind the violence and the reason why he’s committing the violence, that’s a different story. I want to explore that, too.
So I think that’s the real challenge: being bold enough to not make him too heroic, at least “heroic,” is important to me. That being said, I think there’s Frank Castle inside of everybody. I think being a father and being a husband, he’s a character that I deeply empathize with.
The role in “Pilgrimage” is as physical as anything you’ve done. What do you enjoy about the physical discipline that these types of roles require, and the different sort of fighting skills that you’ve been picking up over the years?
Look, I was an athlete before I was an actor, and I’ve always looked at acting as very much an athletic endeavor. In this movie, I had to pick up a whole new skill set, training with sword masters and learning those kinds of skills.
With this kind of film, our back was really against the wall in terms of the fights. We didn’t have a lot of money. We didn’t have a lot of time. So what that meant is, Paul Burke and the stunt team, we had to rehearse our a**es off, and know that fight in and out. And then have the fortitude and the courage on the day to improvise, and go with it, and make it work in the moment, because we were chasing the sun. Literally, to have a half day to do a fight scene — on a bigger studio film, we would’ve taken two/three weeks to do these fight scenes.
I’m used to that from television. I’m used to that from the Marvel world. And I like that. It raises the stakes on the fight days. It adds the vitality of it to the in-the-moment-ness of it. It makes it much more on the line, and makes it much more dangerous, and honestly violent, rather than trying to create violence. And I dig that. I dig that. I dig that being full out. I like, at the end of the day, being all banged up and bruised, and feeling like we actually earned our money that day. It’s a good feeling.
For me, finding new ways to express that, I think that the way that characters fight, the way the characters act when their backs are up against the wall, tells an enormous amount about the character. I’m grateful for the opportunity.
IGN – If there’s any actor that might be considered an “actor’s actor” who has gone to great lengths for his craft, then Jon Bernthal has worked his butt off to get where he is now.
It’s been five years since Bernthal was a regular on AMC’s The Walking Dead, but he then got an even more high-profile gig as The Punisher in the second season of Netflix’s Daredevil. Bernthal’s version of Marvel’s Frank Castle proved popular enough to get him his own series, which he shot earlier this year and is expected to debut later in 2017.
Between doing those shows, Bernthal still found plenty of time to make movies, and he even found time to chat with IGN about a variety of topics.
Brendan Muldowney’s Pilgrimage couldn’t be any more different from Bernthal’s normal role, if there is such a thing, because it takes place during 13th century Ireland as it follows a group of monks on a dangerous journey through the rugged Irish landscape to bring a sacred relic back to Rome. The diverse group of monks is played by Stanley Weber, John Lynch, Hugh O’Conor and none other than Tom Holland, and Bernthal is playing a character simply known as The Mute, a man unable to speak who comes from a violent past.
Other than Pilgrimage, Bernthal still has a busy month ahead of him, appearing in Taylor Sheridan’s directorial debut Wind River (now in theaters), as well as Ric Roman Waugh’s upcoming Shot Caller, playing gritty criminal characters in both. (Jamie Dagg’s Sweet Virginia, which premiered at the Tribeca Film Festival last spring as did Pilgrimage, hasn’t figured out its distribution yet.)
IGN: When you read the Pilgrimage script, how were you able to envision what the character would be without having any dialogue?
Jon Bernthal: But that’s the fun and challenge of it. There are seven languages spoken in this film, and there’s also the language of the mute, and that’s something you gotta come up with, and you have to do extensive work on the guy’s backstory. You have to come up with a reason why he’s come up with this vow of silence. One of the things I really wanted to dive into in order to do this was to see what that was like. And to go to Ireland and be silent, and not speak on set and not speak at home. That makes things difficult. We were all living under the same roof and had every meal together. We were together the whole time. To do that in silence, at first, was very isolating and frustrating, but I learned a ton about who this character is. I think on a film set [it’s important] to divorce yourself from your wants and your needs. We use our voice to ask for things, to say, “Hey, I gotta go to the bathroom” and “Hey, can I get a glass of water,” and if they’re passing out apples, “Hey, can I have an apple?” The mindset of someone who has taken a vow of silence [is,] “Oh, I want that apple, how do I get someone’s attention? Okay, I’m just going to let that go. Do I deserve that apple?” I think somebody who has done that, it comes from the shame of, “Do I deserve that? I’m going to divorce myself from these wants and only take what I need.” I think that’s the kernel of the character.
It was an interesting process to go through, being silent on set and off, and then it was interesting to get out of that process and realizing that the film would benefit a lot more. I need to start communicating, because we need to develop this language of the mute. You cover the guys that are talking, and I need to say, “Hey, at this moment here, I’m giving this look – that’s my line.” Brendan and I, we worked well on how to communicate. On a certain days I had to be silent. On certain days I didn’t.
