As I delve into the captivating narrative of Michael Cera and his illustrious journey in the world of acting, it becomes abundantly clear that the apple doesn’t fall far from the tree. Born to Emily Hutchinson and Peter Mooney Cera, a family deeply rooted in arts and education, it seems destiny had an active hand in shaping Michael’s life.
Michael’s passion for acting was ignited at a tender age, yet his diverse interests extended far beyond the silver screen. He pursued ancient history and Latin, even spending a term at Columbia University, mirroring the intellectual curiosity of his parents. However, it was not until Noah Baumbach came knocking that Michael’s path to stardom began unfolding.
Cast as the lead in “White Noise,” Michael embarked on an unparalleled journey, gracing the red carpet at the Venice Film Festival and catapulting into a whirlwind of opportunities. From Bradley Cooper’s “Maestro” to Mike White’s “The Perfect Couple 3” and now leading a Hulu series titled “Phony,” Michael’s meteoric rise is nothing short of astonishing.
Yet, amidst the glitz and glamour, Michael’s story remains remarkably grounded. Having left Columbia University to pursue his acting career, he now resides in the East Village, maintaining a strong connection with his family. It seems that even as the spotlight grows brighter, Michael Cera remains firmly rooted in his humble beginnings, much like the towering trees of his family’s ancestral home.
In closing, I can’t help but chuckle at the cosmic coincidence that binds Michael and his father: both played the Rhino, albeit in different productions. As Downton Abbey 3 prepares to grace our screens with Paul Giamatti alongside Michael, one can only wonder if the two Rhinos will cross paths and share a hearty laugh over their shared role.
Over a period of just two weeks in December, Alessandro Nivola left an indelible mark on movie screens with his impressive performances in three different films.
Initially, in early 2020, Alessandro Nivola joined the cast of Brady Corbet’s highly anticipated film “The Brutalist,” playing the character Attila Miller, just as the pandemic was about to disrupt everyone’s plans. Originally, production was set to start three weeks later, but due to the unprecedented circumstances we all faced, it ended up being postponed for three years. As a result, Nivola remained one of the few cast members from Corbet’s original 2020 lineup. Later on, Adrien Brody stepped into the lead role as Attila’s cousin, László Toth. This character is a well-known Hungarian-Jewish architect who, having miraculously survived the Holocaust, moves to the United States. In this new country, Attila offers him a place to stay and a job at his small Philadelphia-based furniture store.
As someone who has had my fair share of sibling rivalry and cousin competition growing up, I can relate to the complex dynamics portrayed between Nivola’s characters, Attila and László. The underlying tensions that eventually lead to conflict are not unfamiliar to me – a constant feeling of being overshadowed by someone else’s talents or accomplishments can create an unspoken rift that only intensifies over time. In my own life experience, I’ve learned that acknowledging and addressing these issues head-on is crucial for maintaining relationships and fostering understanding between family members. It may be uncomfortable at first, but the long-term benefits of open communication far outweigh the temporary discomfort.
As someone who has had the chance to observe and understand human dynamics over the years, I find Attila’s desire to impress László upon his arrival in America intriguing, yet troubling. It seems that Attila feels compelled to demonstrate his success and mastery of the American system to Lászlo, perhaps as a means of validation or acceptance. However, this need for validation masks a deeper insecurity, one that stems from the fact that he is a Holocaust survivor’s cousin who did not have to endure the atrocities himself.
This tension between pride and humiliation is palpable in their relationship. Attila longs to provide safety and refuge for his Holocaust-surviving cousin, but feels a sense of shame that he was spared from the horrors they faced together. This internal struggle creates a vicious cycle of self-doubt and frustration, as László sees right through Attila’s attempts to impress him.
I can empathize with Attila on some level, as we all have our own unique experiences that shape our identities and motivations. However, I believe it is important for us to acknowledge these complexities within ourselves and strive to learn from them rather than allowing them to consume us. In the end, genuine connections are built on trust, understanding, and mutual respect – qualities that Attila may struggle to cultivate as he grapples with his own feelings of guilt and inadequacy.
