It has been a long while since anyone saw or heard from the acclaimed actor Daniel Day-Lewis. After he statement in 2017 declaring he would no longer pursue acting, prior to the release of The Phantom Thread, Day-Lewis withdrew from the spotlight. Yet, in his absence, his legend has only grown.
Largely, this reputation revolves around his preferred style of working. As someone known for disappears into the roles he plays – for instance, during the Lincoln biopic, reportedly asked Steven Spielberg address him as “Mr. President” throughout the shoot – audiences has grown more fascinated with how he works. Is it true he actually sent messages to co-star Sally Field in character as Lincoln? Was it accurate that he consumed solely animals he’d killed for Last of the Mohicans? And did he demand being spoon-fed while filming My Left Foot?
Madness in their method: has the public lost interest with actorly excess?
Currently, Day-Lewis is back to public attention, with some hesitation, promoting his latest movie Anemone. He is taking this chance to express his anger at how method acting is perceived. “I am somewhat annoyed nowadays when I hear all kinds of people talking carelessly and saying things like ‘fully embraced the Method’, which seems is meant to imply that a person’s behaving like a lunatic in a drastic way,” he told a major publication. “People often concentrate on superficial details of the work, and these elements typically include some form of self-punishment or an experience that imposes upon oneself extreme unease or mental instability. However, in the life for a performer, it has to principally be about the inner transformation.”
To be honest, this sounds like the actor has come out from seclusion and found himself aghast at the world that has developed in his image. When you are widely considered one of the greatest performers to ever work, and your approach includes headbutting a dummy to the point of injury (in Gangs of New York) or spending 48 hours in isolation without food or water (during In the Name of the Father), then it stands to reason that fellow performers will want to emulate that example by trying to mimic your hero.
In other words, we now live in a landscape populated by half-cocked Day-Lewis impersonators who want nothing more than to show the world the extensive degree of effort they put into their roles. On the milder side of this trend we have people like Lady Gaga, who was so desperate to win an Oscar with House of Gucci that she dedicated the whole campaign attempting to persuade people that she transformed into an Italian native over 18 months as preparation.
Then we have Jared Leto, who chose to immerse himself in the character as the Joker (in Suicide Squad) through sending “disturbing” presents to fellow cast members. These, according to various accounts, range from dead pigs and rats to anal beads and personal hygiene products, although Leto denied those worst excesses. Then, naturally, there is Jim Carrey, who immersed himself so fully into Andy Kaufman during Man on the Moon that filmmakers literally managed to get a full-length documentary out of B-roll of him making life as impossible as he could for his colleagues.
The foremost Method Guy currently seems to be Jeremy Strong (formerly Day-Lewis’s assistant), whose approach during Succession was so laboriously intensive that it became the subject of a derisive magazine feature, including statements from people who were either concerned for his behaviour (“The toll on himself that worries me,” remarked co-star Brian Cox) or extremely irritated by his actions (“I remember [him] making everyone else to react with exasperation,” said an unnamed co-star).
The actor claims he ‘never intended to retire, really’
We have numerous additional cases. Andrew Garfield abstained from sex over half a year for Silence. Leonardo DiCaprio rested inside an animal carcass for The Revenant. There’s a fighting chance that actor Austin Butler continues to talk like Elvis Presley, years following that film came out. Each of these instances, in part, aims to evoke the dedication in which Day-Lewis approaches his craft.
And, while his fightback to critics of the Method might be noble, a short publicity tour might not be enough to change anyone’s mind, let alone their behaviour. Perhaps if he wants to make audiences recall what method acting is, or to show them its potential results, then the optimal strategy for Day-Lewis is to simply begin producing additional movies. Surely we could all support that idea.
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