Interview with Ezra Buzzington

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Thanks to Ezra Buzzington for taking the time to answer some questions for Clooney Network. If you have questions you’d like him to answer, email them to Clooney Network His responses are open and honest and I think that makes for a great interview!

When and where did you first try out for Leatherheads?

MY AGENT CALLED WITH THE AUDITION. ELLEN CHENOWITH, THE CASTING DIRECTOR, WAS FAMILIAR WITH MY WORK AND THOUGHT I’D BE RIGHT FOR ONE OF THE SUPPORTING ROLES. I WENT AND MET WITH HER ON THE CBS/RADFORD LOT IN BURBANK AND SHE PUT ME ON TAPE FOR GEORGE.

How were you notified that you’d gotten the role?

PRETTY SIMPLE, REALLY. THE DIRECTOR TELLS THE CASTING DIRECTOR. THE CASTING DIRECTOR TELLS THE AGENT. THE AGENT TELLS THE ACTOR AND THE REST IS ALL NEGOTIATION. SO MY AGENT, ORION BARNES AT ROGERS/ORION CALLED WITH THE OFFER.

Did you get the role you auditioned for or a different role?

FUNNY YOU SHOULD ASK THAT. ACTUALLY NO. THE ROLE I ORIGINALLY READ FOR WAS A NERVOUS, OFFICIOUS HOTEL DESK CLERK WHO INADVERTENTLY GIVES SOME PRIVATE INFORMATION TO A PRESS HOUND. I LOVED THE CHARACTER AND RAN WITH IT. ELLEN CALLED MY AGENT BACK AND TOLD HIM THAT THEY WERE GOING IN A “DIFFERENT DIRECTION” (CASTING DIRECTOR SPEAK FOR : YOUR CLIENT DIDN’T GET THE PART!) BUT THAT “GEORGE WANTED TO SEE EZRA IN THE MOVIE”. SO THEY HAD ME BACK FOR THE REFEREE PART THAT OPENS THE MOVIE. COMPLETELY DIFFERENT GUY FROM THE NINNY HOTEL CLERK. A KIND OF ROUGH AND TUMBLE, IN-THERE-WITH-THE-BOYS REF IN CLEATS. A BLAST.

Where did you film your part?

WE WERE FLOWN TO GREENVILLE, SOUTH CAROLINA. BEAUTIFUL COUNTRY. WONDERFUL PEOPLE.

What did you think of South Carolina and the people there?

INCREDIBLY COURTEOUS. THERE WERE LINES OF FANS OUTSIDE OUR EXTERIOR SHOOTING AREA JUST WAITING FOR A GLIMPSE OF ME. OOPS. I MEAN GEORGE. WHAT THEY GOT WAS ME.

Did you have any pre-conceived ideas about working with George Clooney?

YOU HEAR A LOT ABOUT DIFFERENT PEOPLE THE MORE YOU WORK IN THE BUSINESS. YOUR REPUTATION TOTALLY PRECEDES YOUR PRESENCE. I’D HEARD NOTHING BUT GREAT STUFF. THE TYPICAL E.T. STUFF ABOUT JOKING ON SET AND ALL THAT. BUT YOU CAN NEVER REALLY BELIEVE THAT STUFF. BUT OTHER ACTORS HAD HEARD HE WAS GREAT. AND HONESTLY, I THINK HE’S AN INCREDIBLE FILMMAKER. I’VE LOVED ALL THE FILMS HE SHOT. “CONFESSIONS OF A DANGEROUS MIND” WAS AN INCREDIBLY RISKY FILM AND PULLED OFF BEAUTIFULLY. AND DON’T GET ME STARTED ON “GOOD NIGHT AND GOOD LUCK.”
HE’S A GENIUS. AND THE TV SHOW “UNSCRIPTED”? I NEVER MISSED AN EPISODE. SO, WHETHER OR NOT HE TURNED OUT TO BE A GOOD GUY OR A SCHMUCK, I WAS THRILLED TO BE WORKING WITH SOMEONE WHO KNOWS HOW TO DELIVER AN ARTISTIC PRODUCT. I’VE BEEN LUCKY ENOUGH TO WORK WITH SOME OF THE BEST DIRECTORS IN THE BUSINESS, FINCHER (TWICE), ZWIGOFF (TWICE), AJA, PAUL THOMAS ANDERSON, CHRIS NOLAN… NOW I GET TO ADD CLOONEY.

