‘September 5’ Star John Magaro Talks Bob Iger’s Big Assist and How Co-Star Peter Sarsgaard Influenced His ‘The Bride’ Casting

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On September 5, actor John Magaro acknowledges that he’s experienced a fortunate streak over the past five years, yet his roots in the Cleveland area keep him grounded and prevent him from becoming complacent.

Since Todd Haynes, the director of “Carol”, supported his casting for “First Cow” in 2018, Orion Lee Magaro has been putting in a tremendous amount of work as if there were no tomorrow. At the moment, you can catch him on the silver screen in Tim Fehlbaum’s “September 5”, and on the small screen in the series “The Agency”, produced by George Clooney. Additionally, he has two films running on the festival circuit this year before his appearance in Maggie Gyllenhaal’s “The Bride” this fall. To top it off, he recently completed work on “The Mastermind”, which marks their third collaboration with Kelly Reichardt over the past few years.

Magaro’s strong work ethic stems from his upbringing in Northeastern Ohio, a place he described as accustomed to facing setbacks. It’s also a reflection of the challenging times during the pandemic and labor strikes in 2020 and 2023, particularly because they coincided with him becoming a new parent. In these difficult times marked by economic contraction and devastating wildfires in Southern California, Magaro is deeply appreciative of what he has.

Magaro expresses gratitude as he shares that many of his peers and coworkers are currently jobless due to recent events, including the fires in Los Angeles which have further strained the film industry. However, he feels fortunate to still be employed and seizes every opportunity that comes his way, aware of the challenges and increasing difficulty within the business.

On January 17, the story delves into the inner workings of ABC Sports’ control room as they documented the nearby terrorist attack by Black September during the 1972 Summer Olympics held in Munich, West Germany. The drama follows a fictionalized version of real-life sports producer, Geoffrey Mason, who, at the age of 32, took charge unexpectedly to report on the lethal threat against 11 members of the Israeli Olympic Team’s athletes and coaches. The actor, Magaro, who began his career as an extra in Steven Spielberg’s film ‘Munich’ (2005), released after the Munich Massacre, credits Mason for providing essential insights and playing a crucial role in obtaining ABC’s historical footage through Disney CEO Bob Iger.

Magaro mentions that there might have been a different version of [September 5] without the actual footage, and the idea of an actor portraying broadcaster Jim McKay makes him uncomfortable. He questions if the movie would have had the same impact if it wasn’t the genuine Jim McKay on screen. They had discussed potential actors for Jim McKay, but co-writer/director Tim Fehlbaum stated emphatically that if they were to go that route, he wouldn’t make the film. Magaro suggests that Fehlbaum may have been bluffing, but his conviction in securing the footage was undeniably strong.

In the film industry, Peter Sarsgaard, one of Magaro’s co-stars, was deeply moved by Magaro’s commitment during their scenes together. He highly recommended Magaro to Maggie Gyllenhaal for a role in the upcoming movie titled “The Bride“. This production is a sequel to Gyllenhaal’s Oscar-nominated directorial debut, “The Lost Daughter“, and it shares similarities with the classic film “Bride of Frankenstein“. The main characters in this genre piece are played by Christian Bale as Frankenstein’s Monster and Jessie Buckley as Frankenstein’s Bride.

Peter graciously suggested me to his spouse (Gyllenhaal) for the role in ‘The Bride!‘, which I had a fantastic experience filming during spring last year. This movie is quite eccentric, and it’s unlike ‘The Lost Daughter‘ in every sense. It’s like a fusion of classic dance films starring Fred Astaire and Ginger Rogers, the humor from ‘Young Frankenstein‘, the darkness of both ‘Frankenstein‘ and ‘Bonnie and Clyde‘, and the raw energy of ‘Badlands‘. Essentially, it’s a wild, entertaining journey that’s unlike anything seen before. I can’t wait to present it to the audience. It’s absolutely unconventional!

In a recent chat with THR, Magaro shared details about the extensive efforts he made to embody Mason’s character. Part of this preparation involved spending some time within CBS’ Sunday football control room. This exclusive opportunity was granted by Sean McManus, the son of Jim McKay and former chairman of CBS Sports, who had been with his father in Munich on the tragic day in 1972.