2024’s “The Brutalist” is frequently compared to “Oppenheimer” due to their shared characteristics as sprawling historical dramas, each showcasing grand cinematic experiences in VistaVision and IMAX formats. Both narratives revolve around a genius whose life’s work brings them immense suffering, but the main distinction lies in the production costs. While “Oppenheimer” had a budget of $100 million, a relatively small amount compared to other contemporary period epics, “The Brutalist” was made by Corbet for a mere $10 million. Nivola attributes Corbet’s cost-effective filmmaking approach to a meticulously organized shot list and minimal filming locations.
In indie films, directors often find themselves short on time to film all the necessary angles for each scene, leading to stress. However, Brady is different – he strategically chose his shots to fully capture every scene with minimal angles. Nivola explains that while money stretches further in Budapest, the real keys were careful shot selection and the use of a limited number of locations.
As a diehard fan, I must admit that Alessandro Nivola’s grand performances as Aleksei Sytsevich/Rhino in J.C. Chandor’s “Kraven the Hunter” are, according to general consensus, the rare gems of a film that didn’t quite hit the mark. On the surface, Sony’s latest (and potentially final?) Spider-Man universe flick seemed like it had all the key components: a renowned director, an outstanding cast featuring two Academy Award winners, and the means to shoot primarily on location. However, despite having all the right pieces in place, every film is essentially a gamble, and every good movie is often seen as a miracle.
As a gamer, I can’t say for certain what went down off-screen. In gaming, we often hear tales of internal disputes and too many players trying to call the shots. But me? I’m just a humble player, focusing on my role and enjoying the game. The set was an exciting place for me, filled with camaraderie and fun. So, I didn’t catch any signs of trouble brewing behind the scenes. However, I suspect that’s where the real battle unfolds – in the editing room with various opinions clashing. So, honestly, I can’t say if there were problems or not.
After the filming process, the seasoned actor, Nivola, reached out to Chandor regarding the conservation of a unique choice he had made during a scene where Rhino receives distressing news. This decision led to an extraordinary bird-like screech from Nivola, which is likely to become popular as an Internet meme once the movie becomes available digitally. The daring move reflects Nivola’s career history of taking risks, as demonstrated by Pollux Troy’s pinkie wave in John Woo’s “Face/Off”. However, to his astonishment, this specific scene was slightly altered during post-production.
Nivola shares that his performance was completely quiet, like a muted shriek, and it left everyone on set in stitches. It was strange yet they adored it. We often called it the ‘silent scream moment.’ I kept questioning J.C. [Chandor] during editing if the silent scream remained, to which he replied, “Absolutely, we’d never part with the silent scream.” However, when I watched the movie, it included a vocal catch that wasn’t as impactful as it might have been without it.
In a recent chat with THR, Nivola shares insights about his pivotal scene in Pedro Almodóvar’s film, “The Room Next Door,” where he collaborated with Julianne Moore and Tilda Swinton. He also takes a moment to boast about the burgeoning acting career of his son, Sam Nivola.
It’s not unreasonable to think that “The Brutalist” is this year’s equivalent of “Oppenheimer.” Did you get a feel for the grand vision that Brady and his team had for the movie during its early stages of development?
Initially, Brady’s determination became apparent to me a week into the Covid-19 lockdown when he proposed the job opportunity. At that moment, I had put away my cannellini beans for an extended storage, and he mentioned we’d be filming three weeks later in Poland. Everything was already arranged and prepared. Although we didn’t start filming for another three years, the fact that he was eager to move forward at a time when everyone else seemed frozen in place suggests his overall approach and mindset.
The brief glimpse at the movie during the Venice Film Festival, which he called a “proof of concept,” hinted at its potential grandeur and scope. Filmed while navigating through canals (likely on a gondola or boat), it also seemed to feature music by composer Daniel Blumberg. The way it was shot, with careful framing, camera movement, and deliberate pacing, combined with the haunting music and ominous atmosphere, gave a sense of being immersed in another world. This teaser wasn’t just meant for fundraising; it also managed to create a subtle yet palpable excitement, suggesting that there were depths hidden beneath the surface.
