Home --> News --> Blog --> Here
The CillianSite interviews Peacock actor
09 June 2008 at 03:17 PM | by Quetzaltlaloc, with Melty_Girl and Pierspaul
Cillian's fellow Peacock actor, Paul Cram
A few weeks ago, we blogged about actor Paul Cram's tale of shopping for sweaters with Cillian during the filming of Peacock. Of course, we had many questions for Paul, who graciously responded about his experience working with Cillian on the set of the film.
The CillianSite Collective: What can you tell us about Kenny, the character that you play in Peacock?
Paul Cram: Kenny is a tiny role in the film, though I had a lot of fun with him. He is the type of person that does his work and doesn't take it home. He's notorious in the town for finishing other people's sentences for them. Originally, I auditioned for the role of Will, a greasy 35-40 year old that no one trusts, but at my casting call-back, I read for so many roles that the director Michael Lander chuckled and said "Is there a part Paul isn't reading for?"
CSC: We've read that the film is set in the 1960s. Can you confirm this? What were you told about the time period of the film?
PC: Yes, the film is set in that era. Though during my wardrobe fitting and make-up test I came to understand the ageless aspect of the color scheme and styles. I was surprised that my hair was cut for the film, I don't have very long hair to begin with, but they wanted it very tight around the neck, nothing scruffy. There is a social properness infused into the film that isn't generally associated with the era of the 60s. Really, the set and wardrobe captured that wonderful Midwest American feeling of a small town where time has almost seemingly stood still, like a Norman Rockwell painting. It could be today—or sixty years ago.
CSC: In what town in Iowa did you film your scene?
PC: I feel a bit silly about this, but I don't know. It was about an hour drive away from Des Moines, Iowa. I was driven from my hotel to and from the town that was used for the set. It was a charming town that seemed to only be a block long.
CSC: According to the casting material, your scene in Peacock takes place in what seems to be a small grocery store. Was the set an actual store, or was an empty building kitted out as a small-town grocery used?
PC: It was a real store, not a fabricated set made to look like a store. Some of the products on the shelves had to have been there for over twenty years. The owner of the store was there and in between takes, some of the crew and us actors purchased items from her.
CSC: How long did the scene take to film?
PC: I arrived on set in the morning around 11 a.m., and left set in the evening around 11 p.m., so about twelve hours.
CSC: In between takes, what did you and Cillian do to pass the time?
PC: Besides trying on sweaters and making small talk about technological advances in colored contact lenses, we spoke about our experiences performing in theater. Cillian was surprised by the fact that I was able to be in a theater show that was running in Minnesota while simultaneously being in Peacock (the theater company re-scheduled my show to the following weekend to allow me to be on the film).
CSC: You interacted with John, the male personality of Cillian's character. Could you describe this character and give any impressions you have of John?
PC: John is a clean cut nebbish guy that works for the town bank. As much as I'd like to delve into further detail, I am hoping your readers will pardon me in not giving away more than this until the film comes out.
CSC: Did you catch a glimpse of Emma, the female personality of Cillian's character? If so, what can you tell us about her physical appearance?
PC: I only saw Emma's wavy tresses during my hair cut, the stylist had them out—coiffed and ready for action.
CSC: What acting tips/advice did Cillian give you, if any?
PC: Cillian and I didn't delve into acting methods used for the craft. But I hope that I learned from observing him perform and interact with the crew. It was awesome to see his attention to the little details in creating a character, such as the lilt of his walk, or his stance, and position of a shoulder. The little nuances of character were what stuck out to me as something I ought to become more aware of in my own craft.
CSC: What specific acting experiences did you gain from working with Cillian?
PC: Cillian and I were trying on zip-up sweaters and found we wear the same size. That was cool for me, as it's rare that I'm ever same size as anyone. He bought a sweater for himself, and one for me. I told him I'd pay for mine but he just said, "It's a gift." It spoke volumes to me about the small things that we all can do for one another that mean a lot.
CSC: Did you meet any of the other major actors working on Peacock?
PC: Other than Cillian, I met Eden Bodner, a resident of Minnesota. She plays a heart-wrenching role in the film; I wanted to cry watching her and Cillian act in our scene together.
CSC: Michael Lander, the director of Peacock, is rather new to movie directing. What is your opinion of his directing skills?
PC: I have a lot to say about Michael Lander. I have to back up a little to my audition for the film. From the moment I walked into the casting director's office to audition, Michael made it an atmosphere of calm, creative professionalism. He hopped up from his chair, came around the table in the room and greeted me with a handshake and said, "Paul, it is so great to meet you. Let's simply talk through the lines once to get the mind-cobwebs out of the way, then we'll start the camera rolling for the audition." I left the office thinking that if I didn't get cast in Peacock, that I'd strive to work with him on another of his projects. While on set, he maintained that calm creative atmosphere, giving me a few minor notes to alter what I was doing. He was very good at directing.
CSC: How would you sum up the general experience of working on Peacock?
PC: To sum up the experience: I wish I would have been on-set longer. Cillian was down-to-earth and genuine, as well as members of the crew. Producer Barry Mendel, director Michael Lander, and cinematographer Philippe Rousselot were really cool people. All in all, a wonderful experience and I am proud to have worked on it!
Paul Cram is currently at work on the art film Bob Nash's Business Trip, which puts an alternative spin on the Rip Van Winkle fairy tale. He can also be seen in two independent films being released on DVD in fall 2008: Contract Killers and 13 Hours in a Warehouse.
email | 
permalink | - read more: site news, interviews, cillian news, filmmaking, peacock
Write a comment
Posts: 4
Reply #4 on : Mon October 20, 2008, 22:12:17
Posts: 4
Reply #3 on : Thu June 12, 2008, 11:03:46
Posts: 4
Reply #2 on : Tue June 10, 2008, 17:36:05
Posts: 4
Reply #1 on : Mon June 09, 2008, 18:44:44