It has been a long while since anyone caught a glimpse of Daniel Day-Lewis. After he announcement in 2017 declaring he would no longer work as an actor, prior to the release of The Phantom Thread, Day-Lewis quietly faded from view. However, in his absence, his reputation expanded further.
Primarily, this reputation centers on his preferred approach to roles. Being an actor known for immerses himself in the roles he plays – for example, while filming Lincoln, reportedly asked the director address him as “Mr President” for the entire production – the world has grown increasingly obsessed with his process. Is it true he really send messages to co-star Sally Field in character as Lincoln? Did he only eat animals he’d killed for Last of the Mohicans? Did he insist on receiving food via spoon for My Left Foot?
Madness in their method: have we fallen out of love with actorly excess?
Currently, Day-Lewis is back in the limelight, somewhat reluctantly, for his new film Anemone. He is taking this chance to vocalise his frustration regarding how method acting is perceived. “I am somewhat annoyed nowadays when I hear various individuals talking carelessly and using phrases like ‘gone full method’, which I think is meant to imply that someone is behaving like a lunatic in an extreme fashion,” he told the New York Times. “People often concentrate on the less important details of the work, and those details always seem to involve some sort of self-punishment or an experience that imposes upon oneself a severe discomfort or mental instability. But of course, in the career of an actor, it has to mainly focus on the inner transformation.”
Frankly, it appears like the actor has emerged from seclusion only to discover shocked by the world that has been created mirroring his methods. If you’re widely considered one of the greatest performers to ever work, and your process involves striking a prop to the point of injury (for Gangs of New York) or spending two days in isolation deprived of sustenance (during In the Name of the Father), it’s natural that other actors will attempt to fill that vacuum by imitating their idol.
Essentially, we exist in an environment populated by half-cocked Day-Lewis impersonators who strive only to show the world the extensive degree of effort they put into their roles. On the milder side of the pool we have people like Lady Gaga, who was so desperate to earn an Academy Award with House of Gucci that she dedicated the whole campaign attempting to persuade people that she became an Italian native for a year and a half as preparation.
Then we have Jared Leto, who decided to deeply embed himself in the character as the Joker (in Suicide Squad) through sending “disturbing” presents to his castmates. These, depending on who you ask, included deceased animals to intimate objects and used condoms, although Leto denied the most extreme claims. Then, naturally, we have Jim Carrey, who went so deep as Andy Kaufman for Man on the Moon that filmmakers succeeded to get a full-length documentary from behind-the-scenes footage of him making life as impossible as he could for his colleagues.
The foremost practitioner of the Method currently would appear to be Jeremy Strong (once an assistant to Day-Lewis), whose process during Succession was so laboriously intensive that it formed the basis of a derisive magazine feature, full of quotes from individuals who were either concerned about his conduct (“It’s the cost to himself that worries me,” remarked co-star Brian Cox) or extremely irritated by his actions (“I recall [him] making everyone else to react with exasperation,” stated an anonymous cast member).
The actor says he ‘did not plan to stop acting, truly’
There are numerous additional cases. Andrew Garfield abstained from sex for six months while preparing for Silence. Leonardo DiCaprio slept in a dead animal during The Revenant. There’s a fighting chance that actor Austin Butler continues to talk in the style of Elvis, years following that film came out. All of this, in part, is meant to invoke the dedication in which Day-Lewis approaches his work.
And, although his rebuttal to critics of the Method might be noble, a short publicity tour may prove insufficient to change anyone’s mind, let alone their practices. Perhaps if he wishes to remind people what method acting is, or to show them its potential results, then the optimal strategy for Day-Lewis is to just start making additional movies. Certainly everyone would get behind that.
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