Back To One

Renowned as “a one-woman global village,” Sarah Jones is a Tony Award-winning solo performer, writer, comedian and activist. Her directorial debut, “Sell/Buy/Date,” is a hybrid documentary/meta film which features Jones and four of her characters (all played by her) on a journey across the country to listen to real people telling personal stories about their experiences that land them on both sides of various aspects of the complex topic of sex work in America. On this episode, she talks about overcoming the many obstacles and controversies to bring this important film to life, how trusting in collaborators like cinematographer Joshua Weinstein meant so much to her as a first time director who is also in front of the camera in every scene, why she had to make telling the truth her north star, plus much more! “Sell/Buy/Date” is currently playing in New York City and will be streaming on-demand on November 8th. Back To One is the in-depth, no-nonsense, actors-on-acting podcast from Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft. No small talk, no celebrity stories, no inane banter—just the work. Follow Back To One on Instagram

On a special episode of Back To One, I’m sharing a segment from a recent episode of the popular screenwriting podcast Scriptnotes called “Writing As Acting.” In it, screenwriters John August and Craig Mazin “analyze what lessons writers can learn from acting techniques (such as staying present) and working with actors (like staying open).” When I first heard this segment, I desperately wanted to share it with Back To One listeners because I thought it was very enlightening, and maybe even healing, to hear creatives on the other side of the camera talk thoughtfully, and with sensitivity, about the process of the actor. Some of the points John and Craig make about the unique connection between actors and screenwriters inspire me to facilitate a larger conversation where actors can chime in about their experiences giving life to characters that screenwriters have been living with, in their own way, for years. Something to think about. But first, check out this segment from episode 568 of Scriptnotes, and, if you feel inclined, share your thoughts either on the Back To One podcast Instagram page, or email BackToOnePodcast at gmail dot com. And thanks to Scriptnotes for allowing us to share this conversation! Back To One is the in-depth, no-nonsense, actors-on-acting podcast from Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft. No small talk, no celebrity stories, no inane banter—just the work.  

Britt Rentschler is the star of “Pretty Problems,” a smart and hilarious new indie adult comedy which she also produced and helped write with screenwriter and co-star Michael Tennant. In this episode, she talks about their lengthy commitment to making the story work, building their characters with depth, and the risky but triumphant decision to cast their talented friends in supporting roles rather than famous actors who might have secured more money. She describes how her apprehension toward playing the lead role of Lindsay actually benefited her performance, the ways director Kestrin Pantera brought the best out of everyone, plus much more. “Pretty Problems” is in select theaters across the US, and on VOD. Follow Back To One on Instagram Back To One is the in-depth, no-nonsense, actors-on-acting podcast from Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft. No small talk, no celebrity stories, no inane banter—just the work.

Dolly de Leon is a Filipina veteran actor of film and TV who is now, due to her outstanding performance in “Triangle of Sadness,” being spoken about with words like “newcomer” and “breakthrough.” That might have something to do with the “I’m the captain now” nature of the role she plays in the Palme d’Or winning film. It’s like the character and the actor are both saying “I have arrived.” In this episode, she describes the dark place she was in right before auditioning for the part, how director Ruben Ostlund’s collaborative approach sparked her dynamic creativity, why watching the film with audiences cheering for her character feels like live theater, and much more. Follow Back To One on Instagram Back To One is the in-depth, no-nonsense, actors-on-acting podcast from Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft. No small talk, no celebrity stories, no inane banter—just the work.

If Isabelle Huppert is not your favorite actor, she’s the favorite actor of someone you know. Guaranteed. There’s something about her that is unlike any other actor that has ever been on film. But it’s really hard to talk about what that “something” is. In each performance, in every film she’s made, she has such a command of the character, the text, the frame, that we place her in equal authorship with the directors she’s worked with, who happen to be some of most interesting and important in the last half-century—Jean Luc-Godard, Michael Haneke, Claude Chabrol, Michael Cimino, Claire Denis, Joachim Trier, Mia Hansen-Løve, Hong Sang-soo, to name a few. She always found a way to play complex, multi-dimensional, often morally questionable characters, even in a time when the female variety were in short supply. In this woefully short episode, she talks about some of the important, yet somewhat mysterious, aspects of her approach to the craft—curiosity, collaborating with the director, the present moment, listening to the language of the camera, and much more.  A retrospective of 29 of Isabelle Huppert’s best films begins Friday October 7th at Film Forum in New York City.  Follow Back To One on Instagram Back To One is the in-depth, no-nonsense, actors-on-acting podcast from Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft. No small talk, no celebrity stories, no inane banter—just the work.