From sampling just a bit of it, it became evident on set that he had an intricate design for each shot, and his cinematic approach was rich and vast. Filming this movie within the budget he did would have been impossible without careful consideration of each frame, as opposed to many Hollywood productions which often require multiple camera angles per scene, resulting in a lot of unused footage or excessive editing that can be disheartening. Indie films, on the other hand, typically face time constraints, leaving some directors scrambling for coverage they need for every scene. However, Brady meticulously planned his shot selection to minimize the number of camera angles required, yet still managed to infuse each scene with a deliberate and impactful quality.
It’s astonishing that Hollywood houses some of the world’s most innovative thinkers, from creative directors to financial strategists. Yet, it’s tough to accept that The Brutalist was made on an estimated budget of $10 million. Was its production value consistent with a film of such cost?
As a gamer, I’ve tackled challenges with far less resources, so a $10 million movie budget felt manageable to me. It certainly came equipped with a standard-sized trailer and a satisfying lunch, which it delivered without fail. The crew wasn’t as large as the one for Kraven the Hunter, but it didn’t feel understaffed. A significant part of this was due to the limited number of locations. A lot of the filming was done in and around the Van Burens’ expansive mansion in suburban Budapest, which we were fortunate enough to call our home base for quite some time. Director Brady creatively explored various angles within the house and its surrounding grounds, making the most of our extended stay.
In recent times, Budapest has become almost as popular as Atlanta for film productions. It’s packed with seasoned, efficient crews, which made the experience less hectic. Although there were days when pressure was high, that’s par for the course in a movie where the director is passionate and unwilling to compromise until they get the desired shots. Yet, it all felt orderly. Every day, a chauffeur from a luxury car picked me up at my Budapest hotel. So, it seems that money stretches a bit further in Budapest, but the real keys were careful shot selection and a limited number of locations.
Were you acquainted with Brady prior to the current situation, or was his impression of you formed after watching you in Disobedience, which he then used as a basis for his actions?
It’s my belief that it might have been the latter scenario. I didn’t know anyone connected to the movie initially, but as we began working together, it was discovered that we did share mutual acquaintances. Chris Abbott lived at Brady and Mona’s [Fastvold] residence during the Covid period. They were in lockdown together, and Chris had developed a close friendship with me through our work on Kraven. Raffey Cassidy also portrayed the third sibling in White Noise. Adam Driver and Greta Gerwig’s characters’ other daughter and son in that movie were played by my two kids, Sam and May [Nivola]. Due to some Covid restrictions, Raffey’s mother was unable to enter the country for a considerable period. So, during that summer, Raffey, who was quite young at the time, became part of our family. She resided with us, and I had already been acquainted with her. However, I was offered this role before the rest of the 2023 cast, except for Raffey and perhaps Stacy [Martin], who had previously worked with Brady on Vox Lux. The other actors cast in 2020 were all different. Therefore, I was among the first to join, and I’d need to ask Brady what prompted him to want to work with me. I’d like to attribute it to our shared experience in Disobedience.
[The following answer contains light spoilers for The Brutalist.]
In Attila, your character portrays both the friendliest and unfriendliest personalities. Transitioning swiftly from a heartwarming welcome to an icy dismissal, did this dramatic shift in behavior leave you feeling confused or uncomfortable while reading?
Absolutely, the initial 45 minutes of the film forms a self-contained narrative focusing on László and Attila, acting as a precursor to the main storyline. This segment sets up all the major themes that resonate throughout the movie. On paper and on screen, their relationship is deeply moving and intricate. However, I didn’t find it emotionally distressing in a conscious sense. Instead, I intuitively grasped the various emotional undercurrents flowing between them. Attila admires László deeply, a feeling likely rooted in their childhood bond, as their families were presumably very close in Budapest. They spent considerable time together growing up, which is evident in their brotherly dynamic.
Attila is in awe of László’s skills and brilliance, an admiration that was probably present even during his adolescence. Additionally, Attila harbors jealousy towards László, not just intellectually but also romantically, as it’s hinted that László may have been involved with one of Attila’s former girlfriends when they were younger. This creates a sense of bitterness and inadequacy whenever László is around, making Attila feel powerless due to László’s strong personality.