IGN: You had mentioned earlier doing a lot of activities with the other guys in the cast. Were you remaining silent that whole time?
JB: So, yeah, for the first few weeks, silent 24/7, and then I started talking. All the guys decided as a group that they like me better where I’m silent, because once I started talking, I wouldn’t shut the hell up. But yeah, in the beginning, I think the day I really found it was the day when we got out to Western Ireland — me and Tom Holland and Stanley Webber, we went to climb a mountain together, and we had met in Dublin, and we were talking and we were out before the process started, and then on the train out there, I just wrote them a note that said basically I’m done talking. We climbed this mountain together, and we really started to learn a lot.
IGN: Is that a very common thing you do on movies, trying to stay in character, especially when you’re playing someone very different from yourself?
JB: You know, yes and no. What I was saying before is … staying in character. I feel like you have all these artists working together in all these different departments on a film, both in pre-production, camerawork and post-production. All we’re trying to do is work on the 15 seconds you have between “action” and “cut.” I think that if the work you do when the camera is not rolling is what makes the work work between “action” and “cut”… To just sort of turn on, I think some actors are better than others. I don’t think I’m good enough to do that. I think I have to, with some degree, sort of stay with characters, have it be alive inside of me, and sometimes, fully. When you go home at night, often times, it’s not best to just turn off. You gotta come up with techniques and ways to stay on. As far as “staying in character,” I’m not sure what that means. I think everybody has a different idea about it. For me and this, it was an exercise to do that. I learned a lot, I got what I needed out of it, and then I stopped.
IGN: How was it being silent on set but also being able to communicate with Brendan or the crew about what you need? As an actor, I’m sure you need things from make-up and hair.
JB: In the beginning, I was talking. I only did it for the first couple weeks, but through that, from the actors to the hair and make-up team to the crew, Brendan, everyone was extraordinarily understanding. Look, at the end of the day that was something I did for me and my process and made their jobs harder. That being said, I’m a firm believer that when you do a film, your hair belongs to the hair department, your face belongs to make-up. Your body belongs to wardrobe when they’re dressing you, and you’ve got to be cool with that.
IGN: Do you consider yourself religious? And was that something you were able to tap into for a movie like this?
JB: I think with him, I definitely consider myself spiritual. I think with this character, he’s a man who has done so much in the name of religion. There’s so much violence and so much dedication to religion by the characters in this film, and he’s a man who’s seen probably the worst violence that has ever been caused by religion by being in the Crusades. I think part of his penance and his vow of silence is to never commit violence again in the name of the church. I think he’s seeing just how ugly that can be. What’s so powerful for me about the story is the bond he forms with this young man in this group of monks causes him to engage in this violence that he swore he would never [do again]. It’s not because of a love or commitment to a higher power, it’s a lot for his fellow man on his earth right next to him. It’s a beautiful statement.
IGN: How do you decide to parcel your time off from your TV commitments, so you can commit to something like this?
JB: Look, it’s just when something comes up, you read it, you look into the filmmaker and sometimes it’s a filmmaker you’re dying to work with, sometimes it’s a discovery, and you just try to choose the best material possible. But you’re right. There’s a real opportunity cost, and I got three young kids and any job means I’m not with them, and I’m gone a lot for the TV show. You gotta really weigh a bunch of things. At the end of the day, I have a very curious heart, and I love the journey of this job. I’m in no way trying to arrive anywhere. I just want to keep growing and struggling, and I look for jobs that scare me. I look for jobs that are not easy. I look for jobs where my first instinct is that I’m probably not the right guy for this, and then see if I can make myself fit, and what’s my version of this? And is that something that resonates in my heart?
IGN: What was interesting about doing Shot Caller after working with Ric Roman Waugh on Snitch? He’s told me it’s a companion piece to his movie Felon.
JB: I love Ric, Ric’s my brother, and I’ll work with Ric on anything. That really was what that was. I was in Ireland finishing up Pilgrimage, and I talked to Ric via satellite phone in the States and I hadn’t done much talking on the phone, and he was like, “Hey, man, I need you brother,” and I was like, “I’ll be there.” He’s my guy that I’ll always work with.
IGN: I want to ask about going into the Punisher, because it’s different times now where it used to be where you’re either a movie actor or a TV actor, and now TV shows are so good, you can do both. But what’s the commitment like to take on a character where you have your own show and possibly will do more in the future?
JB: It’s long and it’s arduous, and it’s hard, and you’ve gotta put everything into it. Look, I think the one thing to keep in mind is the way Netflix delivers content. So many of these places are delivering content, so you’re not making episodic TV. You’re making 13-hour movies that you don’t have to spend 10 minutes at the top and back of every episode telling people what you told them last week and bringing the audience back in. People are watching this in a much different way, and they’ve proven this model of 13-hour binge-watching is totally possible. Some people can, some people can’t, but at the end of the day, most people when they watch it do not say, “Okay, there’s 13 episodes. I’m going to watch one per week.”
