Drug dealer, football player, alcoholic, shooting victim. In his first decade of acting, Michael B. Jordan has found ways to humanize characters that, on the page, may seem stereotypically what he dubs “the black guy.” In The Wire, a young and very sheltered Jordan asked fellow actors to help him understand how to simulate a cocaine high onscreen, and through that surreal experience discovered his unfettered love of acting.  In Friday Night Lights, Jordan started journaling as an acting exercise, and amassed a detailed back story for quarterback Vince Howard that made the character seem shockingly real.

      With Fruitvale Station, Jordan dug even deeper. Playing a real person for the first time, he inserted himself deep into the family of the slain Oscar Grant, who was killed by a police officer on a train platform in Oakland in 2009. Jordan spent time with Oscar’s former girlfriend, mother, daughter, and all of his friends. The result was an intensely real portrayal of an innocent young man in a film that exposes our ongoing race problem in this country, and Jordan’s performance was nuanced, understated, and masterful. 

     Perhaps his ability to play characters with the odds stacked against him comes from his own desire not to fall into that lifestyle. Jordan started working very young, doing modeling and acting in commercials, and saw an acting career as a way out of the tough urban environment of Newark, New Jersey. In his words, he saw “plenty of Wallaces, Bodies, and Avon Barksdales,” and was determined to make a better life for himself.

     Not only does Jordan not want to just “play the black guy,” he also doesn’t want to compare himself too closely to actors that came before.  He says he doesn’t want to be the next Will Smith, or the next Tom Cruise--he just wants to be himself. When you are around Jordan, his optimism and ambition are infectious and endearing. He doesn’t just want to star in films – he wants to produce them.  He doesn’t want to just be on television, he wants his own channel. And he doesn’t just want to be the face of a studio, he wants to run a studio. At Off Camera, we wouldn’t bet against him doing anything he sets his mind to.

As Jim Halpert, John Krasinski embodies The Office’s most beloved Everyguy, but his middle-achiever alter ego belies the actor’s impressive and accomplished resume. At just 33, he has written, directed and produced both television and feature films with some of the industry’s most talented heavy-hitters.

Krasinski shares his own version of the waiter-to A-list story and talks about staying true to his artistic path despite periods of self-doubt. An avid and humble student of experience, he discusses what he’s learned from his work with industry veterans such as Sam Mendes, Gus Van Sant and George Clooney. Krasinski talks to Off Camera about wrapping the final season of The Office, the value of supportive parents, and about his newest film, Promised Land, which he co-wrote, and co-stars with Matt Damon.

At one of the most interesting junctions in his career, an actor who’s arguably done it all looks ahead to what he hopes will be next.

Watching Elisabeth Moss as Mad Men’s sec-turned-exec Peggy Olson (as millions did for 88 addictive episodes) and in recent projects like Top of the Lake, High Rise and Queen of Earth, you’d be forgiven for assuming she’s a capital-S Serious or capital-M Method artist. Even director Jane Campion might’ve drawn the same conclusion from Moss’ Top of Lake audition tape. “It was remarkable…I just found myself really interested in watching this gentle, quiet, obviously interior performance. At the end of about six hours, I was still really interested. She’s a little bit like a Mona Lisa. There’s a lot that she’s not showing you.”

It’s an impression Moss sometimes wishes were true, but acknowledges that capital-C Class Clown is more apt. (That was, in fact, the title unanimously bestowed by her Mad Men cast mates). So much for our illusions. As she told The Guardian in 2016, “I wish I was super-serious, anguished. I see those actors and think, God, they are so cool and seem so interesting. I don’t take acting that seriously.” But she does it seriously. Tales from several sets support her seeming ability to perform the acting equivalent of doing zero to 60 for a scene without ever appearing to bear down on the gas. “I was shocked at how quickly she metabolized the material,” Mad Men creator Matthew Weiner once marveled. “She is that kind of actress where we don’t ever intellectually delve into what is going on with her character. It’s almost like it doesn’t pass through Elisabeth’s brain. It’s completely instinctive. She works hard, but I think she also works hard to hide it. Either that, or she’s an alien.” Weiner may deal in alternative facts, but we’re going with the former, which begs the unanswerable question, what is instinct anyway?

That’s probably not something an eight-year-old thinks much about. Moss just liked playing the TV roles she started getting at that age. But she also liked dancing, studying ballet seriously while being homeschooled as she pursued both. She earned her GED at 16 and decided acting offered the more physically enduring career option. She worked steadily in supporting film and TV parts like Girl, Interrupted and Picket Fences before being cast as first daughter Zoey Bartlet on West Wing. That led to Weiner’s casting her in Mad Men, which subsequently led to six Emmy nods and fame as an unintentional feminist icon.

