In Part I of the interview with Pedro Pascal, he shared with us about how he fell in love with acting and made a career out of it. Despite the shaky moments he had that made him question his career path, he stuck it through and eventually reached the level of success he craved for. We continue below.
And how do you view your breakout role in Game of Thrones now?
It changed my life, but what’s interesting is how all the silly jobs that I’ve had before this one also felt like big breaks. I was a jobbing actor by my late 20s, and I was just as excited with some seventh-tier role on some network television show because it meant that I could pay some bills.
That felt like as big as a win as anything else. It’s the same with theatre. Because it’s so hard to go from the small plays to the medium-sized ones, getting a role in the latter feels like a miracle too. I was close to becoming homeless many times in the past, and was actually staying at an AirBnB before getting the role in Game Of Thrones, so I must really thank the showrunners David Benioff and D.B. Weiss for taking that chance on me.
Has your experience in theatre helped your work in film? How do they compare?
Theatre work is like the building blocks of what I do now. From Shakespeare to something contemporary, and everything in between, I’ve done them all. When you perform the same thing eight times a week, you’re constantly reworking your role to keep it interesting, whether it’s discovering something new or discarding something that exists. It feels like training. The last time I took classes was in college – and that’s something I don’t recommend – but doing theatre work felt like staying in school, which helped. Plus, it provided medical insurance and a weekly paycheck.
Tell us more about the new Mandalorian series.
It’s taking things in a new direction. I think it’s amazing that Lucasfilm is letting Jon Favereau and Dave Felloni take Star Wars into new territories as far as style and tone are concerned, from using practical effects and digital special effects in tandem, to exploring characters out of the familiar Star Wars settings. They’re also blurring the boundaries between the good guys and the bad guys, and I love the idea of having things in a grey area. We’re dealing with the outer reaches of the galaxy here, which means a lot of ambivalence around what is right and wrong, and the conflict between self-serving and self-sacrificial decisions and actions. It’s all very much a part of the Star Wars story. As for the character, the Mandalorian is a bounty hunter, and people pay him to do jobs. Let’s just leave it at that for now.
Christopher Nolan said he casted Tom Hardy as Bane because of how he acts through his eyes in the mask. What was it like to express everything you needed to in this role with a full-face helmet on?
Much of the work is already taken care of by the writing, which is great, as well as the visual experience that the show provides. But it was still important to me to live in the story as a person who does not show his face, so I worked a lot on the character’s body language. It feels almost like going back to theatre. I think that there’s a lot that can be told with stillness and very economical movements.
I hear that you’re a real movie nerd. Do you have recommendations for fairly unknown directors or movies that we should pay attention to?
I just saw this incredible movie called Monos by Alejandro Landes. It was amazing. And I’ve been floored by [director] Ari Aster. He’s an aesthetician that also brings out great performances, and the films Hereditary and Midsommar blew me away totally. There’s also someone who’s up and coming – Taika Waititi – who made Jojo Rabbit, that’s, in my opinion, the best movie of the year.
(Photos: Doug Inglish; Styling: Lucy Armstrong; Grooming: Mira Chai Hyde; Production: Cool Hunt Inc.)