It’s been a long while since anyone caught a glimpse of the acclaimed actor Daniel Day-Lewis. Following his announcement in 2017 that he would no longer work as an actor, just before the debut of Phantom Thread, the actor withdrew from the spotlight. Yet, during his hiatus, his legend has only grown.
Largely, this reputation revolves around his preferred approach to roles. Being an actor known for immerses himself in his characters – for example, during Lincoln, reportedly asked Steven Spielberg call him “Mr. President” for the entire production – audiences has become more fascinated with how he works. Is it true he really send messages to co-star Sally Field as Abraham Lincoln? Did he consumed solely game he hunted during The Last of the Mohicans? And did he demand being spoon-fed while filming My Left Foot?
Extreme acting methods: have we lost interest with actorly excess?
Currently, Daniel Day-Lewis has returned in the limelight, somewhat reluctantly, for his new film Anemone. And he is taking this chance to vocalise his frustration at how the Method technique is perceived. “I am somewhat annoyed these days when I hear various individuals talking carelessly and using phrases like ‘fully embraced the Method’, which seems suggests that a person’s behaving like a lunatic in a drastic way,” he told the New York Times. “Everyone tends to focus on the less important details of the work, and these elements typically include some form of self-flagellation or an experience that causes extreme unease or mental instability. But of course, in the career of an actor, it has to mainly focus on the inner transformation.”
To be honest, this sounds as if Day-Lewis has come out from his retreat and found himself shocked by the world that has developed mirroring his methods. If you’re widely considered among the best performers in history, and your process includes striking a prop to the point of injury (for Gangs of New York) or spending 48 hours in solitary confinement deprived of sustenance (during In the Name of the Father), then it stands to reason that other actors will attempt to emulate that example by trying to mimic their idol.
In other words, we exist in a landscape full of imperfect imitators of Day-Lewis who strive only to demonstrate the sheer amount of effort they invest in their roles. On the milder side of this trend we have people like Lady Gaga, who was so desperate to win an Oscar for House of Gucci that she dedicated the entire promotion attempting to persuade people that she transformed into functionally Italian over 18 months in preparation.
Then we have Jared Leto, who decided to deeply embed himself in the character of the Joker (in Suicide Squad) by sending “horrifying” gifts to his castmates. These, depending on who you ask, included dead pigs and rats to intimate objects and personal hygiene products, although the actor refuted those worst excesses. Then, naturally, there is Jim Carrey, who went so deep as Andy Kaufman during Man on the Moon that filmmakers literally managed to get a feature-length documentary out of B-roll of him making life to the utmost for everyone around him.
The main Method Guy currently seems to be Jeremy Strong (once an assistant to Day-Lewis), whose process while filming Succession was so laboriously intensive that it became the subject of a critical magazine feature, full of quotes from individuals who were worried for his behaviour (“It’s the cost on himself concerns me,” remarked Brian Cox) or extremely irritated by it (“I recall him causing others roll their eyes,” said an anonymous cast member).
Daniel Day-Lewis claims he ‘did not plan to stop acting, truly’
We have numerous additional cases. Andrew Garfield abstained from sex over half a year while preparing for Silence. Leonardo DiCaprio slept in an animal carcass for The Revenant. There’s a fighting chance that actor Austin Butler continues to talk in the style of Elvis, years following the movie’s release. All of this, to some extent, is meant to invoke the dedication in which Day-Lewis takes his work.
And, while his fightback to critics of the Method might be noble, a brief promotional cycle might not be enough to change anyone’s mind, let alone their practices. Maybe if he wishes to make audiences recall what method acting is, or to demonstrate what it can achieve, then Day-Lewis’s best bet is to simply start making more films. Surely everyone would get behind that.