As Peggy Olson grew in confidence and complexity, her character’s storyline grew more compelling, rivaling Don Draper’s for our interest. If making us believe and champion Peggy’s huge personal and professional transformation is an accomplishment, an even bigger one is emerging from a seven-season national TV phenomenon without being forever identified with or pigeonholed by it. But even before the show ended, Moss told The Telegraph UK, “I think it’s up to you as an actor to make choices that are different, to stretch your ability, to not get too comfortable doing something you know you can do. Of course, if you play one character for five years, people are going to think of you as that character. But you can break out of that.”

Can, and did. If viewers weren’t quite ready to move on, Moss was. She’s since chosen a string of largely independent projects that allow her to tell stories as diverse and interesting as the women in them. You’ll find virtually enslaved housewives (High Rise) single-minded detectives (Top Of Lake) and mourning, possibly unhinged vacationers (Queen Of Earth). Harder to find is a bad review. Just one of way too many to list is The New York Times’ take on the latter. “It is Ms. Moss, with her intimate expressivity, who annihilates you from first tear to last crushing laugh.” In addition to landing an emotional punch, she has a talent for landing herself in stories that regardless of time period or milieu are strikingly relevant to current times. None more so, unfortunately, than The Handmaid’s Tail, Hulu’s excellent and much buzzed-about adaptation of the Margaret Atwood novel.

On the off chance you’re not convinced of her versatility – or guts – know that when Moss decided to try the stage for the first time in 18 years of acting, she did it on Broadway, in Mamet’s Speed-the-Plow, no less. And there was The Heidi Chronicles. While you could argue there’s no one better suited to play its evolving, wisecracking proto-feminist lead, taking on an iconic 1989 role and making it resonate in 2015 is a gamble. It paid off with a Tony nod and raves from noted theater critic Charles Isherwood, who called Moss “a superb actor who possesses the unusual ability to project innocence and smarts at the same time.”

High praise, but as far as Moss is concerned, Get Him to the Greek is as valid a choice as the largely improvised indie The One I Love, if it makes her a better actor. Whether that’s possible is debatable, but what’s not is this: More than ever, we need stories about heroic, flawed and completely believable women, and few actors play them better.

Jake Gyllenhaal has become somewhat synonymous with beyond-brutal physical transformations for movies like Nightcrawler, and more recently (and even more brutally), for the role of boxer Billy Hope. But after crying three times over a first-draft script for Southpaw, he knew it was worth taking some punches for. He’s no masochist, but calls any work needed to tell the story of characters that fascinate him a joy. Gyllenhaal is the kind of actor who knows not only that his character bears a certain scar or walks a certain way, but why. He’s become known for going deep, and seems embarrassed and proud in equal parts about how seriously he takes his work; the same guy who’ll spend five months in a boxing ring or memorize an entire script just to sound as robotic as Louis Bloom will also tell you the best analogy for acting is Super Mario Brothers. Level One, to be specific.

Though much has been made of his on screen metamorphoses, his most profound change in recent years is one we didn’t realize we were seeing. After coming to wide attention and critical acclaim in films like Donnie Darko and Brokeback Mountain, he found himself in the enviable position of being very young and very successful in Hollywood. That’s when everyone in the business will tell you exactly which projects and path will guarantee you a lucrative career. And that’s when Gyllenhaal stepped back and decided it was time to listen to his own voice about what he wanted to do and what his work would say about him. The results are sometimes perplexing (Enemy), or darkly comic (Nightcrawler), but always worth watching. And for Gyllenhaal, richly rewarding – the spoils being the experience, worldview and friendships he takes with him from every role.

From Southpaw, he learned that a mere five pounds of pressure is all it takes to knock a guy’s brain against the side of his skull and put him down, if you know just where to land it. It’s the kind of instinct that told him just how to play one of the most touching and terrifying scenes in that film, and the same instinct that now guides the career he’s designing for himself. In this issue, Gyllenhaal discusses his work ethic, how he chooses and prepares for roles, and why he’d like to see someone else take a shot at playing them – really. It’s an esoteric conversation, but don’t worry; you’ll love it even if you’re not into Talking Heads, Bruce Springsteen or Wild Geese.

Just mention Will Ferrell’s name or glance at a picture of him and chances are you’re already smiling (or smirking or laughing out loud). But the really funny thing is that it’s not necessarily because his best-known characters are so gosh-darn loveable. See, Ferrell never bought the conventional movie truism that comedic leads have to be likeable, and went on to prove it, perhaps most pointedly with the iconic Ron Burgundy. In fact, he doesn’t even think comedy has to be particularly funny to be hysterical.

