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Peter Sarsgaard

Interviewed by LAURA ALBERT
discusses roles in
Netflix film

Lost Daughter

&
Hulu series

Dopesick

Photography Danny Lim
Stylist Rachel Gilman

Interview by Laura Albert

You might notice the vague sensation of a disconcerting uneasiness when Peter Sarsgaard appears in a film. Celebrated as a stellar character actor, he’s often cast as someone you never want to cross, his heavy-lidded aqua blue eyes narrowing in transfixed resolve to do absolute damage. Sarsgaard’s portrayal of John Lotter, the killer of Brandon Teena in 1999’s Boys Don’t Cry, was a heartbreaker, allowing an audience to be appropriately repelled by the obscene horror of a hate-fueled murder.

Whatever role Sarsgaard is taking on, he’s selling it. So while it may not be a surprise, it is a relief to witness that same unwavering determination in his recent role as the exemplary real-life Assistant US Attorney Rick Mountcastle in the Hulu miniseries Dopesick, based on Beth Macy’s non-fiction book, “Dopesick: Dealers, Doctors, and the Drug Company that Addicted America.” Mountcastle leads the dogged pursuit of Purdue Pharma and the Sackler family, tackling the root cause of the opioid epidemic. Those who know the unstoppable grim Sarsgaard certitude know those Sacklers are doomed.

In my conversation with Peter Sarsgaard, we also discuss his role as an equally determined academic in Netflix’s The Lost Daughter, an adaptation of Elena Ferrante’s novel, and what it was like working with his wife Maggie Gyllenhaal as director.

An upcoming role for Sarsgaard is another district attorney of sorts, Gil Colson in Matt Reeves’s The Batman – who might be more the rapscallion Bartholomew Bogue he played in The Magnificent Seven, then the upstanding Mountcastle of Dopesick. There is much speculation as to whether he will be a force for good or evil. But we can count on Sarsgaard’s pitbull clench full force in The Batman.

Hoodie: Monitaly, Jeans: Stylist’s own vintage

Bomber jacket: Alpha Industries, Green blazer: Freemans Sporting Club, T-Shirt: Peter’s own, Pants: Greg Lauren, Sneakers: Vejas, Necklaces: Marla Aaron + Peter’s Own

Hi Peter, I’ve read that, when you play a character based on a living person, you don’t like to meet that person. How did you prepare for this role?

I read the book – actually listened to it with the author reading. Also most of the script was available before we started which is unusual. I don’t find it helpful to meet the person I am playing. I’ve done it a few times in the past and I find that it really doesn’t help. I honor them by honoring myself.

A biopic was made about myself and JT LeRoy a few years ago, with Laura Dern portraying me, and it’s a very bizarre experience. Did you hear any feedback from Mountcastle himself? I would think he felt honored.

I met Mr. Mountcastle after we had filmed while doing press in D.C. He seemed happy enough. I would imagine it feels very strange no matter how it goes. I do know that the issue is important to him so he seemed pleased that we were getting the story out there in such a substantive and significant way.

White button down shirt: Carter Young, Black coat: Issey Miyake, T-Shirt: Peter’s Own

Production of Dopesick began in June of 2020, during the height of Covid – how difficult was it to adjust to the precautions?

I had already worked quite a bit by that point – doing THE LOST DAUGHTER, and BATMAN, and THE GUILTY. Each set was very different in terms of the way they handled it. On my wife’s movie we had all quarantined for 14 days on an island that hadn’t reported any cases. And no one was allowed to leave the island during filming without going through the quarantine process again. We still took precautions — testing every 3 days etc – but it felt more like being in a bubble. On DOPESICK we had a lot of people coming and going because the show is divided into so many different sections with different actors and directors and we were not on an island. The most difficult aspect for me was being so separated from cast and crew. There were different zones that you had to stay in and the actors were behind plexi glass with face masks and shields. We didn’t spend much time rehearsing and we shot quickly – spending as little time as possible unmasked.

I’ve heard some actors talk about a unique bonding that occurred, being “stuck” in a pod – what was your experience?

Not on every show. It depends. On Maggie’s movie we bonded in a way that I haven’t in years because everyone had to stay on the island and we all spend all of our time together – even if we tried to go out alone we would usually run into somebody from the film. Batman was in London and Dopesick was in Richmond and we all stayed at different hotels and worked very different schedules. I saw Michael Keaton once. On Batman I saw Turturro once.

Hoodie: Monitaly, Jeans: Stylist’s own vintage

Jacket: Adidas x Midwest Kids, Jeans: Mavi, Boots: Florsheim

Did you film in Virginia?

Yes.

How much local exploration were you able to do?

John H and I hiked together all the time. I took numerous trips west and east – to the ocean and to the mountains. Outdoor activities were the way to go because of Covid but it’s also the activity I usually prefer. I’m not really a restaurant person.

In both Dopesick and your new film The Lost Daughter, we observe adults who are caught between pouring their time and passion into their work while navigating the demands of young children. As a parent with a working spouse, how do you manage that balance?

Well, we both love doing both. When your partner likes to work and likes to be a parent it is relatively easy to trade off. I have had to let jobs that I wanted to do go because of obligations as a parent. I have rarely had to sacrifice being a parent for a job I really wanted to do. Maybe once. When I did Hamlet. I didn’t put the kids to bed for a very long time.