As someone who has immigrated to a new country myself, I can empathize with Attila’s desire to prove himself and impress László upon their arrival in America. The struggle to adapt and integrate into a foreign culture, while also trying to show that one has succeeded, is a common experience among immigrants. However, the façade of success can be both exhausting and isolating when it’s not genuine.
In Attila’s case, his need to impress László stems from a deep-seated insecurity, perhaps fueled by the fact that he had escaped the horrors of the Holocaust while László had just emerged from them. This adds an extra layer of complexity to their relationship, as Attila feels both a sense of responsibility towards László and a humiliation at not having shared the same traumatic experience.
It’s understandable that Attila wants to provide a safe haven for László, but it’s also clear that he struggles with feelings of inadequacy and guilt. The weight of his past experiences, coupled with the pressure to succeed in America, creates a tense dynamic between them. It’s important to recognize that these emotions are valid and complex, and addressing them thoughtfully and compassionately is crucial for their friendship to flourish.
In the final scene, László is present when Attila sends him away, which is heartbreaking for Attila. I shed tears during this scene, though you can’t tell because the lighting was too dim due to Brady’s artistic choices. (Chuckles.) It’s a painful decision for Attila to dismiss László, as he believes that László disrespected the commission given to them by acting arrogantly. Moreover, it seems László attempted to betray Attila’s wife [according to Attila], and he showed no regard for Attila’s kindness. Consequently, Attila could not tolerate this behavior, and he tells László, “I understand what you’ve endured.” I said those words while crying, but the dim lighting adds a sense of mystery and danger. It seems Brady intended to create such an atmosphere, and it succeeds, but there is also a deeper layer to it.
Every night before I hit the hay, my mom prepares for her unique gaming session – she fills a backpack with a TPN bag and hooks it up to herself via a line. This setup is like her character’s power-up, giving her the essential nutrients she can’t get from food anymore. It was quite unexpected that Rhino from Kraven the Hunter would echo my mom’s condition, as he too carries a backpack with a similar “feed bag,” connected through a port to keep his Rhino form at bay.
(Laughs.) God, that was segue for the ages.
Do you know what inspired that specific character detail?
As a lifelong comic book fan, I must admit that I found Aleksei Sytsevich’s origin story in “Kraven” to be particularly impactful and thought-provoking. Having struggled with health issues myself, I could empathize with Aleksei’s desire to overcome his physical limitations and the humiliation he experienced throughout his life.
What struck me most about this retelling was how it delved deep into the psychological aspect of his transformation. Instead of simply receiving powers from a magical artifact or radiation exposure, Aleksei went to great lengths to undergo a biochemical change that would give him the strength he always desired. This transformation came at a high cost, however, as he now has to constantly medicate himself just to keep his invincibility at bay and prevent himself from becoming too powerful.
In many ways, Aleksei’s story serves as a powerful metaphor for the struggles we all face in our lives. We often seek out solutions or transformations that will help us overcome our weaknesses or inadequacies, but sometimes those changes come with unforeseen consequences and costs that we must learn to manage and live with. It’s a poignant reminder that there are no easy answers or quick fixes when it comes to personal growth and self-improvement. Instead, it requires hard work, perseverance, and sometimes even sacrifices along the way.
Overall, I found Aleksei’s origin story in “Kraven” to be a compelling and nuanced take on a classic villain, one that adds depth and complexity to his character and makes him much more relatable to readers. It’s a testament to the power of comic books as a medium for exploring complex themes and ideas, and I can’t wait to see where his story goes next.
As a seasoned gamer who has spent countless hours immersed in various virtual worlds, I can confidently say that the choice Rhino makes when his right hand signals a failed hit, embodied by a bird-like cry, is reminiscent of Pollux Troy’s subtle pinkie wave from Face/Off. It’s a moment that resonates deeply with me because it showcases the human instinct to adapt and communicate even in the most challenging situations, a trait that I’ve seen time and again in both gaming and real life.