While working a number of “regular” jobs, (he actually almost became an anchorman), Ferrell did stand up in small clubs, clinging to his father’s surprisingly helpful advice that his ever making it would be a long shot. It was just that take-it-or-leave it approach that allowed him to pursue his unique comedic style free from the angst that might have otherwise crushed it. It might also explain a small sadistic streak that underlies his performances – if you don’t like what he’s doing, sit back and enjoy it anyway…or else.

In this issue, he describes his stomach-churning, knee-buckling Saturday Night Live audition and the even more daunting experience of joining the legendary show at one of its lowest points. He also shares his writing process, stories behind some of his best loved impersonations and his long and sometimes perplexing feature film cv. His success and work in projects as diverse as Elf and Stranger Than Fiction illustrate the rare genius of someone who can make the ridiculously absurd not only believable, but sympathetic. Chalk it up to talent or unquestioning commitment to any role he takes on, but not to hard work. Ferrell’s a firm believer in not overthinking the work or worrying too much about whether his projects succeed, as long as he’s having fun along the way. He may not be cerebral, but trust us, he’s brilliant.

We expect actors to dramatize a range of emotions as the characters they play; even, to some extent, when they’re playing a version of themselves on The Tonight Show or E! News. That’s what actors do, after all; they “act”—tearing up, raging, clowning, and otherwise emoting. So what secret magnetic field does Don Cheadle tap that allows him to convey all that with no detectable effort and a virtually unreadable face? He sits back, unruffled and self-possessed, while we do the work of reading into his performance whatever it is he needs us to know. This is not charisma of the “Let’s put on a show!” variety; it’s the kind that makes an actor impossible to look away from.

The Hollywood Reporter noted in its review of his current series, House of Lies, “There’s an exceptional cast…, but everything revolves around the fact that Cheadle is riveting and impressively deft at being funny one moment, serious the next… He’s the giant magnet at the center of the show.” But a number of critics (and casting directors) looked under the radar long before a lot of us in the mass movie-going public, noting his uncannily facile power in films like Rebound: The Legend of Earl “The Goat” Manigault, Talk to Me, Devil in a Blue Dress, and Traffic. Most of us, though, wised up a few years later with the release of Hotel Rwanda, The Atlantic along with us: “[Producer and director] Terry George has, in Don Cheadle, perhaps the most underrated performer working in motion pictures. A character actor of uncommon range and charisma, Cheadle has over the last decade shown himself to be exceptional at playing characters both ineffectual and ferocious. Cheadle delivers a performance without seams, one in which the character’s later heroism is merely another facet of his earlier pragmatism. His genius makes Hotel Rwanda not only an important work of politics, but an important work of art.”

It was a role George was honest in telling Cheadle he’d have to give to an actor with a bigger name, if he could get one. Cheadle’s reaction says a lot about him and how he sees his career. He told George he’d support the film in any way necessary regardless of whether he got the part, because it was a story that needed to be told. Cheadle honestly doesn’t care a whole lot about Oscars and fame and the like; he’s interested in longevity and the ability to make work that he believes has value—whether it puts him in front of or behind the camera. These days, he’s finding himself in both places, often simultaneously. He writes, directs, and stars in the upcoming film Miles Ahead, a take on musician Miles Davis so fiercely imaginative it demands its own genre. He’s also established his own production company, through which he’s now producing a new comedy for NBC—all while continuing to lead House Of Lies, which just became the first U.S. scripted series to shoot in Cuba.

All to say, he’s going to need his preternatural calm more than ever. But it should be noted that in Cheadle’s case, “calm” does not mean “reserved.” He continues to be an outspoken advocate for issues like humanitarian aid to Darfur and climate change awareness through fundraising, and by making films and co-authoring books on the subjects.

You get the feeling the man contains multitudes we’re only starting to see. Fittingly, we’ll let Miles summarize: “When you’re creating your own shit, even the sky ain’t the limit.”

If souls or psyches can be compared to houses, Kristen Bell’s would be one with few dark corners. It would probably also be lavender scented, with a nice breeze blowing through. Delightfully real and candid, she’s become one of the most relatable and loved personalities on TV, that personality often being herself: Her Samsung commercials and goofy personal videos with husband Dax Shepard are some of YouTube’s most popular. No word on how many high-tech home appliances they’ve sold, but the Toto cover video they shot in Africa has garnered well over five million views. The soft heart and strong values that Shepard both teases and loves her for are ones she supports in both words and example—marriage equality, animal rights, and voter registration, for starters.

