It has been quite some time since anyone caught a glimpse of the acclaimed actor Daniel Day-Lewis. Following his announcement in 2017 that he would no longer pursue acting, prior to the debut of The Phantom Thread, Day-Lewis withdrew from the spotlight. However, in his absence, his legend expanded further.
Primarily, this reputation centers on his favored style of working. Being an actor known for immerses himself in the roles he plays – for instance, while filming Lincoln, he had Steven Spielberg call him “Mr. President” throughout the shoot – the world has become increasingly obsessed with how he works. Did he really send messages to co-star Sally Field in character as Lincoln? Was it accurate that he only eat animals he’d killed during Last of the Mohicans? Did he insist on being spoon-fed while filming My Left Foot?
Madness in their method: has the public lost interest with over-the-top performances?
Currently, Day-Lewis is back in the limelight, somewhat reluctantly, for his new film Anemone. And he is using this to express his anger at how the Method technique is viewed. “I am somewhat annoyed these days when I hear all kinds of people talking carelessly and saying things like ‘gone full method’, which seems is meant to imply that a person’s behaving like a lunatic in a drastic way,” he stated to the New York Times. “People tends to focus on the less important aspects of acting, and these elements always seem to involve some form of self-flagellation or a situation that imposes upon oneself a severe discomfort or psychological strain. However, in the life for a performer, it must principally be about the internal work.”
To be honest, this sounds like Day-Lewis has come out from seclusion and found himself aghast at the world that has developed in his image. When you are widely considered among the best performers to ever work, and your approach includes striking a prop until you break your nose (for Gangs of New York) or spending two days in isolation without food or water (during In the Name of the Father), it’s natural that other actors will want to emulate that example by imitating your hero.
In other words, we now live in an environment full of half-cocked Day-Lewis impersonators who want nothing more than to show the world the extensive degree of dedication they invest in their roles. At the shallow end of the pool there are performers such as Lady Gaga, who was so desperate to earn an Academy Award for House of Gucci that she spent the whole campaign attempting to persuade people that she became functionally Italian for a year and a half in preparation.
Additionally, there is Jared Leto, who chose to deeply embed himself into the role of the Joker (in Suicide Squad) by sending “horrifying” gifts to fellow cast members. These items, depending on who you ask, range from deceased animals to intimate objects and personal hygiene products, although the actor refuted the most extreme claims. And then, naturally, there is Jim Carrey, who immersed himself so fully into Andy Kaufman during Man on the Moon that filmmakers succeeded in creating a feature-length documentary from behind-the-scenes footage of him causing difficulties to the utmost for everyone around him.
The main Method Guy currently seems to be Jeremy Strong (once an assistant to Day-Lewis), whose approach during Succession was so rigorously detailed that it formed the basis of a critical magazine feature, full of quotes from individuals who were either concerned for his behaviour (“It’s the cost on himself concerns me,” said co-star Brian Cox) or annoyed beyond all measure by it (“I recall him causing others to react with exasperation,” stated an anonymous cast member).
The actor claims he ‘did not plan to stop acting, really’
There are so many other examples. Andrew Garfield went celibate over half a year while preparing for Silence. Leonardo DiCaprio slept in an animal carcass during The Revenant. It’s quite possible that actor Austin Butler continues to talk in the style of Elvis, years following that film came out. All of this, to some extent, aims to evoke the seriousness with which Day-Lewis takes his work.
Moreover, although his rebuttal to critics of the Method could be commendable, a brief promotional cycle may prove insufficient to change anyone’s mind, let alone their practices. Perhaps if he wishes to remind people the true essence of the Method, or to show them what it can achieve, then Day-Lewis’s best bet is to just start making more films. Surely we could all support that idea.
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