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It’s been quite some time since we last talked about the awards campaign for First Cow, and since then, it appears your momentum has been strong. I mentioned earlier that you seemed to be benefiting from good fortune, but you downplayed it due to your “Cleveland” modesty. Now, do you feel the boost that the success of First Cow’s Cookie might have provided?

My professional journey has faced numerous setbacks. Just like the film “First Cow“, it grappled with the challenges posed by Covid-19. It debuted in the first week of March 2020, brimming with anticipation and enthusiasm, only for the world to abruptly halt shortly after. At that moment, I was welcoming a new addition to our family, and we found ourselves confined to an apartment for two years, eagerly awaiting a return to some semblance of normalcy. However, when things started to improve, we were hit by strikes, causing another shutdown. These challenges have served as character-building experiences, strengthening my ardor for acting.

Indeed, the collaboration between myself and Kelly Reichardt has been quite profound, as we’ve just completed our third project together titled “The Mastermind” featuring Josh O’Connor. I consider myself incredibly fortunate to maintain such a fruitful partnership with an auteur director whose work I deeply admire. It’s heartening to see that even now, people continue to appreciate our earlier film, “First Cow“, often discovering it through streaming platforms. I couldn’t agree more with their assessment of its uniqueness and special quality.

Hey there, September 5th rolls around again, and I can’t help but do a double take when I remember you were an extra in Steven Spielberg’s Munich. That’s quite a full circle, man! So, when September 5th popped up in your inbox this year, did it feel like fate was nudging us back together?

Back then, stepping onto the set of Munich as a green college grad, I couldn’t help but chuckle at the irony. Here I was, a skinny kid, crossing the street next to Eric Bana, feeling like an extra in this epic production. It was my first time on a movie set, and believe me, I wasn’t learning from Spielberg or the principal cast from afar; I was more focused on not causing any trouble or messing up shots.

Fast forward 20 years, and here I am again, revisiting that very first experience in a way I never could have imagined. It’s strange, isn’t it? Life has a funny way of coming full circle sometimes. I can’t help but wonder if there’s some cosmic force at work, or maybe it’s just one of those bizarre coincidences that make us gamers pause and say, “Wow, how did that happen?”

Our stories may be vastly different from Munich, but the echoes are undeniable. It’s like a game I once played has somehow come to life, and here I am, controller in hand, navigating this new level with a grin on my face.

Geoffrey Mason, your on-the-ground sports producer, played a crucial role in ensuring the September 5th production was as accurate as it turned out to be. However, there were initially some reservations, correct?

In my opinion, Geoff Mason was approached by Tim Fehlbaum, our writer-director, as well as Moritz Binder, another writer, for an interview. Many other individuals involved in the project were also interviewed, but it was Geoff’s account that particularly intrigued them and offered a distinctive viewpoint on the events that transpired in Munich that day. It was his suggestion to narrate the story from a media perspective rather than a broader or more encompassing one. Due to the limitations of independent filmmaking, they had to adjust their original concept for the movie’s narrative. Since Geoff is quite modest, he didn’t anticipate his conversation becoming the foundation of the entire film. I believe that being thrust into the limelight made him feel somewhat apprehensive, and I got the impression that he would have preferred someone else in this role.

In our initial interactions, he showed great concern for the individuals in the control room, desiring their narratives to be acknowledged and emphasized alongside ours. However, given a 94-minute script, some aspects may unfortunately get overlooked. He was worried that his story might be exaggerated or misrepresented, but we reassured him that our focus would be on authenticity rather than sensationalism. We aimed to present events truthfully from the outset, which helped alleviate his concerns. His apprehension eased when he witnessed our dedication in recreating the [ABC] control room with precision according to the blueprints and even making 1972 equipment function so that actors could interact with it.

In acting, there seems to be only one destination – success, and every actor has their unique approach. Years ago, Peter Sarsgaard shared with me his perspective that he doesn’t significantly alter his performance when portraying real or fictional characters. For example, he modeled his Bobby Kennedy in the film “Jackie” based on two childhood acquaintances. However, considering Mason’s significant role in the movie, did you feel a sense of responsibility to remain as accurate as possible?