Not surprisingly, then, the sunny, perky blond wasn’t the first actor that came to mind for Veronica Mars creator Rob Thomas. “I had Christina Ricci in my head when I wrote it. I wanted someone who had a caustic delivery for lines that had weight and dryness.” As it turned out, Bell was also damn funny, with a gift for injecting just the right amount of dark, wry wit into what became her breakout role, turning her into a geek goddess of sorts. Her excellent turn as Elle Bishop in Heroes only settled that crown more firmly on her head.

Maybe the fanboy hall-of-fame was a pre-destined landing place for someone who always felt (and early on, was often told) she wasn’t homely enough to play the nerdy girl and not nearly pretty enough to play the pretty girl. If that was a struggle at the outset, it seems to have made her a guileless and non-judgmental career plotter. That approach doesn’t work for everyone, but in Bell’s case, it’s allowed for angst-free role choices that ultimately did justice to her surprising range. (Check out Hit & Run for an early example of her abilities—and her director and then-fiancée’s knowing exactly how to push her buttons.)

Post-Veronica Mars, her big screen break arrived with a part in Forgetting Sarah Marshall, a potentially intimidating career leap that landed well. In its review, Rolling Stone gave “Cheers to Bell for finding nuance in a diva written as a stone-cold bitch.” More recent evidence of her range turned up in a role in which she technically never appeared. For thousands of unsuspecting fans, Disney’s unstoppable snowball of a hit Frozen unmasked her extraordinary talent as a singer, a gift she honed in years of early musical theater training but modestly underplays.

These days, Bell finds herself increasingly in demand, and increasingly in the company of bar-raising colleagues, a challenge she deliberately seeks out. She’s playing the ambitious partner and foil to Don Cheadle in Showtime’s not-so-sunny House of Lies. In the upcoming film The Boss, Bell plays a mousey would-be brownie maven alongside Melissa McCarthy, one of her comedic idols. She’s also somehow managed to start work on a new NBC show called Good Place from the executive producer of Parks and Recreation and co-starring Ted Danson. The series allows Bell an interesting opportunity to explore the character of Eleanor, a not-so-good person trying to figure out how to become a good person—if she can figure out what actually defines “a good person.” Our advice to Eleanor? As examples go, your friend Kristen Bell wouldn’t be a bad place to start.

Success came to Ethan Hawke when he was young, and across a wide spectrum. He landed a major motion picture, “The Explorers,” at 13, off his first audition. His second film, at 18, under Robin Williams’ tutelage on and off screen, was the now-classic “Dead Poets Society.” He’s been an established star ever since. At age 24, In the midst of his early film successes, he published “The Hottest State.” Hawke admits that adding “novelist” to his resume made him an easy target for ridicule. The word “pretentious” has been thrown at him countless times, often by foes, a few times by friends, even by himself. His response? “It beats not trying.”He did keep trying, and with this true renaissance man’s every career milestone over 20-plus years, the naysaying is drowned out by the praise. His insecure high-schooler Todd in “Dead Poets Society,” ultimate slacker Troy in “Reality Bites,” sincere rookie partner to sleazeball cop Denzel Washington in “Training Day,” his soulful Jesse in the “Before Sunrise” trilogy and most recently his increasingly less immature father Mason Sr. in “Boyhood,” as well as his critically beloved screenplays for the trilogy, which he co-wrote with Julie Delpy and Richard Linklater, have entrenched him in the top tier of the film industry, with four Oscar nominations. He has the faith of stage producers and directors as well: He’s done Shakespeare, Chekhov, and three plays with Tom Stoppard. His second novel, “Ash Wednesday,” was a best seller, and inspired The New York Times to write: “He displays a novelist’s innate gifts. He has a sharp eye, a fluid storytelling voice and the imagination to create complicated individuals.”A funny thing happened as Hawke, and his career, ripened into maturity: He morphed from embodying the essence of perpetually promising youth – ”I’d always been the youngest at everything” -- to a personification of the wisdom that comes with the passage of time. In the Sunrise trilogy, 18 years in the making, and “Boyhood,” 12 years in the making, we watched Hawke get older, less idealistic, more attuned to life’s ups and downs, meeting life’s challenges realistically, if not always admirably. On screen, he’s let himself wise up, screw up and then get up and move on, older and smarter. In his real life, he takes these lessons to heart. Now, in his latest film, he moves behind the camera to show the world someone who’s played the game of life even more skillfully than he, someone who embodies an ethos that Hawke has embraced: In the grand scheme, it’s not about growing up, it’s not about growing old, it’s simply about growing.

Sam Jones does it again. Listen in as he fields some burning questions from Off Camera fans.