daniel Day-Lewis Critiques elitism in Theater, Rising Cinema Costs, and Misconceptions of Method Acting
The celebrated actor Daniel Day-Lewis recently voiced concerns about accessibility to the arts and persistent biases within the UK’s cultural landscape during a conversation at the London film Festival. Speaking with critic Mark Kermode at the BFI Southbank, Day-Lewis lamented the increasing cost of theatre tickets and a lingering perception of theatre as a superior art form, while also defending his famed approach to acting.
Day-lewis revealed that his early drama training at the Bristol Old Vic instilled a belief that theatre was the ultimate artistic pursuit. “Then there’s films: bit dodgy.Television: like, really? OK, you gotta pay the gas bill,” he recalled of the prevailing attitude. He explained that film was largely dismissed during his training, despite a secret desire among students to work in the medium, fueled by a childhood steeped in cinema. “Movies seemed just so wonderful to us and magical,” he said.
However, Day-Lewis argued that theatre itself can be an exclusive experience, particularly with soaring ticket prices. He expressed dismay at the financial barriers preventing wider access to live performance. “It’s become a luxury,” he stated, adding that the cost of attending a play now frequently enough exceeds the price of a cinema ticket.
Turning to his acting process, Day-Lewis addressed the often-misunderstood concept of method acting. He distanced himself from what he described as a “specious science” or even a “cult,” emphasizing that it’s simply “a way of freeing yourself” to achieve spontaneity and fully embody a role. As an example, he referenced a particularly memorable monologue in Anemone involving revenge and a rather unconventional remedy. “I don’t know why I found it so funny,” he admitted, “The idea of shitting on a priest. It’s not normal. But I just thought it was hilarious and couldn’t stop laughing.”
Day-Lewis also reflected on past roles, including his Oscar-winning portrayal of Christy Brown in My Left Foot. He acknowledged that he likely wouldn’t be cast in the role today,given evolving sensitivities surrounding the portrayal of disability.He recounted that even at the time, individuals at the Sandymount Clinic, who assisted with his planning, expressed reservations about his taking on the role. He spent two months in a wheelchair and painting to prepare,believing it crucial to understand Brown’s experience as fully as possible.
Looking back at his early career, Day-Lewis confessed to being “clueless” about filmmaking, recalling a frustrating experience on the set of My Beautiful Laundrette where he was corrected by director Stephen Frears for cleaning a shop too thoroughly. This experience highlighted his initial lack of understanding of cinematic framing and composition.
the actor, who also won Oscars for There will Be blood and Lincoln, fondly remembered collaborations with his wife, writer-director Rebecca Miller, on The Ballad of Jack and Rose, and with his son, Ronan, on Anemone. He emphasized that even if a film isn’t a critical success, the collaborative experience itself can be profoundly rewarding.
Anemone explores the experiences of two brothers, Ray (Day-Lewis) and Jem (Sean Bean), who served as British paramilitaries in Northern Ireland.Day-Lewis noted a ancient tendency to focus solely on the perspective of West Belfast Catholics in portrayals of the conflict, and expressed a desire to explore the experiences of those on the other side, acknowledging the complexities of a “dirty, dirty conflict.”
While Anemone has received mixed reviews, with praise for Day-Lewis’s performance and stylistic ambition, the actor admitted that critical reception does matter. “You sort of try and wear a cap of defiance but it doesn’t fit that well,” he said, acknowledging the power of critics to influence audience attendance. “What of course we yearn for is that when our job is done, that it will be meaningful to people.”
Day-Lewis concluded by reaffirming his commitment to artistic integrity, stating he has always avoided “dancing to somebody else’s beat,” and expressed relief that his “certain steadiness” allowed him to pursue projects aligned with his vision.