(Chuckles.) To clarify, my execution was completely devoid of sound, more like a silent shout. It was a dramatic moment we labeled as the “silent scream” on set, and everyone found it amusing, despite its oddity. They loved it so much that they kept asking me about it during post-production. J.C. [Chandor] reassured me that the “silent scream” would remain in the final cut, and true to his word, it did. However, when I watched the film, it had a vocal catch that I believe wasn’t as impactful as the silent version might have been. People thought it was an avian reference, but the silent scream was merely a spontaneous idea that came to me during the scene’s performance. I gave it a try, and it resonated with everyone.
It’s widely recognized that J.C. is a gifted filmmaker, as demonstrated in movies like “Margin Call” and “A Most Violent Year.” However, it’s no secret that creating superhero films is an incredibly challenging task for any studio. There are plenty of suggestions, comments, and trials involved. With the movie receiving negative reviews, do you believe it was overshadowed by the system with its numerous opinions and tests?
As a gamer with years of experience under my belt, I can tell you that working on the latest movie production was an unparalleled adventure. However, being behind the scenes, I must confess, there seemed to be some mysterious happenings that I couldn’t fully grasp. From whispers of studio squabbles to tales of too many cooks in the kitchen, it’s hard to know what the truth is. All I can say for certain is that my time on set was filled with nothing but pure joy and camaraderie.
Working alongside J.C. and Chris Abbott once again was a dream come true; we had previously collaborated on A Most Violent Year, and our rapport made the process even more enjoyable. With the trust of director J.C. and producer Matt Tolmach, my fellow cast members and I were given the creative freedom to run wild, which made the entire experience even more special.
I modeled my character on a close friend and fellow writer, Philip Nikolayev, who’s also known to Emily [Mortimer]. This Russian poet was a frequent visitor during the production of a movie that Emily was working on, which was based on an experience she had in Moscow during glasnost and perestroika. Philip’s recollections sparked Emily’s memory, as they were acquainted back then, and he is truly exceptional. He has a unique voice, demeanor, and appearance that intrigued me greatly. Therefore, he served as my primary inspiration for the role. J.C. and Matt supported this decision wholeheartedly. Working on “Kraven” was a creatively stimulating and satisfying experience for me, similar to many other films I’ve been part of. However, issues may have arisen during post-production when different opinions came into play, but I wasn’t privy to them. All I can say is that I had a fantastic time filming it.
I haven’t delved deeply into the reviews, yet my agents forwarded me the critiques from various trades, which happened to be some of the most favorable comments I’ve ever received about anything. Intriguingly, IndieWire dedicated three pages to discussing my portrayal, and that’s quite flattering. However, I don’t usually give much weight to critical or audience feedback as it can become an endless pit. I’ve encountered this predicament before with the film Many Saints of Newark. It was another instance where my performance was lauded, but unfortunately, the movie didn’t receive the same recognition.
Is it an obvious choice for Pedro Almodóvar and Julianne Moore to include a crucial scene in “The Room Next Door”?
Sure, I accepted the offer to make a cameo appearance in the movie without first reading the script because saying yes was simple. However, the filming process presented some challenges since the character originates from a distinct location and era, with particular cultural and socioeconomic backgrounds. Given that my hometown is outside Burlington, Vermont, which is across Lake Champlain from where this character might have resided, I was acquainted with his potential accent and lifestyle. To prepare for the role, I always aim to be as precise and accurate in terms of all those elements. Yet, Pedro’s movies possess a unique surreal aesthetic that made me question whether my portrayal of an authentic upstate New York cop would harmonize with the film’s environment. Additionally, when you enter a scene for a cameo at the end of a story, it can be difficult to determine the overall tone established by other actors throughout the movie.
A month prior to filming my scene, he whisked me off to Madrid for costume fittings and a couple of days of rehearsals with Julianne Moore and himself. The suit they had tailored for me was a sleek designer number with a pink silk tie, quite the Almodóvar-esque detective character. After that week in Spain, I dived headfirst into prepping to return and shoot it. Of course, my interrogation scene as an Upstate New York detective was filmed in Madrid. (Chuckles.) But in the weeks leading up to my return, I found myself poring over YouTube videos of real-life detective interrogations in Upstate New York, and they all seemed to be wearing the same black polo and khaki pants. I screenshot these and sent them to Pedro, suggesting, “Hey, if it fits, this is what the real guys wear. I’m not trying to insist on it for my role; I just thought you might find it interesting.” He replied, “Thanks for the heads-up. Let me ponder that.” And then, silence until I flew back to Madrid.
