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BY SCOTT HUVER | March 1, 2010 | People
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STANLEY TUCCI has long been known as an actor’s actor, but recently he has emerged as everyone’s actor with two radically different but equally mesmerizing performances. First Tucci’s turn opposite Meryl Streep as chef Julia Child’s ever-besotted, ever-supportive husband, Paul, in Nora Ephron’s Julie & Julia warmed audience’s hearts, then he chilled them to the marrow with his portrait of the banality of evil playing the child molester and murderer in Peter Jackson’s adaptation of the best seller The Lovely Bones.
Now Tucci’s standing front and center in the annual awards-derby spotlight—and, more important, in the eyes of appreciative filmgoers. How does he do it? Ask an actor: “Stanley’s a master of less is more,” says his Julie & Julia costar Jane Lynch. “He really knows how to do that. It’s all going on inside.”
We sat down with the Academy Award-nominated actor to talk about Meryl Streep, playing a dark character and what an Oscar nomination means to him.
LOS ANGELES CONFIDENTIAL: Mr. Harvey in The Lovely Bones is as dark as they come. How did you approach stepping in and out of the character? Was it a relief to set him aside at the end of the day?
STANLEY TUCCI: Oh my God, I couldn’t wait for the end of the day of shooting. You just want to get rid of it completely, but then you know you’ve got to come back the next day. Being able to change myself physically made a huge difference, because then you could just strip it off at the end of the day. The key thing is you have to remember that no matter what these people do, they are human beings. And that’s the scariest part. People say, “Oh, he’s a monster.” Well, he isn’t a monster. He’s a person whose acts are monstrous. You have to find the human elements.
In Julie & Julia, there seemed to be such a warm romance going on between you and Meryl Streep, whom you’d also worked with in The Devil Wears Prada. Was it nice to play a romantic leading man?
It was fantastic! I did The Lovely Bones first, and going to do [director] Nora [Ephron]’s movie was a great antidote to that. And to be a romantic leading man with Meryl—nothing could be greater! We’re becoming closer friends, and that film solidified the friendship. The times we spent together were always really joyful and sort of giddy. We share a very similar, cheap sense of humor.
At this stage of your career what does acting mean to you? How do you approach it, both as a profession and an art?
I love doing what I do. Ideally you want to get to that place every time that Meryl gets to—that playfulness, that childlike quality. You want to be serious about what you do, but you never want to take yourself too seriously. As a younger person, I almost took myself too seriously, and I think it was detrimental to my performances and to my outlook on acting as a whole. Now I’m much more secure as a person, and that security leads you to the ability to not take yourself so seriously. And once you do that, you have tremendous freedom. You have to remember it’s not nearly as hard as you think it is. I’m not saying it’s effortless, but I’m saying it must appear to be effortless in the end.
On the topic of taking things seriously, you’ve been in the mix for major awards more than once. How would you describe that experience?
I’ve been very lucky to have been nominated or won a lot of really big awards. I’ve never been nominated for an Academy Award before, and everyone kept saying, “Oh, that’s going to happen this year.” I certainly wasn’t holding my breath. But it’s fun to go to the shows. You have a great time; you get dressed up; you see your friends. And if you win, it’s great. You have these funny-looking things on your shelf that remind you of something people think you did well. Let’s face it: In Hollywood we do love to congratulate ourselves a lot. But you can say that, and then when you’re being congratulated you really don’t mind it so much. And anybody who tells you differently is a liar.
What does your Oscar nomination mean to you?
You know why I love it? Because my parents are still very much alive, and it’s great—just great—for them to experience that. And it’s also painful, because my wife passed away this past year. I’m thrilled but sad because she won’t be able to be there with me, because if anyone is the reason I’m there, it’s her.
PHOTOGRAPH BY NOAH ABRAMS
Styling by Melis Kuris for Atelier Management
Grooming by Kim Verbeck for Exclusive Artists Management/Lancôme Men
Photographed in the penthouse of the Mondrian Los Angeles