Is it more challenging to work with an actor who is also directing the film?

WELL, I ALSO DIRECT. SO I KIND OF KNOW WHAT TO EXPECT. A DIRECTING ACTOR MIGHT BE A LITTLE MORE DISTRACTED THAN JUST AN ACTING ACTOR, BUT, COME ON, IT’S CLOONEY. HIS ACTING IS SUCH A JOY TO HIM THAT WHEN HE POPS INTO THE MOMENT JUST AFTER HE’S SET UP THE SHOT AND CALLED ACTION, HE’S COMPLETELY THERE. THEN WHEN HE CALLS CUT, HE RUNS OFF TO THE MONITOR TO WATCH THE PLAYBACK. I MOSTLY FELT SORRY FOR HIM BECAUSE HE HAD TO BE IN 15 PLACES ALL AT THE SAME TIME. BUT HE WAS MORE ENERGETIC THAN ANY OF THE 20-SOMETHING YEAR OLD ACTORS PLAYING THE FOOTBALL TEAM. HE WAS ALL OVER THE PLACE. WHICH MADE ME WANT TO DELIVER 150% EVERY TIME WE SHOT OUR SCENES. NOT EVERYBODY CAN PULL OFF WHAT HE DOES. HE’S SPECIAL, I THINK. THE CONS WOULD BE THE DISTRACTION. BUT AGAIN, GEORGE REALLY DIDN’T SEEM DISTRACTED AT ALL. HE WAS COMPLETELY INVESTED IN EVERY ASPECT. THE PROS ARE YOU’RE WORKING WITH GEORGE FRICKING CLOONEY!

What was it like working under Clooney’s direction?

HE’S VERY DIRECT AND KNOWS EXACTLY WHAT HE WANTS. BUT HE’LL LET YOU PLAY AS WELL. HE SHRUGS OFF THE “IMPORTANCE” OF MAKING THE MOVIE AND INSISTS THAT IT BE FUN FOR EVERYBODY. HE WAS ALWAYS CRACKING WISE AND BEING VERY SILLY. PLUS, HE SURROUNDS HIMSELF WITH REALLY GOOD PEOPLE (AS ALL GOOD DIRECTORS DO). TOM SIGEL WAS THE CINEMATOGRAPHER. I KNOW TOM FROM A SHORT FILM HE DIRECTED A FEW YEARS AGO THAT PLAYED SUNDANCE AND OTHER FESTIVALS. GREAT GUY. HE SHOT THE MOST RECENT “SUPERMAN” AND ABOUT 1000 OTHER FILMS. VERY EASY GOING AND HE AND GEORGE HAVE A LANGUAGE SO THAT MADE IT ALL MUCH SMOOTHER THAN IT CAN BE SOMETIMES.

What do you hope to take away from this film?

SOME SWEET RESIDUALS. AND BRAGGING RIGHTS.

How did working on Leatherheads differ from your other acting experiences?

WELL, I MUST SAY, IT’S ALWAYS GREAT TO BE FLOWN TO THE LOCATION. THE UNION DEMANDS INCLUDE FIRST CLASS AIR WHICH IS THE SWEETEST WAY TO FLY. I LOVE WORKING ON LOCATION. ANYWHERE. ALSO, ON THIS ONE, EVERYBODY WAS INCREDIBLY COOL. WHICH I THINK INDICATES HOW COOL OF A GUY CLOONEY IS. HE PICKS THE RIGHT DEPARTMENT HEADS. FROM HAIR AND MAKE-UP TO WARDROBE, EVERYBODY WAS A GEM TO WORK WITH. AND THE FOOD WAS GREAT! THAT’S NOT ALWAYS THE CASE. ESPECIALLY ON LOCATION WHERE, SOMETIMES, YOU TAKE WHAT YOU CAN GET.

What did you learn from this project?

