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David Morse is one of the most respected veteran actors working in the business. "St. Elsewhere," "The Indian Runner," "The Crossing Guard," "Dancer In The Dark," "House," "Hack," "The Green Mile," to name just a few of his past credits, and now a Tony nomination for his incredibly powerful performance in "How I Learned To Drive," which he has reprised with Mary-Louise Parker, 25 years after they first did it off-broadway. I talk to him about the differences in these two incarnations, particularly one important and significant moment he arrives at toward the end of the play. He explains how training with William Esper enriched his work, how working for Sean Penn invigorated it, and how the "all in it together" aspect of theater continues to feed him. Plus much more!

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Mike Leigh is back in New York City for Film At Lincoln Center's retrospective of his films, which starts Friday May 27th. He's doing Q&A's after three of his best—"Naked," "Secrets and Lies," and "Topsy-Turvy." Since he was last on the show (Episode 54), a few of his most treasured actors have been on and discussed the joy of working with the legendary director. There have even been some guests who have talked about the pleasure of working with him just in an audition, even though they weren't selected. I ask him to break down his audition process and he generously does so in great detail. We examine one particular moment from "Secrets and Lies" as a way to discuss the careful way he builds narratives with his collaborators. I ask which film of his someone who has never seen a Mike Leigh film should see first. He talks about Cassavetes, Netflix, procrastination, his oeuvre as a whole, and much more.

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Few characters born in this current 'Golden Age of Television' rise to the legendary status of Gustavo Fring. Giancarlo Esposito brought the drug kingpin to life on "Breaking Bad" and now he's finishing out (or filling in) his arc on the prequel "Better Call Saul." On this episode, Esposito talks about the careful way he "whispers" a new character into existence, and why the identification and breaking down of his own resistances is so important. He tells the story of the eureka moment he had reading the words "hiding in plain sight" and how that opened up the character for him. He claims the real-life people he portrays (like Adam Clayton Powell Jr. in "Godfather of Harlem") haunt him, shares why "making it personal" is such an essential step, and much more!

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I was lucky to catch Alison Pill on Broadway, 16 years ago, in "The Lieutenant of Inishmore," and then became enamored with her work in shows like "In Treatment," "The Newsroom," "Devs," and movies like "Scott Pilgrim vs. The World" and "Milk," to name just a few. Nowadays she plays Dr. Agnes Jurati on the series "Picard," and stars with Sarah Gadon in Michael McGowan's new film "All My Puny Sorrows." She shares what she believes to be the secret ingredient that made that film work, and talks about how adopting a physicality for a character is foundational to her now. She reveals some of the reasons why theater appeals to her so much, one of them being that it allows her to take on the role of editor of her performance. She professes her love for text, her love for rehearsal, her frustration with improv, and much more.

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Anamaria Vartolomei is the French-Romanian star of Audrey Diwan's film "Happening," about a young college student in desperate need of an illegal abortion in 1960s France. The camera follows Vartolomei's character so closely, both literally and figuratively, that you begin to feel like you are experiencing the movie from inside her. On this episode, Vartolomei talks about why the closeness of the camera actually made her feel protected; how curiosity rather than competition helped her in the audition; how feeling safe leads to fearlessness in action; and the importance of breathing, surprises, and, most importantly, anger.

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The legendary theater director, actor, shaman André Gregory has been producing ground-breaking work for over half a century. He's perhaps best known for the projects he did with Wallace Shawn—"My Dinner With André" (which is celebrating its 40th anniversary), "Vanya on 42nd Street" and "A Master Builder." His recent book "This Is Not My Memoir" details, with refreshing honesty, his extraordinary life through incredible stories about, for instance, learning from the great Jerzy Grotowski, getting punched by Gregory Peck, buried alive in Richard Avedon's backyard, to name just a few. On this episode, Gregory answers some questions about his unique rehearsal process, talks about why it doesn't matter if the stories he tells about his life are rooted in fact, offers up a one word answer to what his hope is for the future of performance, and much more.

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Wunmi Mosaku won a BAFTA award for "Damilola, Our Loved Boy." She was only the 2nd black actress to win one in 62 years. You might know her from her incredible work as Ruby in "Lovecraft Country," Rial in "His House," or B-15 in the Marvel series "Loki." Her latest is "We Own This City," from the makers of "The Wire," which premiered Monday on HBO Max. On this episode, she talks about her early days of learning the ropes of screen acting, how rehearsal makes a big difference in her process, why connecting to people is so important to her job, how one prompt led to the most exciting artistic night in her career, and much more.

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In the new HBO Max series "Julia," talented Irish actor Fiona Glascott plays Judith Jones, the real life editor who pulled Julia Child's book "Mastering the Art of French Cooking" from the reject pile and turned it into a bestseller. In this episode, Glascott talks about the joy of inhabiting that trailblazer and playing opposite the great Judith Light in a pivotal scene. She also details the unique preparation process she employs when she takes on the young Professor McGonagall in the "Fantastic Beasts" films, shares an inspiring reason why she doesn't obsess over landing some ideal role, and much more.

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Eddie Marsan first came to my attention with his now legendary performance in Mike Leigh's "Happy-Go-Lucky." He has so many layers at play under Scott's anger, gives so much depth to that character. It is a wonder to behold. He kept doing it in films like "Tyrannosaur," "Still Life," "Sherlock Holmes," as Terry in the Showtime series "Ray Donovan," and now in his newest film, "The Contractor," opposite Chris Pine. In this half hour, Marsan talks about the formative influence of Leigh on his work and the meaning of the command "dig a hole and sit in it." He shares some things he picked up from never leaving Jim Broadbent's side on the "Gangs of New York" set, the technique of "listening with prejudice," the importance of living a life in such a way that the job of acting doesn't fulfill your egotistic needs, plus much more.

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Dominique Fishback talks about the characters she plays as if they inhabit her rather than the other way around. This begins to explain the immense, yet subtle, and always authentic power on display in performances such as Darlene in "The Deuce," Kenya in "The Hate You Give," and Deborah Johnson in "Judas and the Black Messiah." Now she stars with Samuel L. Jackson in the Apple+ series "The Last Days of Ptolemy Grey." She talks about the interesting way her character, Robyn, disrupted her usual psychological preparation process; where she gets the courage to fiercely advocate for her characters; repairing her relationship with her inner child; the "art of being a movie star;" and much more.

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