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MARTIN LANDAU SPEAKS OUT ABOUT THE
ACTOR'S RESPONSIBILITY TO THE AUDIENCE AND TO
THE WORLD
BY ROB KENDT
Martin Landau has been places, both in actuality
and in his imagination. And at this point in
his five-decade career, he’s the kind
of actor for whom the distinction between the
worlds he’s experienced and those he can
conjure, like a kind of sorcerer, is marvelously
fluid.
Yes, he steeped himself in the famous actor’s
Method—was a protégé, in
fact, of its main guru, Lee Strasberg, at The
Actors Studio, where his best friend for a time
was James Dean—which had as its mission
a recreation of real life down to its tiniest
detail. The Brooklyn neighborhood in which he
grew up was filled with the kind of outsized
characters he can still flip through like a
sort of actor’s Rolodex, and into whose
personae and accents he’ll go at the drop
of an anecdote: Italian goombahs, Irish upstarts,
Jewish kvetchers. And New York
City’s hustle and bustle provided a virtual
laboratory of walks, voices, types and quirks
to observe and imitate.
For evidence of how well he learned the lessons
of Method-style realism, his Oscar-nominated
performance as a quietly anguished philanderer
in Woody Allen’s Crimes and Misdemeanors
stands as a model of acting economy—of
maximum emotional impact with minimum histrionic
fuss.
But the role for which he won the Oscar—aging
Hungarian horror star Bela Lugosi, in Tim Burton’s
elegiac comedy Ed Wood—is an appropriately
theatrical, even fanciful, creation. While that
performance is finely detailed enough to honor
the rigorous tenets of the Method, it is nevertheless
a brilliant act of sustained imaginative creativity
on Landau’s part.
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This skill—for “going places”
he’s never been—is one he developed
over decades, traveling everywhere from dusty
Western streets to Space: 1999, inhabiting everyone
from Simon Wiesenthal (in the TV movie Max and
Helen) to toy-maker Geppetto (in a series of
live-action Pinocchio movies), from sleek superspy
Rollin Hand (in the series Mission: Impossible)
to Hebrew patriarch Abraham (in the biblical
film
In the Beginning).
The gift of a wide-ranging imagination began
not on the mean streets of Landau’s childhood,
however, but in the Sunday color comics.
“New York had a lot of newspapers in those
days, and all had color comic sections,”
Landau recalls with relish. “On Sunday
morning, there was this short pile of comic
sections—Mickey Mouse, Bringing Up Father,
Dick Tracy, Krazy Kat. I couldn’t read
yet, but those strange worlds—the Krazy
Kat world, the Willie Winkie world—were
all in color and all strange, and the people
were all unique and different. I could sit and
look at these pictures for hours.”
At 17, Landau took some drawings of his own
to the New York Daily News and—in what
may have been his first successful acting performance—lied
about his age and got a job as staff artist,
working a four-to-midnight shift after his high
school classes. For a time, he thrived on the
breakneck pace of the newsroom.
“In those days it was still about scooping
the town, and re-plates, and extra editions,
and getting the newspaper out, and beating the
other papers,” Landau recounts. “There
was a sense of drama, because if a story broke,
they would stop the presses.” But one
day he realized that grind wasn’t for
him.
“I was doing at 17 what these guys who
were 45 or 50 were doing,” Landau recalls.
“And I looked around at these guys, and
said, ‘You know, I don’t wanna be
doing this when I’m their age.’”
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