I DON’T KNOW THAT THERE WAS ANY ONE SPECIFIC THING THAT I LEARNED ON THIS ONE. OTHER THAN IT’S NICE TO KNOW THAT WHEN PLAYING OPPOSITE ONE OF THE BIGGEST STARS OF THE CENTURY IT STILL JUST BOILS DOWN TO THE ACTING. SOMETIMES I HAVE TO PINCH MYSELF TO MAKE SURE I’M NOT DREAMING. I ALWAYS TAKE THE SAME THING AWAY FROM A REALLY GOOD EXPERIENCE AND THAT, PRIMARILY, IS GRATITUDE THAT I’M LUCKY AND RESOURCEFUL ENOUGH TO BE WORKING STEADILY IN SUCH A CRAZY, FANTASTIC BUSINESS. ON THIS ONE I GUESS IT WOULD BE ALWAYS MAKE SURE YOU TASTE THE LOCAL CUISINE WHEN YOU’RE ON LOCATION. ONE WORD : FRIEDGREENTOMATOES. WOW.

What was the worst day of your shoot and why?

THE WORST MOMENT WAS WHEN I STUPIDLY ALMOST BROKE MY ARM. I DOVE INTO THE HUDDLE OF PLAYERS TO “BREAK THEM APART” AND I REACHED DOWN TO PULL ONE GUY UP FROM THE BACK OF HIS PANTS JUST AS ANOTHER PLAYER DOVE INTO THE HUDDLE AND LANDED AGAINST MY OUTSTRETCHED ARM IN SUCH A WAY THAT IT WAS BENT BACKWARD. DON’T KNOW WHY IT DIDN’T SNAP. JUST KIND OF BENT. WOW. OK. LESSON LEARNED. ON THE NEXT TAKE I KEPT MY ARMS IN TIGHTER. I’VE NEVER PLAYED FREAKING FOOTBALL. WHAT THE HELL DO I KNOW?

What was the best day of your shoot and why?

THE BEST MOMENT WOULD HAVE TO BE WHEN I FIRST SHOWED UP AND HEARD MY NAME SHOUTED FROM BEHIND THE CAMERA. “IS THAT EZRA BUZZINGTON?” IT WAS TOM SIGEL THE DP. THE 2ND MOST IMPORTANT POSITION ON SET. ALL THE OTHER ACTORS (NONE OF WHOM I KNEW) SUDDENLY VIEWED ME AS A PLAYER. SO THAT WAS REALLY NICE. IT HELPS FACILITATE COMMUNICATION. BUT THE ENTIRE SHOOT WAS “SATISFYING” FOR ME. IT COULDN’T HAVE GONE ANY BETTER FOR ME.

What’s the best advice you’ve ever been given? (Regarding acting/working in Hollywood)

THERE’S A WONDERFUL BOOK OUT THERE CALLED “HOW TO MAKE IT IN HOLLYWOOD” BY LINDA BUZZELL. IT’S THE BEST PRACTICAL GUIDE I’VE EVER FOUND FOR APPROACHING YOUR CAREER IN HOLLYWOOD. NO FRILLS. STUPID TITLE. BUT MAN, IS THAT A GOOD BOOK. AS FAR AS ACTING GOES IT’S GOTTA BE MY MOM’S MANTRA : “FOLLOW YOUR HEART”. THAT’S TRUE IN LIFE AND IN ACTING. IF YOU CAN’T FOLLOW YOUR
HEART, YOU CAN’T POSSIBLY MAKE YOUR DREAMS COME TRUE.

At what age did you decide to become an actor? What are some of your previous
roles?

MY FIRST AUDITION WAS A THE AGE OF 9. IT WAS FOR “THE MUSIC MAN” AT MUNCIE CIVIC THEATRE IN INDIANA. I DIDN’T BOOK THE ROLE. BEGINNING A TREND IN MY LIFE THAT STICKS STILL. PROBABLY BEST KNOWN FOR PLAYING “WEIRD AL - THE WAITER” IN TERRY ZWIGOFF’S “GHOST WORLD”, “GOGGLE” (THE WATCHDOG) IN ALEXANDRE AJA’S REMAKE OF WES CRAVEN’S “THE HILLS HAVE EYES” AND AS ONE OF THE ALIENS FROM “BRITTLEACTICA” IN THE RECENT “GOT MILK” CAMPAIGN. MY FIRST FILM WAS “FIGHT CLUB” MY MOST RECENT WAS ROB ZOMBIE’S “HOLLOWEEN” (OPENS AUGUST 31, 2007).