In my interpretation of Geoff Mason, I believed it was crucial to stay true to his experiences while avoiding an exact imitation of him or his mannerisms. My goal was to convey the story he shared with me as truthfully as possible. This approach offered a sense of freedom since no one knows how Geoff sounds or what he looks like. By focusing on the narrative and his emotions, it resulted in a more genuine portrayal. I aimed to highlight certain qualities, such as his innovative spirit and great humor. Throughout the film, you can see hints of his playful nature, though we don’t have many opportunities for outright joking. Once the shots start firing, however, he emphasized the need to stay professional and leave emotions aside.

When it comes to portraying characters in a film about Bobby Kennedy’s entire life, there’s a different kind of responsibility. However, this story primarily revolves around one day at work, making it essential to delve into their feelings on that specific day. This approach seemed like the best way to pay tribute to Geoff, rather than simply impersonating him.

Apart from providing all his wisdom, Mason additionally facilitated the acquisition of the archival footage through Disney CEO Bob Iger. Just how crucial was this footage turn out to be on that specific day?

The movie wouldn’t have been as impactful without the authentic footage. Having an actor portray Jim McKay instead might have diminished the film’s appeal. We were incredibly fortunate to secure the archival footage in the nick of time, and it significantly contributes to the film’s success with audiences. I can hardly imagine the movie working the same way if it wasn’t the real Jim McKay on screen. He plays a crucial role as one of the five main characters, and obtaining that footage was a last-minute effort. We only knew for certain two weeks before production started that we would have access to the footage. There were discussions about potential actors who could play Jim McKay, but director Tim threatened not to make the film if it came down to casting an actor instead of using the actual footage. While I believe he was bluffing, his conviction towards having the footage was evident.

Fortunately, our producers persisted and conveyed their desire, which eventually led to Geoff Mason assuming control. His respect within the sports broadcasting community, coupled with his close connections, enabled him to make influential phone calls. With both Geoff’s and Sean McManus’ support on board (Sean being the head of CBS Sports and CBS News at that time), we benefited greatly from their backing. It’s worth noting that Sean McManus is Jim McKay’s son and was present in Munich during the fateful event. Geoff’s association with Bob Iger facilitated the request for these favors, eventually leading to the release of the tapes to us.

Consequently, we needed to adjust parts of the script based on the new footage available. On set, we often found ourselves modifying scenes further to adapt to our limited resources, which presented an exciting predicament. With my prior research in sports broadcasting and familiarity with live calls from control rooms, I felt equipped to handle these changes alongside the real-life footage. Ultimately, this approach lent a unique, captivating charm to the final product that wouldn’t have been possible otherwise.

When reenacting such a traumatic historical incident and constantly viewing the associated video clips, it’s safe to say the atmosphere on set must have been quite somber. Was there a particularly moving scene during production that might stay with us long after the cameras stopped rolling?

Instead, what I’d like to emphasize is that my experience has shown me quite the contrary. Over the years, I’ve noticed that when the material is dense, the performers tend to become more playful, and the atmosphere on set lightens up. However, spending the entire day in a heavy, serious state can be draining, and it’s not ideal for either physical or mental health. Instead of living in constant drama off-camera, it’s essential to reserve that intensity for when the camera is rolling, allowing the emotion to naturally unfold.

During downtime when the camera wasn’t recording, there was a sense of camaraderie building among us as we joked and conversed casually, much like a real broadcast team does off-air. When not on live broadcast, there’s more room for playfulness, and so our bond grew stronger in the breaks between takes. However, whenever the camera was on, we made sure to maintain respect for the victims and those present in the broadcast room. We discovered that getting into the right mindset became easier when we did this during the breaks.

A particularly memorable instance for me was when, as Geoff, I uttered the words “They’re all gone” to Jim McKay. On the screen, I saw a spectral image of him, and it felt like I was truly experiencing the atmosphere in that room. My gaze met his, and I could see how he gripped his earpiece while receiving the news from me in this scenario. There’s an uncanny quality to that moment, and I believe I may never again have the chance to replicate such a live broadcast interaction. Yet, despite the intense and confined environment, the set was surprisingly lively and playful.

Are the characters consistently pondering if their actions are aiding or hindering the rescue mission? Additionally, they’re cautious about disseminating information prematurely when it’s not yet confirmed. Can you tell if Mason still reflects on those incidents in his thoughts nowadays?

