John Turturro, a name synonymous with intense performances and versatile roles, had already carved a significant niche for himself in New York’s acting scene even before hitting thirty. Fresh out of Yale, his raw talent was undeniable, culminating in an Obie Award in 1985 for his powerful portrayal in John Patrick Shanley’s Danny and the Deep Blue Sea. This early recognition was a testament to the dedication and visceral energy that John Turturro brought to his craft. His ability to embody complex characters quickly caught the attention of prominent directors, setting the stage for a remarkable career.
William Friedkin, known for his gritty and realistic filmmaking, cast John Turturro in To Live and Die in L.A., a role that perfectly showcased the actor’s edgy persona. Turturro’s performance brilliantly captured a streetwise intensity, a hint of unpredictability that made him captivating on screen. This role threatened to typecast John Turturro as a villainous character, but he strategically chose smaller, contrasting roles to demonstrate his range. He appeared as a librarian in Michael Dinner’s Off Beat and a scriptwriter in Woody Allen’s Hannah and Her Sisters, consciously diversifying his acting portfolio.
At just twenty-nine years old, as this interview reveals, John Turturro was on the cusp of even greater opportunities. He was heading to Chicago to work with Martin Scorsese on The Color of Money, a project that, while not a leading role, represented a significant step in his career and a chance to collaborate with a directorial legend.
Early Film Roles and Career Choices of John Turturro
Reflecting on his early career trajectory, John Turturro shared insights into his role selection and ambitions. “I haven’t been doing leading roles in films initially,” he explained. “My first role was in Desperately Seeking Susan. Then I did To Live and Die in L.A., where I received single billing. Following that, I completed Ron Howard’s Gung Ho. The Color of Money was a smaller role, even though it was the third male lead.” This candid assessment highlights Turturro’s pragmatic approach to building his career, prioritizing experience and collaboration over immediate fame.
Interestingly, John Turturro revealed that his agent initially advised against taking the role in The Color of Money. The agent considered it a step down and was concerned about financial compensation. However, Turturro’s desire to work with Scorsese ultimately swayed his decision. “Eventually I decided to take the role,” he stated, underscoring his commitment to artistic growth and learning from esteemed filmmakers.
The Scorsese Connection: A Long-Held Ambition
The allure of working with Martin Scorsese was a significant factor in John Turturro’s career decisions. His ambition to collaborate with the renowned director dated back to his undergraduate days. Turturro recounted an early encounter: “When I was in undergraduate school, I did The Tooth of Crime, the Sam Shepard play, and De Niro came to see it with Cis Corman, who was casting Raging Bull at the time, and my friend and I were called in to meet Scorsese and De Niro.”
This early audition experience for Raging Bull, though ultimately unsuccessful in landing him a significant role (he got a minor one-line part), left a lasting impression and solidified his aspiration to work with Scorsese. He described the intense audition process, preparing a scene from Jake La Motta’s book with meticulous dedication. “We rehearsed it like mad. It was only a three-page scene, but wherever we were we would rehearse the scene. We rehearsed it rowing in Central Park, running, playing basketball, boxing, just to see what would come out.” This anecdote illustrates John Turturro’s early commitment to immersive character preparation and his eagerness to impress directorial giants like Scorsese.
Influences and the Genesis of an Acting Passion
John Turturro’s passion for acting ignited in his childhood. He reminisced about his early fascination with movie stars: “When I was real young, eight or nine, I used to make scrapbooks of movie stars. I liked Burt Lancaster and Kirk Douglas.” This childhood admiration evolved into a deeper engagement with cinema. He humorously confessed to skipping school to watch classic films like White Heat, demonstrating an early and fervent dedication to film study.
His journey into performance began with impressions. “I did impressions for a while with my cousin in high school. I worked at the Improv, and I would perform at banquets and weddings, doing Ratso Rizzo from Midnight Cowboy — serious stuff.” This experience honing his impersonation skills and performing for live audiences laid the groundwork for his formal acting training. Initially involved in sports, including basketball and boxing, an injury redirected his focus. “Then I broke my hand, and I started realizing I was always doing these impressions or entertaining my friends, and that’s probably what I wanted to do.”
Discovering Method and Material
John Turturro’s approach to acting was also shaped by his early exposure to classic performances. For college auditions, he chose a monologue from On the Waterfront: “I coulda been a contender.” He emphasized his individual interpretation, stating, “I didn’t do it like Marlon Brando did, I did it my way.” This highlights his respect for iconic performances while asserting his own artistic identity.
His deep dive into film extended beyond just watching movies. He described learning dialogue by sheer immersion: “When I think about it, how did I get this material? I never taped it, I didn’t have a VCR. I guess I knew the movie so well I would write down the dialogue. On the Waterfront I’ve seen almost thirty times.” He also mentioned his admiration for Anna Magnani and The Fugitive Kind, indicating a continuous process of learning and inspiration from cinematic masters.
Film vs. Theater: Adapting Performance Styles
John Turturro offered insightful perspectives on the differences between film and theater acting. While acknowledging an initial desire to work in movies, he recognized the nuances of each medium. “I wanted to do movies. Everybody wants to, ’til you do one and find out how boring it is. Unless you’re working with exciting people and you have a large role — then it’s stimulating on a whole other level.” This candid observation reflects the often-unglamorous reality of film production and the importance of engaging projects.
He noted the adjustment required in performance size when transitioning from stage to screen. “Somewhat. The size of it — I’m just learning to say to myself, ‘I can do less.’ You don’t realize it at first, so you want to make sure they see everything.” He credited cinematographer Robby Mller for guiding him in this aspect during To Live and Die in L.A., emphasizing the collaborative nature of filmmaking and the importance of learning from experienced crew members. “He told me, ‘What you’re doing in rehearsal, that’s enough.'”
The Rewards and Challenges of the Actor’s Craft
When asked about his favorite aspect of acting, John Turturro humorously replied, “I can sleep late.” But he quickly transitioned to a more profound answer: “Discovering something. Performance can be great sometimes, but rehearsal is really exciting.” He elaborated on the transformative rehearsal process, citing his experience with Danny and the Deep Blue Sea. “When we were doing Danny and the Deep Blue Sea, I couldn’t get the character. It sounded like me too much. Then one day my whole body started changing. I had the thought of being in a shell, and everything started coming in, my shoulders, my forehead, my back — almost like an ape. People who are afraid turn in on themselves, like a turtle or a crab.” This detailed description offers a glimpse into his method acting approach, emphasizing physical embodiment and emotional depth.
Conversely, John Turturro acknowledged the demanding aspects of his profession. “Sometimes you have to meet the greatness of the play — if you’re doing Hamlet — and some plays you have to make way better than they are.” He described the physical and emotional toll of performing in Danny and the Deep Blue Sea for an extended run. “Doing that long run of Danny was exhausting. I felt like the play didn’t work on the level I wanted it to work unless I destroyed myself — vocally, physically, emotionally mostly.” This reveals his dedication to delivering impactful performances, even at personal cost, and his understanding of the demanding nature of committed acting.
In conclusion, this early interview with John Turturro provides a fascinating window into the formative years of a celebrated actor. From his Obie Award-winning theater work to his burgeoning film career and his collaboration with Martin Scorsese, Turturro’s journey is marked by dedication, passion, and a relentless pursuit of authentic performance. His insights into acting, his influences, and his reflections on the craft offer valuable perspectives for aspiring actors and film enthusiasts alike, cementing his place as a significant figure in contemporary cinema and theater.
Source: Based on an interview from Caught in the Act: New York Actors Face to Face (1986).
