![]() And one of the keys in what we do is we get to feel like we are extending beyond that human body, that human limitation, and we are touching something divine in what we do, if we’re lucky-or at least we’re reaching for it. And if I had had to miss a show for Angels in America for whatever reason-which, thankfully, I didn’t-I would have considered myself a failure or weak or all that negative self-talk, which is an unfair judgment, because there’s something so powerful about owning-ĪG: Yeah, flexing your limitation. Probably most of the issue is, I think, that people who work at that kind of level are harder on themselves than anyone else. I keep thinking about Simone Biles and the news she made at the Olympics, which I thought was one of the most inspiring things I’ve seen in a while: for a kind of superhuman athlete to own their humanity, own their limits, and stand in self-ownership and self-love with a very hard decision, where they could be perceived as being by themselves. But at the same time, your human body is like, The last thing I wanna do is get on that stage. ![]() I’m thinking about something like doing Angels in America onstage for a year and a half, and you can’t help but surrender to the theater gods and that character and the ideas in the story and the story itself, because all you want to do when you wake up every morning is serve the audience and serve that story for them on a plate. And that’s a great thing, and it’s a gift, but there’s a wound in that as well, as you’re kind of alluding to. There’s lots of practices I have, but the other problem is that I love what I do so much, but it can take me over. It usually takes me a couple of weeks to come back to a more languid, natural, not-so-adrenalized rhythm. ![]() It’s shifting rhythms, that’s the hard thing. And, to be honest, for me, it’s nature, it’s the ocean, it’s surfing, it’s basketball. I have great friends, I have a great family, and I have interests outside of what I do, thank god. I’m lucky to have great people in my life. I think the trickiest part is just coming back to a level of real relaxation and ease in between working. And one thing will work for a while and then it won’t work anymore you have to find another practice to keep you centered. There’s no getting there in terms of finding that balance. How do you approach that?ĪNDREW GARFIELD: It’s a good question that I’m always asking myself. ![]() THE BELIEVER: Something I was thinking about when I was preparing for this conversation and reviewing your body of work was how either healthy or unhealthy people must be to do what you do, because it seems to require, on top of everything else, so much physical, mental, and psychic endurance. We spoke on the phone one night after he’d wrapped shooting for the day: he was in a car on his way home, and I was sitting at my best friend’s dining table. In 20, he starred in three films: Mainstream, The Eyes of Tammy Faye, and tick, tick… Boom!Īfter much back-and-forth about whether we could make this interview happen, I found myself on the East Coast for work while he was filming in Calgary, Canada, for the miniseries Under the Banner of Heaven, based on the book of the same title by Jon Krakauer. After studying at the Royal Central School of Speech and Drama, he proceeded to perform on both stage and screen with some of the most admired filmmakers and actors of our time, winning him a British Academy of Film and Television Arts Award and a Tony Award for Best Actor in a Play, as well as nominations for Golden Globe Awards, an Academy Award, and a Screen Actors Guild Award. That recording helped sustain me through the first difficult year of the COVID-19 pandemic I quickly found the rest of his work.Īndrew Garfield was born in Los Angeles in August 1983, though he was raised in Surrey, England, by his Jewish-American father and English mother. His thoughtfulness in engaging with tough questions about commercialism and art led me to seek out the National Theatre proshot of Angels in America, in which he plays Prior Walter. I first became interested in Andrew Garfield and his work not from his starring role in the two big-budget Amazing Spider-Man films (2012, 2014), nor from his famous laptop-smashing scene in David Fincher’s The Social Network (2010), but from a conversation between him and Amy Adams from Variety Studio’s Actors on Actors series.
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