Mr. Buzzington, you recently worked with Chris Nolan on “The Prestige” –a very entertaining movie, by the way– How do the directing styles of Clooney and Nolan compare? Both are acclaimed directors and were nominated for Oscars for their collaborations on screenplays, but I imagine their approach is different.

I ABSOLUTELY LOVED WORKING ON “THE PRESTIGE”. I’M SO INCREDIBLY PROUD OF THE FACT THAT I ACTUALLY WON THE ROLE OVER BRITISH ACTORS SINCE I HAD TO DO THE COCKNEY ACCENT AND ALL. AND DAMN. I’M JUST A HICK FROM INDIANA! AND, SINCE A LOT OF MY TEXT WAS IMPROVISED, IT WAS ESPECIALLY CHALLENGING. WHERE GEORGE AND CHRIS WERE THE SAME IS PROBABLY IN WHAT IS CLEARLY THEIR DEEP RESPECT FOR THE CRAFT OF ACTING. I DON’T KNOW IF CHRIS HAS EVER ACTED, BUT IT WAS OBVIOUS HE KNEW THAT SO MUCH OF THE POWER COMES FROM GIVING THE ACTORS FREEDOM AND HELPING CREATE A SAFE PLACE IN WHICH TO CREATE. IT WAS REALLY KIND OF SCARY ON THE SET OF “THE PRESTIGE” BECAUSE I WAS
IN A <HUGE> HALL WITH HUNDREDS OF PEOPLE, ALL STRANGERS, AND OH, BY THE WAY, HUGH JACKMAN (!) IS MY ACTING PARTNER, AND I WAS SUPPOSED TO JUST BEGIN SHOUTING OUT MADE UP STUFF. AND IN A COCKNEY ACCENT TO BOOT. BUT, LUCKILY, I LOVE IMPROV AND IT ALL FLOWED OUT EASILY AND NATURALLY. WITH ME, GEORGE WAS DEFINITELY MORE “HANDS ON”. PROBABLY BECAUSE HE WAS ALSO ACTING IN THE SCENE. SO THAT WAS NICE, TO GET IMMEDIATE FEEDBACK ON NUANCE, CHOICE, ETC. WITH CHRIS I KNEW THAT IF SOMETHING WASN’T RIGHT HE’D LET ME KNOW BUT IF HE SAID NOTHING, THEN HE WAS HAPPY WITH THE TAKE. GEORGE PLAYED MORE, OF COURSE, CAUSE “LEATHERHEADS” IS A COMEDY. BUT THEY’RE BOTH GREAT DIRECTORS. AGAIN. ME. LUCKIEST GUY ON THE PLANET.

Both “Leatherheads” and “The Prestige” are period pieces– does this make it more difficult or easier to perform?

NEITHER. JUST DIFFERENT. THERE’S AN OLD SAYING IN THE THEATRE THAT SOMETIMES “THE COSTUME DOES ALL THE WORK FOR YOU”. THIS HAPPENS WHEN YOU PUT ON YOUR COSTUME AND SUDDENLY ALL YOUR CHARACTER IS JUST THERE. IT DOESN’T ALWAYS HAPPEN, BUT SOMETIMES. SO, WITH PERIOD PIECES, I THINK
THE WARDROBE DOES A GREAT DEAL OF THE WORK. WHICH IS GREAT. FOR “LEATHERHEADS” WHEN I SAW MY STUPID, WONDERFUL BRIGHT WHITE, OVERSIZED, PORK-PIE HAT, FOR EXAMPLE, I KNEW THAT MY CHARACTER WAS MORE VAIN THAN MOST AND REALLY, REALLY LOVED THAT HAT AND WOULD DO ANYTHING TO KEEP IT CLEAN. THIS EFFECTS YOUR CHARACTERS MOVEMENTS, THOUGHTS, ETC. YOU WOULD DIVE INTO A PILE-UP OF FOOTBALL PLAYERS VERY DIFFERENTLY IF YOU DIDN’T CARE ABOUT THE DIRT. SOMETIMES EASIER. SOMETIMES HARDER. YOU NEVER KNOW TILL YOU’RE AT THE FITTING. MY BARKER IN “THE PRESTIGE” WAS CLEARLY VERY LOW CLASS.  AT LEAST COMPARED TO ALL THE PEOPLE AROUND HIM. SO HE HAD SOMETHING TO PROVE. HE WANTED TO BE VERY, VERY GOOD AT HIS JOB. HE WASN’T INTIMIDATED IN THE LEAST, JUST TRYING TO MAKE A LIVING FOR HIS WIFE AND KIDS AND HOPING AGAINST HOPE THAT THIS “GIG” WOULD LEAD TO SOMETHING BETTER. WHICH IS WHY HE PUSHED SO HARD AND WAS A VERY, VERY GOOD SALESMAN.