IGN: That’s interesting, because I like spacing things out when I watch shows.
JB: And that’s great. You can watch it that way. I just know that the way that the filmmakers attack it, they don’t need to remind you what you saw last week or put a cliffhanger at the end of each episode. I think the delivery system is different, but the challenges from TV, you’ve got to fit a lot into an eight-day episodic TV schedule, and it’s very challenging, especially with the ambition of the fights and the scope of those shows.
IGN: I’m not sure when you shot Pilgrimage but had you already booked appearing on Daredevil at that time?
JB: I sent my audition tape for Punisher while I was in Belgium.
IGN: And that was before Tom Holland signed on to play Spider-Man, too?
JB: So we were making audition tapes for Spider-Man and he helped me. He’s in my Punisher tape, so I saw him through that whole process, and again, it was watching him go through it and the way he attacked it and went after it. It was completely inspiring. I think Tom Holland is just an absolute beast and a wonderful person.
IGN: I’m sure a lot of people would someday like to see your Punisher with his Spider-Man, because as you probably know, Punisher’s first appearance was in The Amazing Spider-Man…
JB: Oh, s#!t. I’ll probably be the last to find out.
IGN: Do you even know if you’ll be back for the next season of Daredevil?
Bernthal: They haven’t mentioned it. I know nothing.
IGN: Your other Tribeca movie, Sweet Virginia, is interesting because you play a former rodeo cowboy managing a motel, and it’s always following two different characters, not just yours. What appealed to you about doing something like that?
JB: Again, the challenge of it. I loved the script. I loved Jamie Dagg’s movie River … and I thought the theatricality and the style of the script would just be so interesting to be attacked by a guy like Jamie who made such a cutting and antiseptic, raw, real, gritty movie like River. So I thought that was great, but for me, that role was originally written in the script as a guy who was 65 years old. For me, I went into it like, “Why would you ever want me in this part? I’m not the right guy.” What Jamie and I really worked on was how do we achieve what you gain from having the character be 65 years old by having him played by someone in their late 30s? That’s why we added the tremors and the early onset Parkinson’s. In the fight with the loud neighbor, I was originally supposed to beat him up, but I said, “Well, what if he beats me up?” To try to gain the things you get from a guy who is a little worn in and older, but you play that in a younger man who’s got so much potential life ahead of him, but he’s there kind of giving up until this violent act comes and shakes things up in that town. It was really the challenge of it, and I thought it was a beautiful script, and then Chris [Abbott]. I saw James White, and I really wanted to work with him and I was really blown away by his performance.
CRAVE ONLINE – Jon Bernthal has made a career out of looking tough, but being vulnerable. The actor’s most memorable roles have often by intimidating men of action who, when you look past the macho façade, are clearly in genuine pain. Shane Walsh in The Walking Dead, Grady in the World War II drama Fury, even Frank Castle, the Punisher, in Netflix’s Daredevil and the upcoming Punisher series. He’s one of the most empathetic actors we have.
So it’s interesting to see Jon Bernthal in Pilgrimage, a new historical thriller about a group of monks charged with escorting a religious relic across the Irish countryside. Bernthal plays “The Mute,” a character who – true to his name – doesn’t speak a word throughout the movie, but does reveal many secrets about his past through kindly, and eventually violent actions. When the monks are beset by bandits, it falls to The Mute, The Cistercian (Stanley Weber) and The Novice (Tom Holland, Spider-Man himself) to protect the relic at all costs.
I spoke to Jon Bernthal on the phone this morning about the physical and performance challenges of his new role, and how the fast pace of the Netflix superhero shows helped prepare him for the rigors of low-budget action cinema. He also admitted to being “very nervous” about his upcoming solo series, The Punisher, and explained why it’s so very important to him that they do justice to the character of Frank Castle.
Jon Bernthal: [Laughs.] Yeah, I mean look, I think there’s some truth to that. The team that made this movie was very smart. They did not have tens of millions of dollars to make this movie, so instead of creating the majestic beauty of western Ireland and these unbelievably remote locations, we sort of just hiked to them, and went into them, and found places that had 360-degree views of area and land that hadn’t been touched in tens of thousands of years.
I thought that was really smart. I think it added to the richness of the movie. It definitely added to the richness of the experience. And I think that we all went to this very remote part of western Ireland, we’re thirty miles from any town, there’s no internet, there’s no phone, there’s no night life or anything around there… we were just there making that movie. When we had time off we hiked up a mountain. When we were shooting, we hiked up a mountain. I think that it added to the camaraderie and the closeness of the group, and I’m really grateful for the experience.