Xolo Maridueña has been playing Miguel Diaz on the hit series “Cobra Kai” for five seasons, starting when he was 16 years old. On this episode, he talks about how preparing for his dream role as “Blue Beetle” (the D.C. superhero movie coming out next year) sent him down a road that expanded his acting capabilities in new and exciting ways. Plus he talks about William Zabka’s positive influence on him, and the ways that played into how he took on his leadership duties when he got to be number one on the call sheet.  Follow Back To One on Instagram

Last year, Lashana Lynch made history as 007 in “No Time To Die,” this year she uses history to energize her powerful performance in “The Woman King.” In this episode, she talks about how filming that movie “barefoot, on that soil,” surrounded by a truly supportive sisterhood, was so significant to her performance. She explains why she doesn’t have (or even want) a go-to preparation process, what choosing the hard road of avoiding typecasting has done for her career, why she cherishes outstanding Assistant Directors, and much more. Plus she gives us a peek at her role as Miss Honey in “Matilda” by way of describing a tiny, but significant, gesture of her hands. Follow Back To One on Instagram

Australian actor Essie Davis is best known for “The Babadook,” “Game of Thrones,” and “Miss Fisher’s Murder Mysteries.” This year, she stunned me with two incredible performances in two powerful films. In “Nitram,” directed by her husband Justin Kurzel, she plays the important and heartbreaking supporting role of Helen, opposite Caleb Landry Jones. In “The Justice of Bunny King” she broke my heart again, this time playing the house-less titular character who is desperately trying to get her kids out of foster care. It was made pre-pandemic and had a staggered release last year overseas. Look for it in select US cities and on VOD in late September. On this episode, she gives us a glimpse of what’s at the core of her process. She talks about why it takes her an abnormally long time to read a script, the helpful ways Kurzel assists actors in prep, the change that occurred when she stopped “trying” and started “being,” plus much more. Follow Back To One on Instagram

Esteemed veteran actor John Christopher Jones returns to the podcast (his first time was episode 13) to talk about conquering the “real fear” he had of going back to work, in a guest starring role on the television series “New Amsterdam,” while dealing with the unpredictable and often debilitating effects of worsening Parkinson’s. Then he takes us on a brief tour of the various directors that worked well for him over the years, and others that, sometimes hilariously, fell a little short, like José Quintero and his maddening direction in the 1985 production of “The Iceman Cometh” with Jason Robards. He shares frustrating stories of being the understudy who’s thrown into Mike Nichols’ 1984 production of “Hurlyburly,” and having to survive the antics and proclivities of Ron Silver and others. He tells us about the least successful role he ever performed, the most successful, and how looking back on all of it makes him realize how lucky he is. Plus much more! Follow Back To One on Instagram

Austin Pendleton might be best known for “My Cousin Vinny,” or “What’s Up Doc?” but the 82 year old actor, director, playwright, and teacher is a one-man theater institution. It almost seems like there isn’t a great play that he hasn’t performed or directed, somewhere, in his 60+ years in the business, and he’s not slowing down in the slightest. In this epic, 90 minute episode, what Meryl Streep said of Pendleton will ring true—“there’s no line between the man and his work.” He talks about his latest performance, in the celebrated new Tracy Letts play “The Minutes,” then takes us back half-a-century to the the first production of “Fiddler On The Roof,” and tells a few incredible stories of working with the great Jerome Robbins. I ask him how teaching feeds his acting work. He shares some important lessons he’s learned from his teachers (like Uta Hagen, Bobby Lewis, and Elia Kazan), legendary actors (like Jo Van Fleet and Kim Stanley), and disasters (like when a horrifically bad review kept him away from substantial roles for 7 years). He leaves us with a vow he made in 1958, which he still lives by, that just might be the secret to his longevity in this emotional roller-coaster of a profession. Plus much more! Sit back and let this great sage of the stage take you on a journey through the life of an actor in a deep, enduring love affair with the work.  Follow Back To One on Instagram