Ron Perlman is no stranger to compelling, character-driven stories, and his latest film, Day of the Fight, is no exception. Directed by Jack Huston in an impressive feature debut, the film stars Michael Pitt, Steve Buscemi, and Joe Pesci.
In this interview, Perlman discusses his long-standing friendship with Huston, the challenges of shooting the film on a demanding 20-day schedule, and how he found inspiration in Pitt’s raw, unfiltered approach to his character.
In this interview, Perlman discusses his long-standing friendship with Huston, the challenges of shooting the film on a demanding 20-day schedule, and how he found inspiration in Pitt’s raw, unfiltered approach to his character.
He also chats about acting and how he approached his character, and why he avoids auditions. This interview has been edited for length and clarity. For the full interview, watch the video above or check out our YouTube page.
How did you get involved in this?
Ron Perlman: Well, Jack and I go back, we acted in a movie together, I don’t know, 15 years ago, and we’ve stayed friends since. And then we ran into each other just as he was getting ready to get greenlit for this. And he’d written and was about to direct a movie, would I have a look?
And I said, “Have you written and directed a movie? And you’re thinking about having me in it. I don’t need to have a look. I’m in.” Because it’s Jack Huston and he’s one of the most beautiful souls I’ve run into in this long, sordid, horrible slog of mine.
What would you have done if the script stunk?
Ron Perlman: For Jack Huston, I would have just kept my mouth shut, kept my head down and gotten through it. But luckily, that was nowhere near the reality.
As a first-time filmmaker, I think he knocked it out of the park.
Ron Perlman: I did too. And a lot of really important people are saying that. Martin Scorsese presented the film in New York a couple of weeks ago and he said this is the best film directorial debut he’d ever seen.
Can you tell the difference between a director who is an actor and a director who’s never been on the other side of the camera?
Ron Perlman: No, I can’t. I mean, you know that that’s the case, but it’s not apparent. Because, especially on all the days we had to film this, which were way too few, the whole movie was made in 20 days, which is an incredibly crazy schedule.
But, the only important thing was what the director is telling you what he needs. And then when we have a shot at executing the scenes, how we all felt about it… I didn’t see an actor there. I just saw a filmmaker. And my obsession was to give him everything he needed to realize what his vision was.
You guys are peers. So, what was your relationship with him like on set? What was his directing style towards you?
Ron Perlman: He’s a fan. I mean, he’s a cheerleader. Every once in a while he quotes his granddad, who happened to be, you know, the greatest of all time, John Houston, who said, “90 percent of it is casting.” And so he felt like he did get it right across the board. Everybody in this movie gives really, really effective, hauntingly beautiful performances. When you do that, they’re going to come to the party with almost everything you need.
And the only time a great director gets involved is if somebody is needing some sort of a prodding. But a great director will recognize, “Oh, my God, that was as good or better than what I imagined. And let’s just move on.” And that’s the way Jack works.
You mentioned the fast shooting schedule. Do you like shooting that fast?
Ron Perlman: I do. If you look at my resume, it’s like 95 percent of it is low budget indie movies, and so that comes with the territory. There’s not a lot of resources. I mean, I think Hellboy‘s schedule was 110 days of filming. We had 20. But I do like working fast.
Having read about a lot of actors and talked to a lot of actors, it boils down to there are a lot of people who are best on the early takes and there are a lot of people who need a lot of warming up and they don’t start cooking until take 12 or 13. If I get to take 12 or 13, I’m ready to put a gun in my mouth and pull the trigger until it doesn’t work anymore, to quote a great Marlon Brando line.
What’s the what’s the most takes you’ve done like ever, you think?
Ron Perlman: Thirty-four.
Oh, man.
Ron Perlman: I’m not going to mention the movie or the filmmaker but I wasn’t wishing him well.
So, you were done after like, what, two or three takes?
Ron Perlman: Yeah, I had what I thought I needed after two or three takes. And then everything after that was no longer my problem. It was his problem.
I’m also aware of the fact that when you get past where you feel like you’re most spontaneous and you’re most real and you’re having to do it over and over and over again, you’re actually relinquishing what is best in your contribution. So, when you’re aware of that, it’s like even more frustrating.
Your character, you’re like the father figure to Michael Pitt’s character. You guys are supposed to have known each other forever. What did you do before you started filming to forge that in your in your mind? Do you do anything like write notes in the script?
Ron Perlman: I do on occasion, but there are certain movies where I just want to be open and raw. And watching Michael Pitt prepare for playing Irish Mike, I realized he was so open and raw and uncontrolled and that’s a willful act for an actor to walk onto the set and relinquish control in the name of spontaneity and whatever it is that’s coming out of you at the moment.
I decided that that was going to be my wheelhouse. I’m just going to tune into what Michael Pitt is doing and react off of him. And everything that I need to have revealed about their relationship will be revealed by just doing, by just gluing into Michael and staying there and being there for him, because I think that was the dynamic of the relationship from the get go.
This kid walks into his gym. He’s a troubled kid. He’s got some bullsh*t happening in his home life. But the gym is a sanctuary for him and a place where he’s able to bring out his best skill set. And Stevie recognized that and said, “This is something that needs nurturing and this is something that needs encouragement and some tough love at times as well to keep him on the tracks.” So that was the dynamic.
I’ve got to ask you this or I’ll regret it but what’s been your worst audition ever?
Ron Perlman: Pretty much every audition. I’m a horrible auditioner.
Are you? I can’t believe that.
Ron Perlman: I am. Luckily, I don’t audition anymore. You can easily interpret it as, “well, this guy’s too arrogant to audition. He’s a big star.” But I just don’t want to have anyone see me in that state. I’m a horrible auditioner. And auditioning for me and then actually getting the part and playing the part are two different, complete skill sets.
And so, I prefer to stay with the one that I’m more comfortable with.