No, I asked for it to be weighted down. It wasn’t terrible by any means, but it was an interesting way to carry something. I was happy for it. I think it added to the nature of the character. I wanted there to be something sort of animalistic and simple to him, especially at the beginning part of the movie. You know, unassuming. And I wanted him to be looked at, especially among the other travelers, as an animal that was there to help them.
Yeah, it was. I mean look, when I first read the script, Jamie Hannigan’s script really blew me away. There was many different languages used in the script. I was the only American in the movie. When I read it there’s French and there’s Gallic and there’s English, and there’s all this different use of language in the film. There’s Latin. And I thought that would be interesting, to create another language, this language of a mute, this guy doesn’t talk but clearly had a voice and clearly has wants and feelings and reactions. I thought the opportunity to create that was a unique one, and it scared me, and precisely why I went after it.
No, it scared me just because it was different. It’s difficult. It’s something that I hadn’t done before. I think that I’m a physical actor. I like doing things full force and going big, and I think this, you know, taking away your voice requires a different skill set than I’m used to. I normally play… I’ve come off of a string, you know? Shane Walsh [from The Walking Dead] and Brax from The Accountant, there are very verbal characters, you know? Guys who really talk a lot. And taking that away is a unique challenge. Trying to be as cogent as possible with your expressions and what the character’s going through, but not being able to reveal anything through dialogue, I think offers a unique challenge.
Each job’s different. For me it’s not so much in front of a mirror, it’s just I’m trying to create as rich and as deep a backstory, and play with my imagination, as much as possible. And take things from my own life and I think that, for me, the more clear your character’s history is, the easier it is to access it when the cameras are rolling, and the easier it is to actually be in it.
I think with a character like this we really got to time travel. Jamie gave me some great pieces of historical fiction. Being isolated the way that we were really made it so there weren’t a lot of outside distractions. And I was able to really create this pretty clear, pretty specific history for my character. And having that secret, and having those memories, and having that frame of reference, and not necessarily having… there’s no need or desire to share that with the audience, I can keep it completely mine, I think is interesting.
I think having a lot going on and only revealing a little bit is always better than pouring it all out, and I dig that. I dig roles like that, as a character. I dig the art of suppression. I think that it’s very human.
Yeah, I think so, but you can only deal with what you have at hand. I think that there’s all sorts of complications in doing television and not knowing your beginning, middle and end. But I feel that, like in this movie, I think the time restraints and the pace of television, and how fast you need to move, also really mirrors life in a much more realistic way than film does. You don’t have time to think most of the time in life, and you don’t have time to plan, and you’ve got to be willing to change in the moment and be adaptable and fly by the seat of your pants.
You know, in a film like this we had these fight scenes. If this was a big studio movie that we had tens of million of dollars for, we would have taken weeks to shoot those fight scenes. We had to shoot, each one of the fight scenes in this movie, we shot in a half-day. And what that requires is an unbelievable amount of preparation. No stunt doubles. We had to learn that fight inside and out. But then on the day you still fight. You don’t have time to make sure you’ve got it. You don’t have time to be safe. You don’t have time to go back and do it again. And if something goes wrong you’ve just got to cut it and move on.
[Like] fighting in real life, or like any sort of big action sequence, I think having the stakes being that high really creates another layer to the scene and makes it more rich and more dangerous and more vital. I like that. I think a lot of people get frustrated by those types of things, but I’ve got a lot of practice with tv. I like having my back against the wall in an action scene.
Intense, man. Yeah. The prison fight in season two of Daredevil, we did that in one half-day. We did that after lunch. We tried to get in one or two takes, and what that requires is getting in that prison and practicing the hell out of it in the little bit of time off that you have, and again, it’s not for everybody. Some people really don’t like working that way. In the moment sometimes I get frustrated by it, but looking at it in retrospect I enjoyed that. I enjoyed having to get it. I enjoyed trying to get it once in sort of a dangerous and dirty way. Sometimes you get hit, sometimes you get bumped, but I’d rather do it like that than do it a hundred times and lose that sense of danger, and lose that sense of anything can happen here. I think that that sort of color really affects the scene on the screen.
How do I feel about it?
Yeah, I mean look, man, I’m nervous. You know? I’m very nervous. I care a lot about Frank. I care a lot about this character. I think that this character resonates with the law enforcement community, resonates deeply with the military community. That’s something I care a ton about. The comic book audience is an audience that I respect and revere, and I want to do want to do right for them and by them with this character. It’s a big responsibility and I just want it to be good. I just want it to work. And I fight like hell when we’re making that show to try to make it a certain way, and I hope that the fighting pays off.
COLLIDER – It would be an understatement to call Jon Bernthal and Tom Holland two of the more in-demand actors in Hollywood right now. Both hot off pitch-perfect, fan favorite streaks in their respective Marvel universes and with more on the way, it’s notable that the two are now being seen together, on the big screen, in a very different sort of project.