Both you and Mr. Clooney are actors and directors — have you had a chance to talk technique? Does it help one’s performance to have been on both sides of the camera?

WITHOUT A DOUBT IT HELPS. IF FOR NO OTHER REASON, IT HELPS YOU TO KNOW HOW TO DEAL WITH AN ACTOR’S PERSONAL APPROACH. (ALL ACTORS APPROACH ROLES DIFFERENTLY. THERE ARE NO RULES. ALL ARE VALID AND PERSONAL.) YOU ALSO KNOW WHAT THE ACTOR IS GOING THROUGH (WITH 70 PEOPLE STARING AT HIM OR HER AS THEY’RE WORKING IN AN INCREDIBLE VULNERABLE POSITION.) AND WHEN THE ACTOR KNOWS THAT THEIR DIRECTOR UNDERSTANDS THIS, THEY WILL WORK MUCH, MUCH HARDER FOR THEM. IT’S A CAMARADERIE. GEORGE AND I DIDN’T REALLY TALK TECHNIQUE. I’VE FOUND THAT THE ONLY TIME IT’S NECESSARY TO DO THAT IS IF SOMETHING ISN’T WORKING. AND LUCKILY, EVERYTHING WAS WORKING WITH US. THE STYLE GEORGE WANTED WAS CLEAR TO ME. I COULD TELL WHAT HE WANTED SIMPLY BY WATCHING HIS OWN ACTING STYLE. AND I WOULD TRY TO LIVE IN THAT SAME WORLD. HIS “TAKES” ARE INCREDIBLY FUNNY TO WATCH. AND, WITH “LEATHERHEADS”, AT LEAST WITH OUR STUFF, IT WAS A SLIGHTLY GOOFY
STYLE THAT’S STILL HOUSED IN REALITY. NOT CARTOONY, BUT SLIGHTLY HEIGHTENED.

Express with one word how it feels to be in the presence of the “Sexiest Man Alive” :-)

EXHILARATING.

George is known for his practical jokes, did you witness or hear of any jokes he played during the filming of Leatherheads?

NOT WHILE I WAS THERE. JUST WISECRACKS THAT NEVER SEEMED TO STOP. HE’S A GENIUS AT CREATING A PLEASANT ATMOSPHERE.

What is your next project?

I JUST SHOT ROB ZOMBIE’S “HALLOWEEN” AND AM EXCITED TO ANNOUNCE (STARTING PRETTY MUCH TODAY) THAT I’M GOING TO BE WORKING WITH THE BRILLIANT SID HAIG (HOUSE OF 1000 CORPSES / THE DEVIL’S REJECTS) IN A FILM HE’S DIRECTING CALLED “WITTENBERG”. IT’S A GREAT SCRIPT ABOUT A “REALITY
SHOW” THAT GOES HORRIBLY, HORRIBLY WRONG. THERE’S ANOTHER FILM THAT, UNFORTUNATELY, I’M NOT ALLOWED TO TALK ABOUT YET. BUT IT’S A BIG STUDIO FILM. (CATCH ME IN A MONTH!) OR, BETTER YET, IF YOU WANT TO KEEP UP WITH ALL THINGS BUZZINGTON ;) - CHECK OUT MY MYSPACE :  WWW.MYSPACE.COM/BUZZINGTON . FRIEND ME. AND WRITE ME. I ALWAYS, ALWAYS WRITE BACK.

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