It appears that event from the film has deeply affected the character, leaving an indelible mark on him which he continues to grapple with. Since the movie’s release, we’ve had some discussions about it, but I didn’t feel it was essential to delve into his retrospective understanding of the situation. Our narrative primarily focuses on that single day and the actions taken during it. However, from his perspective, there wasn’t an opportunity for contemplation; he was merely doing his best under trying circumstances. In my opinion, we managed to convey these dilemmas effectively in our movie. This incident marked the first time a live global broadcast was dealing with such a devastating event, and these sports broadcasters were unaccustomed to news reporting. As a result, they didn’t have the luxury of debating the right or wrong decisions regarding showing graphic footage or potentially influencing rescue efforts. Instead, they quickly devised makeshift solutions before returning to the control room, with no time to engage in a thorough ethical analysis. Jeff suggested that they were essentially winging it without the chance to determine what was appropriate or inappropriate.

Today, I believe there hasn’t been extensive exploration of these queries yet. Should we broadcast footage of houses being engulfed in flames? Should we capture children being rescued from debris? Should we stream live a person getting shot? Following September 5, 1972, it became apparent that the sensationalism of such events boosts ratings and attracts viewers, which now seems to be the primary focus, particularly with the advent of 24-hour news cycles. It’s uncertain if these questions were ever conclusively answered, but Geoff and his team posed them nonetheless.

After September 5th, you and Sarsgaard were both part of Maggie Gyllenhaal’s The Bride project. Could you share a little bit about your time working on this film?

Peter graciously offered to introduce me to his wife (Gyllenhaal) for “The Bride” project, which I had a fantastic time working on last spring. The movie is quite eccentric, and it’s unlike Maggie Gyllenhaal’s previous film “The Lost Daughter” that she directed. It’s a unique blend of the style seen in Fred Astaire-Ginger Rogers films, “Young Frankenstein,” “Frankenstein,” “Bonnie and Clyde,” and “Badlands.” Essentially, it’s an exhilarating, entertaining journey. At the heart of this production are Christian Bale and the outstanding Jessie Buckley. I can’t wait to share it with an audience as it’s something fresh and exciting that people haven’t seen before. In a word, it’s bonkers!

Sarsgaard’s endorsement takes me back to when Todd Haynes vouched for you with Kelly Reichardt, and as we discussed before, First Cow has grown into a trilogy under her direction. In other words, a simple compliment can have far-reaching effects.

Due to my Cleveland spirit, I simply appear and put in my best effort. In this peculiar and dynamic field, such dedication carries weight. It’s a complex world, and it’s always evolving. Occasionally, the negative aspects of this industry receive recognition due to their sensational nature. However, the genuine artists understand the value of hard work, which holds significant influence. I believe that this work ethic has been instrumental in my journey, and I hope it continues to propel me forward with a favorable wind.

Over the past few weeks, I’ve been enjoying “The Agency” and I must say, the cast is incredibly talented. It seems like a big-name actor appears for only a brief scene in each episode. And to top it off, I can’t help but wonder how you managed to fit filming this show into your already busy acting schedule.

Despite my relentless pace, I’m making an effort to rest now. The impact of Covid on actors and those in this industry was truly devastating, and the two years without work have left a profound mark. As soon as things started moving again, I found myself eager to continue working. This desire was further intensified by the strike that followed immediately. Consequently, I’ve been agreeing to many opportunities, and fortunately, they’ve all turned out to be fantastic projects.

Interestingly, a movie titled “Omaha” which I worked on prior to “The Bride!“, is set to debut at Sundance this week. Additionally, my film “Köln 75” is scheduled for premiere in Berlin during March. Following the completion of “The Bride!“, The Agency presented an opportunity, but I found myself pondering, “Should I stay put?” However, with a compelling cast and Joe Wright at the helm, along with Grant Heslov, George Clooney, and David Glasser as producers, it seemed logical to accept the role. I’m grateful for being a part of such an outstanding ensemble and looking forward to returning for the second season.

I consider myself quite fortunate as I see many of my peers and colleagues in the industry struggling to find work due to the shrinkage in businesses following recent events. Specifically, below-the-line crew members like grips and gaffers seem to be particularly affected. With the ongoing fires in L.A., the film industry there has already suffered greatly. Given these circumstances, I feel grateful to still have employment and eagerly embrace new opportunities that come my way. I’m well aware of how tough this business can be, and I understand that it’s becoming increasingly challenging.

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September 5 expands nationwide on Jan. 17.

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2025-01-14 01:25