BEVERLY HILLS, Calif., Sept. 18, 2000 — Actors often use interviews to wax philosophical about their craft: how they rehearse, how they research, how they get “into the character’s head.”
Morgan Freeman is not one of those actors.
Take his current film, “Under Suspicion,” for example. Reuniting with “Unforgiven” co-star Gene Hackman, the psychological drama pits two titans of the acting world against each other in a claustrophobic interrogation for the truth. But while Hackman built his character through logic and analysis, Freeman used the set time for more important things.
“[He] took a lot of naps,” observes co-star Thomas Jane of the contrast. “Literally … he’s very relaxed. I think he’s a much more intuitive actor. I don’t think he ever took a lesson and he’s so relaxed, it’s just beautiful. And he keeps it that simple.”
Freeman shrugs off any ideas of method behind the madness.
“I talk a lot, but I know that intellectualizing about the choices you make and how you get to them in terms of acting is really just a lot of b.s.,” the 63-year-old actor says. “I just find it all usually so easy to do that I don’t know what the ‘mechanisms’ are. … You get hints from the writer, and if you need to fill in the blanks, you do that.”
And he should know. Freeman has come a long way from his days as Easy Reader on PBS’ kid show “The Electric Company.” Whether in the lead role or in supporting turns, Freeman’s wise, weary voice has lent authority to convicts (“The Shawshank Redemption“), pimps (“Street Smart“), chauffeurs (“Driving Miss Daisy“), teachers (“Lean on Me“) and loyal sidekicks (“Unforgiven,” “Robin Hood: Prince of Thieves“). He emerges victorious from the lauded (even though he’s never won an Oscar, despite three nominations) and unscathed from the bombs, which is probably why he continues to work steadily. But just when he’s getting lumped in with the socially responsible projects he’s been proud to participate in, Freeman looks for something unexpected.
“I’m concerned about being bracketed [with those kinds of films],” Freeman admits. “And I use brackets instead of typecasting because bracketing gives you a little wider range … [but] I realized I was talking against myself, because all these roles are ones that I chose to do. So I have to take responsibility for these choices, that I want to play these roles: The president [in ‘Deep Impact‘]; the abolitioninst in ‘Amistad‘; the sergeant in ‘Glory.’ … They make a statement to me about American life in history.
“And I want to have that kind of impact, [it] just hearkens back to the stuff you saw, like Henry Fonda in ‘Drums Along the Mohawk’ and ‘Young Mr. Lincoln’ and all those things. I’m drawn to these things, but I’m drawn to these other roles that don’t quite have that gravitas.”
“Under Suspicion,” directed by Stephen Hopkins, lands Freeman as the lawman, a role he’s handled in “Seven” and “Kiss the Girls.” This time, however, his adversary is Hackman, a powerful attorney who has discovered a murder victim, one of two young girls. As the night of interrogation wears on, Hackman becomes the prime suspect and Freeman’s determination proves him relentless.
“Working with Gene Hackman was the main draw of this,” Freeman says. “The project you can almost say is a two-character drama. … The other characters are there, but the main cluster of this whole thing is the combat between these two. And having such a theatrical piece to do with someone like Gene Hackman, you do it.”
And even if the actors don’t exactly see eye to eye on technique, Freeman says the one thing makes it all work.
“The vulnerability that exists between actors,” he says, “the more you trust, the more vulnerable you can be. It gives more light behind the eyes. And that’s where it all takes place for the actors, particularly in movies. Truth is there.”
“Under Suspicion,” which debuted at this year’s Cannes Film Festival, opens in limited release Sept. 29.
