Daniel Day-Lewis Discusses Theatre as an Elitist Artform Privilege in Cinema and His Mary Poppins Crush
Daniel Day-Lewis, the acclaimed actor, recently shared insights on the complex relationship between theatre and cinema during a conversation at the London Film Festival. His remarks highlighted the elitist nature of theatre and the barriers it presents to broader audiences in the UK.
Theatre and Cinema: A Class Divide
During his discussion with film critic Mark Kermode at BFI Southbank, Day-Lewis criticized the perception that theatre is a superior art form. He argued that this elitism often excludes individuals who lack a certain educational privilege—those who might not feel entitled to experience the theatre. “Theatre essentially relies on people having had the privilege of an education that allows them to believe that they’re entitled to go to the theatre,” he stated.
Day-Lewis reflected on his training at the Bristol Old Vic School, emphasizing the absence of film considerations in his curriculum. Although theatre was presented as the goal, he and his peers secretly yearned to be part of the cinematic world. “Movies seemed so wonderful and magical,” he said.
Premiering Anemone
On the eve of the UK premiere of his new film, *Anemone*, Day-Lewis expressed mixed feelings regarding public and critical reception. The film, which he co-wrote with his son Ronan Day-Lewis, marks his return after a seven-year hiatus from acting. He previously stated in a Rolling Stone interview that he “never intended to retire,” contrary to beliefs following his 2017 withdrawal from the profession.
In *Anemone*, set in the late 1980s, Day-Lewis plays Ray, a British paramilitary, alongside Sean Bean. The film explores complex themes surrounding violence and identity during a turbulent period in Northern Ireland.
Method Acting and Personal Experiences
Day-Lewis also addressed misconceptions surrounding method acting. He argued that much of the recent commentary on the subject comes from those without real understanding. “It’s almost as if it’s some specious science or a cult,” he commented. For him, method acting provides a means to connect with characters deeply, allowing for spontaneity in performance.
In recounting a significant scene from *Anemone*, Day-Lewis discussed a monologue that involved dark humor. He found it amusing to portray a character taking revenge on a priest, highlighting the absurdities of comic relief in serious narratives.
Reflections on Career and Disability Representation
Reflecting on his earlier role as Christy Brown in *My Left Foot*, Day-Lewis acknowledged changes in societal attitudes towards disability representation. He remarked that he would not take on such a role today, recognizing ethical considerations that were less acknowledged during his earlier career.
Day-Lewis has won three Oscars, showcasing his diverse talent across various projects, including *There Will Be Blood* and *Lincoln*. His film choices are guided by a desire for authenticity, a principle that has defined his journey in acting. “I knew from an early age that I wouldn’t try to dance to somebody else’s beat,” he declared.
Fond Memories and Future Endeavors
In a lighter moment, Day-Lewis fondly recalled his childhood crush on Julie Andrews from *Mary Poppins*, calling her a “doll.” These personal anecdotes serve to humanize an actor with a formidable career and underscore his deep-seated love for cinema.
As Day-Lewis steps back into the spotlight with *Anemone*, his insights provoke important discussions about the nature of theatre as an elitist art form and the universal accessibility of cinema. This narrative continues to evolve as he explores new creative avenues in his artistic journey.
