Interview with Actor Ernest Anemone

Ernest Anemone fell in love with acting in elementary school when his drama class presented a couple of scenes from ‘The Taming of the Shrew’. Ernest played Grumio in the scene where he taunts Katherine with promises of food. He remembers finding the whole idea funny because it’s definitely something he would’ve done. So when he acted it out with the same devilish joy that he would have actually done it, the audience cracked up. That’s the moment Ernest realized that he could bring joy to others by finding himself in other people and playing the ‘truth of the moment’.

indieactivity: Did you study acting?
Ernest: Not in the traditional sense. I was trained in the courtroom, which is a different medium for storytelling but storytelling nonetheless. Acting of all stripes requires continuous practice to know what works and to see what makes an impact. It is the art of living truthfully in contrived circumstances. I don’t believe any of that requires a paid course or devotion to any of the self-proclaimed gurus out there. But, I do believe that it requires a willingness to study other people and become radically receptive to their thoughts and emotions. This, and only this, is what allows you to find pieces of yourself in the controversies of your characters.

Working on a character that you’ll love to hate 🎥🎬 #nospoilers pic.twitter.com/3zFeWjxRBq

— Ernest Anemone (@ErnestAnemone) March 8, 2016

indieactivity: What acting technique do you use?
Ernest: I find myself consciously and unconsciously using a variety of techniques. And I know that’s sacrilegious to devotees of particular methods; however, strict adherence to any particular method doesn’t make sense to me. Every method is a finger pointing at something, not the thing itself. The basic premise of acting is simply this: Nobody wants to see you act. So, I do whatever it takes to ground me in the here-and-now so my performance doesn’t just seem authentic–it is authentic.

indieactivity: Do you take courses to improve your craft?
Ernest: Honestly, the best practice out there is to be constantly working, which is what I try to do. If you have a good director, then you’ll have plenty of room to experiment. And as long as you remain flexible and responsive to their feedback and the feedback of your scene partners, you’ll keep improving.

indieactivity: What acting books do you read?
Ernest: The two books that I would recommend to any actor are not books about acting. The first one is The Book by Alan Watts, which is an excellent meditation on our own metaphysical understanding of the Universe and ourselves. And the second is If You Meet the Buddha on the Road, Kill Him! by Sheldon Kopp, which is all about understanding how our personal journey through life is a story that has been told time and time again through a variety of different lenses.

Still from Northeastern Narcs (2017)

indieactivity: How do you keep fit as an actor?
Erneste: The best way to keep fit mentally is to keep fit physically. This does not mean you should obsess about shaping your body into somebody else’s vision of beauty but it does mean that you have to use your body in such a way that you keep in communication with it.

indieactivity: How do you prepare for a role, when you get it?
Ernest: The first thing I do is a cold read of just my scenes. I don’t like to start off knowing more than I should about any of the other characters or what’s happened to them. Of course, my interpretation will evolve after I read the whole script but I think the words themselves are the best starting point for figuring out who I am and where I need to be.

indieactivity: How do you stay fresh on a production set?
Ernest: For me, the best way to get into character quickly is to get out of character quickly. The time between “action” and “cut” is sacred and it’s all business, but after the director calls “cut,” I let go of the character–and all of his burdens. During this time, I try to enjoy the company of the cast and crew as much as I can. When the director calls “action” again, I’m suddenly back living the life of the character.

indieactivity: Describe a memorable character you played?
Ernest: Daniel Cohen, which was a recent character from an upcoming experimental film by director Howard Woolf. In the film Letting Daniel Go, I’m a film professor coming to terms with a cancer diagnosis and its painful treatment. This role required about an hour of makeup each day to make me look sick and ultimately, it made me feel sick. Being Daniel was a stark reminder of how Cancer slowly robs us of the things that makes us who we are and how we have to make sense of what is left.

Memorable Role-Letting Daniel Go (2017)

indieactivity: What do you want most from a director?
Ernest: Notes, and lots of them. I not only want to know what I can do differently but please tell me what I did right. One of the worst feelings in the world is not hearing anything back, which I can assume means everything was fine, but it also means that I don’t know how my performance fits within the greater vision of the story.

indieactivity: What advice would you give to actors?
Ernest: Never aspire to fame and never judge your accomplishments in monetary terms. This craft is about storytelling. The director tells the story and the actor lives the life of the character. The reasons why some people achieve commercial success are often completely unpredictable and there isn’t a single formula–the roads are many. Also, this industry is filled with some of the most amazing, creative people that you’ll ever meet and those relationships are the real prize and you should make as many as you can.

indieactivity: Briefly write about your career?
Ernest: After spending many years as a criminal trial attorney, Ernest resumed his career as an actor and has wrapped dozens of projects this past year alone. He has appeared as a lead and supporting actor in short films, feature films, commercials, industrials, and print advertisements. Clients include Walt Disney Studios, Lego, ThermoFisher, and other Fortune 500 companies.