Upon reaching the location, I remained unsure if the intricate plan I had devised would clash with how he envisioned the scene to unfold. However, upon entering my dressing room, I found the identical polo and khakis that I’d sent him, in every minute detail, hanging inside my wardrobe. This was a clear signal to proceed with my prepared plan. Although I was ready to adapt on the fly, this was essentially Pedro’s way of telling me, “Go ahead.”
After numerous detailed rehearsals and scrutinizing the script, we filmed the scene using three different setups. One was a two-shot from the side, another was over my shoulder towards Julie, and the last one was over her shoulder towards me. We shot one take for each setup, and Pedro didn’t offer any feedback until we completed the scene. Therefore, the close-up that dominates most of the scene was captured in a single take, which is quite rare in my 30-year career, as I’ve rarely performed any setup in just one take.
It’s worth noting that you’re not alone in being occupied these days among the Nivolas. It seems Sam Nivola has been consistently securing notable assignments. Is his professional trajectory more predictable or surprising to you?
Since his youth, he harbored dreams of becoming an actor, yet his interests spanned far beyond the stage. His passion lay in ancient history and Latin, leading him to devote a term at Columbia to these subjects. However, he aspired not only to act but also to create films. He was more of a film enthusiast than I was as a child. He’s deeply immersed in the Criterion Channel, and his knowledge about the Czech New Wave, particularly Milos Forman’s Czech films, is extensive.
Emily and I played no part in kick-starting his acting career. Instead, filmmaker Noah Baumbach was scouting for young actors for his movie, “White Noise.” Coincidentally, both my children attended Saint Ann’s School at the time, so he reached out to the school asking if they had any promising young talents who were interested in auditioning. Ten students from the school were recommended, and it was only after Sam had already been selected for the audition that we were consulted about it. Initially, Em and I assumed he wouldn’t get the part, but to our surprise, he did! (Laughs).
First off, he executed his debut audition on his own without seeking assistance from me. I merely arranged the camera to record it for him. From the get-go, he nailed it perfectly. I remarked, “I believe that’s perfect.” To which he responded, “Really?” And I replied, “Yes, I think that’s perfect.” He then submitted it, and lo and behold, they developed a keen interest in him. This marked the commencement of a six-month auditioning phase during which he had to audition multiple times, about seven in total. As time went on, they decided to incorporate our daughter, May, into the picture since they learned that Sam had a sister and were seeking siblings for casting. The same thing occurred with May, and when they cast both of them together, we thought, “This will make it a family project. We’ll all be in Cleveland together for a fun-filled summer.” And it was indeed. The film eventually premiered at the Venice Film Festival and the New York Film Festival, making for an extraordinary journey for the two of them.
Sam is six-and-a-half years senior to May, and at that time, he had recently completed high school. Consequently, he stepped off the red carpet in Venice and proceeded directly to his first day at Columbia University. Not surprisingly, this was a challenging transition for him, unlike our daughter who returned to regular schooling. We wanted her to take a break from acting for a while, avoiding the risks associated with child stardom, such as an interrupted childhood and lack of normal educational experiences. However, she did accept a role in Noah’s latest film, “Jay Kelly“, featuring Clooney, last summer.
Sam’s career took a turn independent of us, leading to rapid advancements. Bradley Cooper cast him in “Maestro,” while Will Oldroyd selected him for “Eileen.” After departing from Columbia, he pursued “The Perfect Couple.” However, plans to return to Columbia that fall were momentarily on hold due to Mike White’s offer for “White Lotus 3.” This clearly indicated a shift in his path, and now he’s the star of the Hulu series “Phony,” taking on the main role. Things are moving quickly for him, and he appears genuinely content. He has a comfortable residence in the East Village. As he matures, our relationship has significantly improved once I ceased worrying about his departure from Columbia and stopped trying to manage his life.
Where will we see you next?
Downton Abbey 3 with Paul Giamatti. We realized on set that we both played the Rhino.
***
The Brutalist expands nationwide in late January.
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