Duke Johnson discusses Charlie Kaufman's guidance and the identity philosophies that influence the actor.

      After co-directing 2015’s Anomalisa with Charlie Kaufman, Duke Johnson’s next project is a solo adaptation of Donald E. Westlake’s novel Memory. The protagonist, Paul Cole (André Holland), is a struggling actor who wakes up in a small Ohio town with a head injury and no memories of his life. Edna (Gemma Chan), a captivating woman, plays a key role, surrounded by a small ensemble cast who may or may not have Paul's best interests at heart. This setup follows classic noir conventions, but Johnson focuses more on exploring Paul’s psychological state, emphasizing broader philosophical themes on identity and the developing romance between him and Edna. Johnson was impressed by Chan's performance in Steven Soderbergh’s Let Them All Talk, which led him to cast her alongside several British actors, many of whom take on multiple roles. This choice not only saved costs for the indie production but also enhanced Paul’s disorientation as he tries to regain his sense of self.

      Filmed in a Budapest warehouse primarily at Johnson's expense using his animation studio in Burbank, the production was described by him as “strange and unconventional,” emphasizing collaboration with his 15-member acting team. As the film releases through NEON, I spoke with Johnson via Zoom about the advice he received from Charlie Kaufman regarding trusting one’s instincts and the significance of open artifice and metaphor.

      The Film Stage: After Anomalisa, did you encounter any industry pushback when transitioning to a live-action film, given the industry's tendency to label directors?

      Duke Johnson: Interestingly, no. I expected it and that’s partly why I wanted to leverage the momentum from Anomalisa to make a live-action film. I didn’t receive offers for live-action projects after Anomalisa, but I did get numerous opportunities for mainstream animated family films. It’s amusing how people saw a more straightforward path for me towards a Pixar project––not that I was offered one––instead of something like The Actor, which aligns better with my interests. However, when I presented The Actor, I didn’t face any of that. In fact, NEON was eager to see what I could contribute to the live-action format. I’ve always generated my own material and have never worked within a studio system. While I have pitched films and not received them, I got the sense that they believed, “Maybe this guy can’t handle this,” though they never said it outright to me.

      There’s a version of The Actor that might resemble a puzzle for viewers to figure out Paul’s situation. Instead, the film focuses on the emotions between Paul and Edna. How did you navigate the balance between that emotional core and the mystery surrounding his past?

      Charlie Kaufman introduced me to the book. He wasn’t trying to sell me on a movie, I just asked him for book recommendations. He appreciated that it was written by a renowned crime author and presented as a crime noir thriller utilizing the amnesia trope. Typically used to drive a plot, in this instance, it serves more to delve into the essence of identity and emotional themes. This became my guiding principle during the filmmaking process; I was less concerned with crafting twists and connections and more focused on exploring these abstract ideas. André’s performance is deeply rooted in emotion, which makes him incredibly relatable. I felt that I could venture into more abstract territory because he grounds the story emotionally.

      Most of the movie was filmed on stages, correct?

      The novel consists largely of the protagonist's internal monologue regarding his emotional journey; he reflects on everything in his mind. The challenge became translating this into an audio-visual experience. I wanted to construct a world that highlights the artificiality, structure, and the visual and emotional metaphors embedded in the film. By reusing locations, we could create a sense of confusion for Paul with questions like, “Have I been here before? Have I seen this person before?” However, operating on a low budget posed challenges. We ended up shooting in a run-down warehouse in Budapest to achieve this.

      Duke Johnson, Gemma Chan, and André Holland at The Actor's premiere.

      From what I've heard, once you reach a certain budget range, especially regarding set construction, shooting in Eastern Europe can significantly stretch your funds.

      Yes, it's true. They have the skilled artisans, labor, and supplies. But our budget was so tight we couldn't afford a real sound stage. At times during filming, you'd hear metal beams clattering to the ground, prompting us to call for silence on set. Eventually, you realize it's just the natural sound of a warehouse. It felt reminiscent of Terry Gilliam’s Brazil––adding a surreal, alternate-reality feel to the atmosphere.

      When working with a low budget on built sets, how do you maintain the flexibility to adjust on the day, or do you stick strictly to the plan?

      This was my first feature in live action, and I learned that you can’t approach it