Let me give you a week from 1967 when I was just learning to walk on stage, as it were. I was in “As You Like It,” - in on week – “Taming of the Shrew,” “The Revenger’s Tragedy,” and “The Relapse” by Vanbrugh. There were 8 performances a week. They weren’t great roles, I only had two or three lines in each of them but as I progressed through the Company towards the end of my stay there, my employment in the late 70s, I was in a week playing Frank Ford in “The Merry Wives of Windsor,” [starring in] “Cymbeline,” and Brutus in “Julius Caesar.” All in the repertoire at the same time. So in a sense, I think that that diversity for me is beyond doubt. It’s just part of the cells of my actor’s body. I see it as a matter of fact because I’m not carrying the banner of versatility, I’m not insisting. I just accept it as normal. I accept it as what actors do for a living. I think that’s helped me a great deal, having that perspective.
You could have been Gandhi forever, yet you haven’t been. Do you think it’s because you have that within you that makes you feel that way?
I think so. I would beg any young actor to do this, if anybody is listening or reading this, please do as much theater and as diverse a theater as possible. However difficult it is to find a stage and a director and a cast and a play, do it. It will liberate you for the rest of your career. It will liberate you and you won’t be anyone’s slave. You’ll be a freelance actor. You’ll be free.
Do you look back with nostalgia on those years?
I seem to be a bit nostalgic today (laughing). They were good years and the years of growth and expansion. The years when your ambition is fresh. Those years were wonderful but at the same time, I’m deeply nostalgic for the “House of Sand and Fog.” I’m nostalgic for how I walked on set and said, “Good morning,” to Jonny [Ahdout] who plays my son, and he’d say, “Good morning, Sir Ben.” And we’d embrace like father and son. I love those scenes. I loved filming those scenes. I loved the flow between Jonny and I in those scenes. And the flow between Ron and I in our scenes, and Jennifer, and Shohreh [Aghdashloo]. The tough thing about the film is you become so… You’re in mortal combat with these people, you’re so engaged with these wonderful people. Then the director says it’s a wrap and the producers say, “The wrap party is next week.” And you think, “What? But we’ve just started…” 10 weeks, 11 weeks, 14 weeks if you’re lucky, and it’s over. That’s difficult.
You just mentioned the flow between the actors. Can you share, if possible, that ‘flow’ experience?
Talking about the flow, I think Jonny’s a good example. Jonny has an Iranian father, a wonderful man. And he has an Iranian mom, great Persian parents, very gifted, extraordinary people. Jonny made the leap of faith and Jonny allowed his character to completely and totally accept my character as a father-son relationship. My character and his character were bonded as father and son. Not Jonny and I, because Jonny’s got a dad and I’ve got sons, but the two characters were completely bonded. Which resulted after 10 weeks of work, in the closing scenes during which when my character beholds the fate of his son’s character, I bring all my technique and skill to bear, but find that the amount of acting I’m having to use is almost minimal. The respect and trust and love between Jonny and I during those 10 weeks had built to such a level, [spoiler deleted] that every take I did not have to act. I just had to watch and react as my character. I didn’t have to manufacture anything.
When you come to the set prepared, doesn't that make everyone's game go up a notch?
I don’t feel that. I think that I’m very privileged to do what I do. If I were to give myself a title in this world it would be that of Storyteller. And I think there is a place for storytellers in our tribe, whatever we choose to call our tribe. I think it’s hugely important and vital. I get immensely energized and stimulated by walking onto the set. Maybe what’s contagious, if anything, is my love of storytelling and my insistence on these great stories being heard. That I hope is contagious. Ron is another great storyteller. He thrills to the duty of telling a story. He shakes with excitement. He loves it. Jennifer is the same and Shohreh is the same. She explodes with the passion of storytelling. Jonny had never acted before in his life. He’s a genius. His acting is pure and perfect.
How much did you know about the Persian culture before filming?
I knew a little bit from my fascination with the fact that an ancient dynasty disappeared. The Kings of Persia, the Shahs, I’m fascinated by disappearance. I don’t know why but I just think cataclysmic change is extraordinary. I find it really fascinating, that moment in history and what led up to it.
ADDITIONAL “HOUSE OF SAND AND FOG” INTERVIEWS:
Writer/Director Vadim Perelman, Shohreh Aghdashloo, Jennifer Connelly and Ron Eldard