Hoodie: Monitaly, Jeans: Stylist’s own vintage, Boots: John Fluevog

The Lost Daughter was written and directed by your wife Maggie Gyllenhaal, adapting Elena Ferrante’s novel. You’ve said that other directors you’ve worked with didn’t “really understand me or see me. She does.” How did that depth of insight impact your performance?

I felt comfortable showing aspects of myself that I hold more dear. If you go on a date and the person seems judgmental – if they spend most of the meal talking shit about other people, you can be sure they do they same about you when you leave. If my wife has a problem with something I’m doing I know it. For the most part she just knew that I needed security and warmth. I work best under those conditions. Sure, I’m a professional, I can weather the storm of bullshit that many insecure directors throw your way, but I’d rather not.

In a recent screening Q&A , Maggie discussed the impact you had on the structure of the film, your engagement with giving your feedback. It seems like both a wonderful and intense experience, combining your craft and storytelling wisdom. What were the challenges and joys of being so intimately involved with Maggie and her process of creating the screenplay?

We didn’t speak about it often. I offered input when it was asked for. I was writing something of my own at the time so that was foremost in my mind. It can be much easier to see some fundamental structural idea when you are mired in the details. To be honest, I don’t always want to do it. But she also does it for me. And she has a lot more energy for work than I do. Sometimes I feel like I barely have enough for the creative obligations that I have. But we have worked together since we
met. It is one of the significant ways that we fell in love. First our minds, then our bodies, then our minds, etc.

Black coat: Issey Miyake

Coat: Greg Lauren, Long Blazer: House Of The Very Island’s, Turtleneck: Stylist’s Own, Pants: Freemans Sporting Club, Necklace: Marla Aaron

It’s very impressive to see a female gaze at work in filming the intimate scenes you play with Jessie Buckley – the effect is powerful and immediate, without
being exploitative or reductive. Maggie seems very attuned to allow for a
spontaneous and intuitive response. What kind of discussion went into how
those scenes would be filmed?

We made some parameters. Made sure that everyone felt okay with them. Separately and together. Jessie is such a creative force. I knew that the scenes would be about more than the act. That’s all that mattered to me. Many of the most intimate moments were filmed as pieces. We didn’t say “one, two, three, go!” And start. Maggie would say what she wanted and we would add what we wanted. So there was both the spontaneous and the planned and they felt very similar when we shot the scenes.

We’ve had over a century of men directing their wives in films, from D.W. Griffith to Joel Coen. But what you and your wife have done with The Lost Daughter is almost unique. Did it feel like the two of you were breaking ground with this gender reversal?

Well I just was talking to Rebecca Miller the other day and she did it with Daniel Day-Lewis. But I guess it is unique, though not unheard of. But we have been involved in working together for so long that we don’t really keep track of it that way. It is all meshed together. Now, it was the first time either of us has directed, so that was exciting. I am writing a part for her now and she is going to have a lot of input, not only with her part but with ideas about the whole piece. I’m hoping that we can develop projects where these roles are always in flux.

Coat: Greg Lauren, Long Blazer: House Of The Very Island’s, Turtleneck: Stylist’s Own, Pants: Freemans Sporting Club, Necklace: Marla Aaron, Sneakers: Vejas

Do you see yourself moving into directing?

Yes. But I plan on acting until I’m dead.

You are also an accomplished stage actor, having performed in plays by Tennessee Williams, Chekov, Shakespeare. There is no experience like the immediate interaction with a live audience. Do you miss that contact, acting in films?

Acting on stage is what every actor enjoys most. There is a connection to the beginning of civilization. I’ve always wished I was a better musician – one that was worth listening to. I would find a venue and play every week. It is communion. It’s the most fundamental cultural aspect that we have lost during Covid. To sit and cry together, laugh together, sing together. I will say this though. There is nothing worse than being in a play that don’t work. It’s a very public shaming.

Bomber jacket: Alpha Industries, Green blazer: Freemans Sporting Club, T-Shirt: Peter’s own, Pants: Greg Lauren, Sneakers: Vejas, Necklaces: Marla Aaron + Peter’s Own

White button down shirt: Carter Young, Black coat: Issey Miyake, T-Shirt: Peter’s Own

Have you any plans to return to the stage?

Not at the moment. I’d like to do something by a living author.

I understand you are a huge soccer fan. When I was growing up in Brooklyn Heights as a child in the ’70s, Pelé was always practicing in Cadman Plaza Park. We knew he was famous, but he was very approachable – he was Pelé, the guy who could do magical feats with a soccer ball. How did you fall in love with the sport? Do you have a favorite team?

Actually I have a photo of Pele on my wall. It’s signed. He’s hugging Mohammed Ali. He was my hero as a child. And for me it was more than a game. I played every day, many times before school and after. I practiced by myself and with the various teams. I’ve never loved anything more except my family. It is both sport and art. The beautiful game. A game that is larger than any individual on the team. We love to glorify the individual but you will not succeed or enjoy yourself playing soccer without giving into a certain degree of selflessness. Witness this super team at PSG right now: They have Neymar, Messi, and Mbappe. But it doesn’t matter because they don’t have a team.

Thanks so much for your time Peter, and Happy Holidays to you and your family.